INSTRUCTION AND ASSESSMENT UNITS – INTRODUCTION
A series of instruction and assessment units will be provided as part of a Teacher Guide for English 12 First
Peoples. These units have been structured a number of different ways, including
 by type of text (e.g., novel, film, poetry)
 by theme
 by process (e.g., oral tradition, research)
Collectively the units address all of the prescribed learning outcomes for the course, and provide one
suggested means of organizing, ordering, and delivering the required content. The following units are
provided in this section of the IRP:
 Unit 1: Introduction
 Unit 2: The Oral Tradition
 Unit 3: Storytelling
 Unit 4: Lost People
 Unit 5: Residential Schools
 Unit 6: From the Heart – Poetry
 Unit 7: Drama
 Unit 8: Research Essay
Units are numbered for ease of reference only. This organization is not intended to prescribe a linear means of
delivery (although teachers are strongly encouraged to begin with the Introduction unit). Teachers have the
flexibility to reorder the learning outcomes and to modify, organize, and expand on the units to meet the
needs of their students, to respond to local requirements, and to incorporate additional relevant learning
resources as applicable.
DRAFT: EFP 12 unit descriptions
1
UNIT OVERVIEWS
UNIT 1: INTRODUCTION
The introductory unit sets the context for the course, with a particular emphasis on establishing awareness of
First Peoples pedagogy and of the key features that make this course unique. Given the unique nature of this
course, it is important for the teacher to establish a classroom environment that is welcoming and supportive.
This unit includes a variety of activities for teachers to work with, including opportunities for
 community building (a vital component of First Peoples’ cultures)
 establishing the ground rules for respectful contribution and handling conflict
 assessing what students are bringing to the course (in terms of personal, experiential, and academic
background)
 understanding and beginning to work with First Peoples’ pedagogical approaches
 incorporating relevant practices/protocol from the local First Peoples community (e.g., for talking
circles)
 setting the purpose and context for the course – looking at the traditional and contemporary realities of
First Peoples through a study of authentic texts
 incorporating experiential learning by participating in field trips (such as visits to a friendship centre,
band office, etc.)
 building a positive environment that allows for a free, frank, and safe study of subjects such as racism
and colonialism
 looking at the place and treatment of First Peoples in Canada both historically and in the present, as a
starting point for talking about the literature that students will examine in the course.
The teacher will need to establish connections with the local aboriginal community, or Aboriginal
organizations such as Friendship Houses or Learning Centres in order to facilitate further authentic learning
experiences. The connections the local Aboriginal communities or organizations are also important, in that
this can help the teacher and students become familiar with local First Nations protocol.
The assessments for these activities are necessarily informal, as the goal is to begin to develop a sense of
community and belonging in the classroom. Much of the work of this unit involves students participating in
small and large group discussion, as well personal response writing. The use of a Learning Log for students’
to record their learning is advisable for the introductory activities.
There are no set texts for this unit.
UNIT 2: ORAL TRADITION
The oral tradition includes oral narratives (or stories) that are used to teach skills, transmit cultural values and
mores, convey news, record family and community histories, and explain our natural world. Along with
narratives, the oral tradition also includes oratory (formal speech) and song. In recent history many oral
narratives have been recorded in audio or visual recordings, which have then been transcribed into writing.
For this unit, it is important that the students be exposed to the oral versions of the narratives, oratories, and
songs whenever possible. In order to so this, the teacher will need to establish connections with the local First
Peoples community, or First Peoples’ organizations such as Friendship Houses or Learning Centres in order
to facilitate authentic learning experiences. The connections the local First Peoples communities or
organizations are also important, in that this can help the teacher and students become familiar with local First
Nations protocol (as protocol can vary from nation to nation).
A vital aspect of this unit is the inclusion of First Peoples in the teaching of the curriculum. This is facilitated
by bringing Aboriginal people skilled in various aspects of the oral tradition into the classroom, and by
bringing the students outside the classroom to participate in events in First Peoples communities, or with First
Peoples’ organizations.
DRAFT: EFP 12 unit descriptions
2
This unit provides opportunities for students to examine traditional and contemporary applications of oral
tradition in First Peoples’ cultures and gain an understanding of why the oral tradition is important to
humanity. It also provides opportunities for students to practice aspects of the oral tradition, in small and large
groups, and in informal and formal settings, to develop their sense of voice and facilitate their sense of social
and personal agency.
Primary Text
King, Thomas. The Truth About Stories: A Native Narrative (recorded version and/or print version; recorded
version preferred)
Supplementary Texts (optional)
BC First Nations Studies Textbook, Ministry of Education
BC Ministry of Education. Shared Learnings. Victoria: 2007
“The Ts’msyen and Nisga’a Chiefs Visit Victoria, 1887” Persistence and Change, p. 156
“Lament for Confederation” (audio version or written transcript) Chief Dan George
local and non-local First Peoples’ narratives including origin or creation stories, teaching stories, family, or
community histories that can be used in the classroom
UNIT 3: STORYTELLING
This unit provides opportunities for students to consider a range of questions related to storytelling, including
the following:
 What kinds of stories are there?
 What different purposes do they serve? (e.g., entertain, enlighten, instruct, escape)
 What are some of the earliest recorded stories? (e.g., biblical parables as teaching stories)
 What purposes do stories by First Peoples writers serve?
 How are stories by First Peoples writers similar/different from non-Aboriginal writers?
 What role does the narrator serve in many stories by First Peoples writers?
 How is the structure of stories by First Peoples writers unique? (e.g., circular vs. linear plot structures)
 What role does symbolism play in stories written by First Peoples writers?
 How does the conventional tool of the plot diagram (exposition, rising action, climax, falling action)
assist/inhibit an appreciation of stories written by First Peoples writers?
 How do the particular stories of a society reflect that society? (e.g., “rags-to-riches immigrant success
story”)
Primary Texts
The following stories from An Anthology of Canadian Native Literature in English (edited by Daniel David
Moses and Terry Goldie ) form the basis for this unit:








"Captive in an English Circus" as told by Harry Robinson, pp. 60-80
"A Story of Starvation" as told by Marion Tuu’luq, pp. 81-85
Beth Brant. "A Long Story" pp.145-150
Thomas King, "The One About Coyote Going West", pp. 201-204
John McLeod, "The Shimmering Tree" pp. 272-279
Ruby Slipperjack, "Blueberry Days" pp. 381-386
Jordan Wheeler, "A Mountain Legend" pp. 511-516
Richard Van Camp, "Mermaids", pp. 557-565
Supplementary Texts (optional and not provided; use where available)
Erdich, Louise. “Fleur” from Tracks. New York: Harper Collins, 1988.
Grass, Starleigh. “Fire.” Unpublished, 2003.
DRAFT: EFP 12 unit descriptions
3
Hayden Taylor, Drew. “The Boy in the Ditch” from Fearless Warriors. Burnaby, BC: Talon Books, 1998.
King, Thomas. The Truth About Stories, Chapter #1: “’You’ll Never Believe What Happened’ is Always a
Great Way to Start” and Chapter #5 “What is it about us that You Don’t Like?” Toronto: House of Anansi
Press Inc., 2003.
Lindley, Roxanne. “The Gift” from Gatherings Volume 13. Penticton, BC: Theytus Books, Ltd., 2002.
Maracle, Lee. “Bertha” from Sojourners and Sundogs. Victoria, BC: Press Gang Publishers, 1999.
Van Camp, Richard. “Mermaids” from Angel Wing Splash Pattern. Wiarton, ON: Kegedonce Press, 2002.
UNIT 4: LOST PEOPLE
Using Eden Robinson’s novel Monkey Beach as a primary text, the students will explore the issue of lost
people that is so resonant in First Peoples communities; beyond the novel, students will have the opportunity
to examine other texts such as short stories, poetry, and essays that complement this theme. When studying
the novel, the instructional methods will focus on literature circles (small group, student-centered approach to
the novel that allows all students in the class to have a voice) and reader response (writing to learn, not always
as a finished, polished draft). When studying the other texts, the instructional methods will be a mixture of
large and small group activities that invite student voice for interpretation.
Primary Text
Robinson, Eden. Monkey Beach. Toronto: Alfred A. Knopf Canada, 2000.
Supplementary Texts (optional)
Armstrong, Jeannette C. “Blue Against White.” from An Anthology of Canadian Native Literature in English.
Baker, Marie Annharte. “His Kitchen”, 1990. from Native Poetry in Canada: A Contemporary Anthology.
Brant, Beth. “A Long Story.” from An Anthology of Canadian Native Literature in English
Fife, Connie. “Communications Class,” 1992. from Native Poetry in Canada: A Contemporary Anthology.
Mercredi, Duncan. “racing across the land”, 1997. from Native Poetry in Canada: A Contemporary
Anthology.
Taylor, Drew Hayden “Pretty Like a White Boy.” from An Anthology of Canadian Native Literature in
English
Wagamese, Richard. excerpt from Keeper ’n Me. from An Anthology of Canadian Native Literature in
English
UNIT 5: RESIDENTIAL SCHOOLS
Students will explore many issues relating to First Peoples that include spirituality, relationship with the land,
family, and determination but will focus on Residential Schools and the impact of the said schools on First
Peoples characters through First Peoples texts. Instructional methods will focus on collaborative approaches
and “doing” rather than merely discussing; encourage performance of oral texts rather that merely “reading”
them; emphasize awareness of self and other in group process and consensus building; the use of “writing to
learn” strategies to enhance students writing skills; and provide opportunities to use varied forms of
representation to demonstrate understanding of text through use of drama, art, media, dance, song, music etc.
Primary Texts
selection of poems from Armstrong, Jeannette C. and Grauer, Lally (ed). Native Poetry in Canada: A
Contemporary Anthology Peterborough, Ontario: Broadview, Press, 2001.
Australian Film Commission. Rabbit Proof Fence. 2002 (based on the book Follow the Rabbit-Proof Fence
by Doris Nugi Garimara Pilkington, 1996)
Boyden, Joseph. Three Day Road Toronto: Penguin Group, 2005
Highway, Tomson. Kiss of the Fur Queen (1998) Anchor Canada edition 2005
DRAFT: EFP 12 unit descriptions
4
selection of poems from Moses, Daniel David and Goldie, Terry (ed). An Anthology of Canadian Native
Literature in English, 3rd edition. Don Mills, Ontario: Oxford University Press, 2005.
Note that both Kiss of the Fur Queen and Three Day Road are included as teacher resources, not student
resources. Both novels are adult in nature, containing content and writing that is too sophisticated for the
majority of grade 12 students. However, as teacher resources, the teacher can read aloud selected passages.
(The unit identifies as to which sections are most appropriate and relevant to the topic.)
UNIT 6: FROM THE HEART – POETRY
Poetry is one of the purest forms of human expression. Poets explore the depths of their emotional
experiences, dreams, visions, and reflections and seek to find words that will let them share with others what
they have found. Poetry comes in many forms, as many as there are poets willing to experiment with the play
of placing words on a page, a piece of birch bark, or a rock face. Poems can be found in dance, song, carvings
and paintings. This unit is meant to entice both Aboriginal and non-Aboriginal students into the experiences
and experimentations of First Peoples poets, and to discover the impulse of their own creative powers and
begin to compose their own poetry.
The poetry chosen for study in this unit is primarily written in English, although some of the poets include
words and lines from songs in their native languages. Students will hear voices from many diverse First
Peoples communities but they will easily recognize a commonality of world view in the themes of the poems:
respect for and appreciation of the natural environment, the importance of relations with family and
community, trust in the wisdom of Elders, and the power that comes from the spirit world, especially in overcoming the devastating effects of colonization. These poems hold the embers that will help to “rekindle a new
flame.” Students will also recognize that the structures and poetic devices used in crafting this poetry is
similar to poetry written by non-Aboriginal writers but they will also recognize that the voices of the poets
and their imagery is distinctly different.
Primary Texts
Armstrong, Jeannette C. and Grauer, Lally (ed). Native Poetry in Canada: A Contemporary Anthology
Peterborough, Ontario: Broadview, Press, 2001.
Moses, Daniel David and Goldie, Terry (ed). An Anthology of Canadian Native Literature in English, 3rd
edition. Don Mills, Ontario: Oxford University Press, 2005.
Sainte-Marie, Buffy. “Eagle Man/Changing Woman” (on the album Changing Woman, MCA, 1975)
Supplementary Texts (optional)
Selected poems and songs from the following texts are suggested for use in the unit, although the unit can be
conducted using only the poems from primary texts if necessary. Note also that many of the individual poems
listed for use in the unit are available in other anthologies already found in schools, as well as online.
Aglukark, Susan. Shamaya. (on the album This Child, EMI Music Canada/EMI, 1995)
Chrystos. Not Vanishing. Vancouver: Press Gang Publishers, 1988.
Dauenhauer, Nora Marks. Life Woven with Song. Tucson: University of Arizona Press, 2000.
Gottfriedson, Garry. whiskey bullets: Cowboy and Indian Heritage Poems. Vancouver: Ronsdale Press, 2006.
Hodgson, Heather (ed). Seventh Generation: Contemporary Native Writing. Penticton: Theytus Books Ltd.,
1989.
Olson, Karen W. (ed). Gatherings: The En’owkin Journal of First North American Peoples, volume 14.
Penticton: Theytus Books Ltd., 2003.
Perreault, Jeanne and Vance, Sylvia (eds). Writing the Circle: An Anthology by Native Women of Western
Canada. Edmonton: NeWest Publishers, Ltd., 1990.
Robertson, Robbie. “Ghost Dance.” (on the album Music for the Native Americans, Capitol, 1994)
DRAFT: EFP 12 unit descriptions
5
Sainte-Marie, Buffy. Bury My Heart at Wounded Knee. (on the album Coincidence & Likely Stories, Chrysalis,
1992)
Scofield, Gregory. The Gathering: Stones For The Medicine Wheel. Vancouver, B.C.: Polestar Publishers,
1993.
Wickwire, Wendy (ed). Harry Robinson: Write It On Your Heart: The Epic World of An Okanagan
Storyteller. Vancouver: Talonbooks, 1989.
UNIT 8: FILM & DRAMA
This unit provides an opportunity for teachers and students to select for themselves a mix of dramatic texts
(stage plays, screenplays, films)that reflect First Peoples themes and perspectives. Opportunities for
memorization (internalization) of text and for polishing of oral delivery skills are one important aspect of the
unit. Students are also encouraged to reflect on the production realities associated with these types of texts.
Culminating and synthesizing activities focus on comparisons with respect to genre, technique, purpose,
implied audience, and thematic content, so that students will feel comfortable responding to “big-picture”
interpretive questions when confronted with these in a formal, exam-type setting.
Note: This unit is presented as a series of discrete activities, rather than a single, continuous series of lessons.
This approach allows teachers – and students – to select those activities that best suit their needs. Therefore,
the time required to conduct this unit will vary considerably. At minimum, 5 hours is recommended for a
thorough study of at least one text.
Texts
Stage Plays:
Taylor, Drew Hayden. Only Drunks and Children Tell the Truth. Talonbooks, 1998
Moses, Daniel David. The Witch of Niagara. in An Anthology of Canadian Native Literature in English, 3rd
edition. Don Mills, Ontario: Oxford University Press, 2005.
Screenplay:
Alexie, Sherman. Smoke Signals: A Screenplay. Miramax Books, 1998.
Films:
Hank Williams First Nation. Maple Pictures, 2006.
Smoke Signals. Buena Vista Home Entertainment, 1999.
Whale Rider. Alliance Atlantis, 2003.
UNIT 8: RESEARCH ESSAY
This project is a process by which students learn about a First Peoples issue or topic and communicate to
others their knowledge. Many students are unaware that their lives are inextricably linked with the lives of
First Peoples all over the world. We all live on the planet, we all share in the resources of the earth, and we
must all take responsibilities for our actions. Nobody can live in isolation. The world will be a better place
when all of us work together to make it so. By doing this research project, students will become
spokespersons for an ethical, humane, and democratic Earth. The range of topics covered shows the students
that everybody has a role to play in making the world a wholesome and happy place to live. We all must come
to understand each other.
There are no specified texts for this unit – students will select texts based on their research topic.
DRAFT: EFP 12 unit descriptions
6