UNIT 3: Create to Communicate
Time: 22 hours
Unit Description
Art is a reflection of self and society; a form of expression as old as man.
This unit examines how art, in its many forms, functions as a means of
communication. Specifically, activities expose students to Aboriginal art
and music, and examine the interdependence of culture, history,
environment and religion. Students study the influence of outside cultures
and biases on traditional Aboriginal culture, and examine original artifacts
to trace the evolution of Aboriginal societies in Canada. Students
investigate symbolism in art, and discover that to fully appreciate art
requires an understanding of the context and background of the creator.
Through the creation of their own pieces of art, and development of an
art workshop for elementary students, students learn the importance and
significance of art as a form of personal and cultural expression.
Unit 3 Overview Chart
Time Expectations
4
TVF.04, TF2.01,
hours TF3.01, PM1.01,
PM1.02, PM3.01,
PM3.02, IE3.03,
IE4.03
Assessment
-Anecdotal teacher
assessment
Task/Activities
-watch Shooting Indians and
complete a viewing guide
-attend the Native Exhibit
and Lab Lesson at the Royal
Ontario Museum
-study an artifact from the
OCSGE: 1j, 4a, 5e,
First People’s Gallery at the
7f, 7g
ROM
-class and small group
discussion
10
TVF.04, TF2.04,
-Anecdotal teacher
-study of the history and
hours TF4.01, TF4.04,
assessment of
culture of drumming in
PMV.01, PMV.02,
drumming worksheets Aboriginal societies
PMV.04, PM1.04,
-Preparation and
-participate in a
PM4.01, IEV.04,
delivery of drumming performance and workshop
IE1.01, IE1.04,
workshop for
by the Native Cultural Center
IE3.03, IE4.01,
elementary students
-participate in drumming
IE4.03
-Soundtrack
workshop at Harbourfront
assignment
Centre
OCSGE: 2e, 4c,
-prepare and deliver
5e, 6e, 7j
drumming workshop to
elementary students
-create a personal
2
TFV.01, TF1.01,
hours TF1.03, TF3.03,
PM3.03
OCSGE: 2e, 5b
6
TFV.04, TF2.02,
hours TF3.01, PM1.02,
PM3.01, PM4.01,
IEV.04, IE1.01,
IE1.02, IE1.03,
IE2.04
soundtrack
-study Native rock painting
using the ROM traveling kit
-read articles and an
interview on Native rock
painting
-Anecdotal
-study Iroquois beadwork
assessment of student using the ROM traveling kit
participation in
-create a piece of art based
Iroquois beadwork
on personal identity and
study
experience with a written
-Art piece and write- explanation and rationale of
up
the piece
-Anecdotal teacher
assessment
OCSGE: 1g, 1i, 3e,
4g, 5g, 6e, 7j
Activity 3.1: Cultural Evolution in Context
Time: 4 hours
Description and Planning Notes
Through this unit, students will examine the use of art to communicate
culture, heritage and folklore. This first activity contextualizes Native
cultural evolution in Canada and examines how art is used, abused,
created and kept through time. The documentary Shooting Indians
follows the story of Jeffrey Thomas, and Aboriginal photographer looking
to make peace with historical depictions of Aboriginals, while searching
for his own identity through photography. The ROM Native Exhibit and
Lab Lesson contextualize the acquisition of art and artifacts and examine
the importance of religion and nature in Native art. The exhibit exposes
students to pre and post-contact artifacts and examines how outside
influences of culture, religion, politics and economy have shaped
Aboriginal art. The exhibit and lab lesson emphasize human’s
interdependence with nature and the evolution and preservation of
culture.
Teachers may acquire Shooting Indians from the Toronto Public Library
Spadina or Oakwood Village branches, and ordering information is
available at http://www.socialdoc.net. Arrange the exhibit and lab
lesson though the ROM’s educational department at 416.586.5681 or
http://www.rom.on.ca.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research;
Implementation, Evaluation, Impacts, and Consequences
Overall Expectations: TVF.04
Specific Expectations: TF2.01, TF3.01, PM1.01, PM1.02, PM3.01, PM3.02,
IE3.03, IE4.03
OCSG Expectations: 1j, 4a, 5e, 7f, 7g
Teaching/Learning Strategies
Part A
 Review highlights of Iroquois culture and history from the
presentation in unit two.
 Discuss ideas about difficulties or issues around maintaining culture.
Discuss the idea of ownership of culture and responsibility of
maintaining tradition, and what challenges are inherent.
 Before watching Shooting Indians, discuss the features of a
documentary film and explain that students will be completing a
viewing guide as they watch the movie. The viewing guide is
designed to highlight important ideas and people in the
documentary and to facilitate discussion afterwards. Distribute the
viewing guide.
 Provide students with a bit of background on the film and Ali Kazimi,
which can be found at
http://www.socialdoc.net/kazimi/ali_html_pages2/1AK2Home.html.
Explain that the film will also help contextualize parts of the ROM
experience.
 Screen the film.
 Allow students time to complete the viewing guide. It may be
necessary to stop the film in certain parts so that students can
complete the guide.
 Discuss the viewing guide and film as a class.
Part B
 Review highlights of all of the Native cultures and histories presented
in unit two, as this information will provide an ideal backdrop for the
ROM experience.
 Assign the independent museum activity before the trip.
 For the independent museum activity, students are to return to the
First People’s Gallery (students have access to the ROM all day
when on excursion) and choose one artifact they feel best
exemplifies Native beliefs of the interdependence of humans and
nature. They are to sketch or photograph the artifact and write a
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brief description of the piece. They must explain why and how the
piece exemplifies interdependence. This work will be shared in
small group discussions when the class is together next.
Attend and participate in the ROM excursion.
Upon returning to school, discuss, as a class, what lessons were
learned about preserving and passing down culture. Discuss hoe
the exhibit explores the evolution of art and materials. Discuss any
significant pieces and highlights of the trip.
Break students up into groups of four or five for small group
discussion. In these small groups, students will share the artifact they
chose in the independent museum activity and discuss each piece.
In their groups, students should compile a list of commonalities
between their artifacts and another list of characteristics of the
interdependent elements of their chosen pieces.
The teacher should circulate during the small group discussions,
participating and guiding where necessary.
Come back together as a class to share the two lists generated in
the small groups as the activity wrap-up exercise.
Assessment and Evaluation
 Teachers anecdotally assess the viewing guide for Shooting Indians,
student participation I the excursion and participation in class and
small group discussions.
 Teachers may anecdotally or formally assess the independent
museum activity as they see fit. Formal evaluation of this
assignment may encourage a higher-quality product.
Activity 3.2: Beat of the Drum
Time: 10 hours
Description and Planning Notes
Drumming is a musical art that is central to celebration and ritual in many
tribal and Aboriginal cultures. In the first part of this activity, students study
the significance of the drum in Aboriginal culture and watch a drum and
dance presentation by aboriginal performers. The presentation by the
Native Canadian Centre’s Visiting School program includes dance, drum
and performance and teaching, and covers the history and importance
of practicing culture. The workshop at Harbourfront Centre, in the second
part of the activity, explores drumming in various cultures and students
learn to drum and make a drum of their own. The workshop emphasizes
the transition of the individual to the collective as it relates to music
making and expression. The study of Aboriginal drumming and
participation in the workshops will help students in the third activity,
preparing and delivering a drumming workshop for elementary students.
Finally, students create a personal soundtrack reflecting their life,
experiences and personal culture.
The drumming presentation should be arranged through the Native
Canadian Centre of Toronto’s Visiting School Program at 416.964.9087 ext.
316. The Harbourfront Centre workshop should be arranged through their
educational department at 416.973.4091. This workshop typically runs in
January and February. In collaboration with the elementary school
teacher, an afternoon or morning session should be arranged for the
student-led workshops. All assignment sheets, handouts and rubrics are
included and should be photocopied for each student.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research;
Implementation, Evaluation, Impacts, and Consequences
Overall Expectations: TVF.04, PMV.01, PMV.02, PMV.04, IEV.04,
Specific Expectations: TF2.04, TF4.01, TF4.04, PM1.04, PM4.01, IE1.01, IE1.04,
IE3.03, IE4.01, IE4.03
OCSG Expectations: 2e, 4c, 5e, 6e, 7j
Teaching/Learning Strategies
Part A
 Distribute MorningStar River Singers interview and worksheets.
 Where possible, watch the videos of the performances online at
http://nativedrums.ca; otherwise, direct students to do so
independently.
 Read the interviews as a class. Invite questions or comments about
the interviews and discuss the significance of the drum in Native
culture.
 Students should complete the accompanying questions individually
before discussing the answers as a class.
 Distribute the poem by Lana Whiskeyjack and the accompanying
questions. Read the poem to the class, encouraging them to just
listen to it being read. After they have heard the poem, have the
students read it over again quietly. Once they have done so, read
the poem aloud once more or ask a student to read it.
 Discuss how this poem connects to the importance of culture.
Discuss the challenges of maintaining culture. Discuss the
challenges of maintaining culture and the dangers of losing it.
Invite students to share stories relating to practicing, or losing
culture. Discuss the role that art plays in the maintenance of culture
and tradition.
 Students should complete the accompanying questions individually
before discussing the answers as a class.
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After students have a better understanding of the significance and
tradition of drumming in Aboriginal culture, they will participate in
the Native Canadian Centre of Toronto’s Singing and Dancing
presentation and workshop.
Part B
 Students will participate in the Harbourfront Centre’s Drumming
Workshop. After completing the day, have students summarize their
learning and prepare for class discussion on what was learned.
 Discuss as a class what was covered in the workshop. IN
preparation for the elementary school workshop, create a list of
ideas to be share with the elementary students, and ways in which
the Harbourfront experience can be incorporated into their
presentations.
Part C
 Distribute the workshop assignment sheet and rubric. Review the
assignment. Explain the purpose of the workshop as it connects to
course themes of interdependence, community and sharing.
Brainstorm, as a class, ideas for the drumming workshop.
 Have students choose their groups and begin working on their
workshops. Keep groups to a maximum of 4 students.
 Direct students to drum making techniques on the Native Drums
website at
http://nativedrums.ca/index.php/Teachers/Trks?tp=a&bg=l&ln=e.
From this page, students can get instructions on making various
types of drums in the ‘Constructing an Instrument’ module.
 Students should be given ample class time to create their
workshops. This will allow the teacher to monitor student work and
advise and guide the workshop development.
Part D
 Distribute the personal soundtrack assignment and rubric. This can
be done at the same time as the elementary school workshop
assignment. Explain the assignment.
 Discuss the characteristics of a good CD. Establish a list of general
characteristics of a CD—length, cover and inside art, credits,
acknowledgements, etc.
 Discuss what students have learned about culture and identity as it
relates to music. They should appreciate that the songs that they
choose should reflect their lives and experiences. Discuss some
events and significant points in their lives and relationships that they
can use as inspiration for choosing their songs.
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Students should be given the opportunity to share their soundtracks
with the class. As their final products will be lengthy, have students
share their song lists and discuss how they chose songs and images
to include. This sharing can take place in small groups so that they
may also have the time to share one or two songs in their entirety.
Assessment and Evaluation
 The workshops that students prepare and deliver are evaluated
using the rubric provided.
 The soundtrack assignment is evaluated using the rubric provided.
 The class discussions, workshop participation, and soundtrack
participation are anecdotally assessed.
Activity 3.3: Native Rock Painting
Time: 2 hours
Description and Planning Notes
Pictographs and rock painting is an ancient form of record keeping, story
telling and communication, associated with many civilizations. Canadian
rock painting tells stories of Aboriginal societies and their lives. This activity
looks at Native petroglyphs in the Canadian Shield and Lake of Woods
area to help students understand how visual, artistic communication
unlocks the past. The ROM’s Native Rock Painting traveling kit includes
slides and readings to teach students about Aboriginal cultures. Students
will also read about a modern rock painting artist and examine how the
genre has evolved.
The traveling kit can be ordered to the school through the ROM’s
educational department at 416.586.5681 or http://www.rom.on.ca.
Photocopy readings from the traveling kit and the interview with artist
Natalie Rostad for each student. A slide projector is required for viewing
the slides in the kit.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research
Overall Expectations: TFV.01
Specific Expectations: TF1.01, TF1.03, TF3.03, PM3.03
OCSG Expectations: 2e, 5b
Teaching/Learning Strategies
 Distribute readings included with the kit and read as a class. These
articles give background information on how the rock paintings
were found and their significance to historians and archaeologists.
As you view the slides, use the notes included in the kit to explain
each one. Materials used in making the petroglyphs and larger
examples of the rock paintings are included in the kit and should be
passed around.
 The teacher’s guide includes extension activities and discussion
questions. Use these to guide post-slideshow discussion.
 Discussion about the slides should include:
1. the importance of visual communication in history
2. how the petroglyphs were used by Aboriginals
3. what can be learned from the paintings
4. how the rock paintings should be preserved
5. the petroglyphs’ connections to religion and ritual
6. comparisons to other early civilizations
 Extension activities can be used with discretion.
 Distribute and read “An Interview with Natalie Rostad” by Freda
Ahenakew. Discuss the following:
1. What connection does Rostad’s art have to the ancient
petroglyphs?
2. How have the stones helped Natalie connect to her culture?
How do personal experiences influence her art?
3. What is the spiritual significance of the stones for Rostad?
4. Discuss the process of creation, from finding the rock to
completion.
5. Why is the rock medium so significant?
6. Are there any similar artistic artifacts in the Catholic faith or in
individual students’ cultures?
Assessment and Evaluation
 Anecdotal assessment of student understanding through class
discussion.
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Activity 3.4: Iroquois Beadwork
Time: 6 hours
Descriptions and Planning Notes
This final activity explores Iroquois beadwork using a ROM traveling kit. The
comprehensive kit includes six modules and many artifacts for hands-on
learning. The emphasis in this activity is on symbolism and spirituality in art.
Students study Iroquois beadwork, looking at its evolution over hundreds
of years and through western contact, and examine symbolism in the
beadwork as it connects to Iroquois beliefs. This last exploration, along
with studies of art and music through the unit, will form the basis for the
final project of this unit in which students create their own piece of art to
represent themselves, their culture and their identity.
Teachers should photocopy the art assignment and rubric for each
student. The traveling kit can be ordered to the school through the ROM’s
educational department at 416.586.5681 or http://www.rom.on.ca.
Strands and Learning Expectations
Strand(s): Theory and Foundation; Processes and Methods of Research;
Implementation, Evaluation, Impacts, and Consequences
Overall Expectations: TFV.04, IEV.04
Specific Expectations: TF2.02, TF3.01, PM1.02, PM3.01, PM4.01, IE1.01, IE1.02,
IE1.03, IE2.04
OCSG Expectations: 1g, 1i, 3e, 4g, 5g, 6e, 7j
Teaching/Learning Strategies
Part A
 Set the class up in six stations. The traveling kit has six stations or
modules and is geared at discovery learning. Once the students
have chosen their first station, explain how the modules are set up
and how they are to go about working through each one.
 Students should take notes at each station to record important
facts and ideas to contribute to class discussion.
 Allow for ample time at each station. This activity should take a
couple of classes.
 As students are working through each module, circulate and join
the groups to share in the learning and monitor their work.
 After students have had the opportunity to work through each
module, come together as a class to discuss what they discovered.
 Discussions should cover:
1. the importance of symbolism in the beadwork
2. how religion and mythology factor into motifs
3. important stories, myths and beliefs in Iroquois culture
4. the evolution of the art and materials used
5. important artists
6. western influence on beadwork
7. the significance of pieces to cultural celebrations
8. how the art, products, themes and materials illustrate
interdependence
9. any similar artwork in students’ own cultures
Part B
 Distribute the art assignment and rubric and review the assignment.
 Students will create a piece of art, in any form, that expresses their
individuality, culture and identity. Students are encouraged to be
inspired by the art studied in this unit. The final piece of art can take
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any form—sculpture, painting, sketch, craft, music, etc.—and must
be accompanied by a one page write-up.
The write-up must explain the piece. Each piece should have a title
and this title explained in the write-up. The student should explain
how they have chosen to represent ideas and/or themes in their
work and the overall tone of the piece. Materials, media and form
should also be explained.
Where possible, students should display their work gallery-style.
Discuss options for an exhibit in the school library or even at the
partnering elementary school library.
If an exhibit is put together, have students create labels for their
work with their name, the title of the piece, the date and the
materials used.
Assessment and Evaluation
 Student participation in the Iroquois beadwork modules is
anecdotally assessed.
 The art work and write-up is evaluated using the attached rubric.
Resources
 Ahenakew, F. (1993). An Interview with Natalie Rostad. In F.
Ahenakew, B. Gardipy &B. Laford (Eds.), Native Voices (pp. 98-101).
Canada: McGraw Hill. Reprinted with permission of the author.
 Ali Kazimi Information
http://www.socialdoc.net/kazimi/ali_html_pages2/1AK2Home.html
 Harbourfront Centre Educational Department 416.964.4091 or
http://www.harbourfrontcentre.com/learning/schoolProgrammes.p
hp
 Kazimi, A. (Writer/Director). (1997). Shooting Indians [Motion
Picture]. Canada: Mongrel Media.
 Native Canadian Centre of Toronto 416.964.9087 or
http://www.ncct.on.ca
 Native Drums Website http://nativedrums.ca
 Royal Ontario Museum Educational Department 416.586.5681 or
http://www.rom.on.ca
 Socialdoc.net: Documentary Films, Commentary, Resources
http://www.socialdoc.net
 Toronto Public Library http://torontopubliclibrary.ca
Shooting Indians
A film by Ali Kazimi, 1997
Viewing Guide
1. Why is Jeffrey Thomas frustrated with Native culture in Canada?
2. What was his first life altering experience with racism?
3. Why did Thomas turn to photography?
4. Who was Edward Curtis?
5. Why did Curtis believe that he had to document a “vanishing
race?”
6. Why have his photographs upset Natives?
7. How does the documentary film format help Jeffrey Thomas get
perspective?
8. Jeffrey Thomas describes how photography creates “fluidity” in his
life. What does he mean by this?
9. Why didn’t Curtis photograph West Coast Indians?
10. Maggie Frank enjoys watching Curtis’ film In the Land of the War
Canoes. Why?
11. Thomas includes three Curtis photographs in his first solo exhibit.
Why is this significant?
12. What lessons does filmmaker Ali Kazimi take from his experiences
with Jeffrey Thomas?
13. Compare and contrast Jeffrey Thomas and Edward Curtis’
photographs.
14. How do you feel about what Edward Curtis intended to do with his
photographs? Do you think he was justified? Is he an historian or an
artist or both? Explain.
15. What role does photography play in documenting history? What
difficulties with this medium does the film highlight?
16. Why is Kazimi’s Indian heritage both ironic and significant through
the film?
Excerpts of Interviews With
MorningStar River Singers
Resident Drum* at the Native Canadian Centre
(*Note: “Drum” refers to the drum & drummers/singers)
http://nativedrums.ca/index.php/Interviews
Interviewer:
Franziska von Rosen
Interviewees: Eddie Robinson, Lead Singer, MorningStar River Singers;
Ian Akiwenzie, MorningStar River Singers; Derrick Bressette,
MorningStar River Singers
Location:
Toronto, Ontario
Date:
November 7, 2004
FvR: I noticed that you take special care in setting up the drum. Tell me
what people should understand about that process.
Eddie Robinson: Well it just basically needs to be cleansed; the
environment needs to be safe, especially for something as sacred as
singing. The way we sing is really an important part of our culture so you
can’t just put the drum anywhere. A certain amount of pride is taken in
setting it up appropriately.
FvR: Would you talk a bit about the process of smudging yourselves and
the drum?
Eddie: Well sage is one of the four medicines that we use. The specific
purpose for sage, especially around the drum, is just to cleanse the spirit,
to cleanse the area of any negativity, to have an all around good feeling
for the singers, for the dancers. Just making sure the atmosphere is good.
That reflects on everyone who’s around; who’s hearing the music.
FvR: Talk to me just briefly about caring for the drum
Eddie: Well the drum is seen as a living spirit. It is fed seasonally. It is cared
for; it is talked to like a living being. We let it know which gathering or
celebration we are going to exactly as if we are talking to a person. We
pray with it before we actually start singing. We just treat it like a
respected elder or grandparent. And so we have to be careful how it is
taken care of and we have to be really responsible with that.
FvR: You are the lead singer for your group. What is involved in being a
lead singer?
Eddie: Being lead singer for a drum group is a lot of responsibility, and
takes a lot of dedication, a lot of loyalty, and a lot of patience. It is being
passionate about what we are doing and what my goals are as a singer
and what the culture means and making sure that is carried across in the
proper way by my singers and by the drum. So there is a lot that’s entailed
in that. It is organizing and coordinating and making sure that everybody
knows the songs, and everybody’s beat is right on. Everybody has to be in
sync so it’s my job, my responsibility to make sure that they are trained.
FvR: Can anybody become a singer, and join a drum group?
Eddie: The way you become a singer is based on which community or
Nation you are brought up in or your family comes from. You have to
follow the protocols for that specific group usually. For our drum
specifically, it’s like a family, a family of men, together with our spouses.
We have to come together like a team, put so much effort into our music,
so much time, so much hard work. If our heart is in the right place then we
can only make good music.
There is so much to becoming a good singer. Some are just naturally
gifted with good vocals, some have to work at it. It is basically just
persistence and wanting to achieve that goal of wanting to sound good,
not only for yourself but for the people who are hearing your music. That’s
basically what it is all about, pleasing the community. It is like a way of
prayer. When we sing, we sing hard and we sing good. It’s like the
communication with the spirits. And when we know that we feel good,
we’re pumped over a song then it just reflects on the people that are
around and they feel that.
FvR: Ian, would you talk a bit about the significance of smudging with
sage.
Ian Akiwenzie: When we smudge in the context of the drum, we want to
get all those outside influences away, what we might be bringing in. So
when we come to that drum we only want good feelings. So when we
smudge, it is a way of purifying ourselves and those that sit there at that
drum so that no negativity comes around there. We only want good
feelings when we are singing. And it projects when we are singing that we
have no negativity around that drum.
FvR: What is the significance of using sage?
Ian: Sage is one of our four medicines. You can either use tobacco,
cedar, sage or sweetgrass. It is just whatever is available to smudge that
drum.
FvR: Would you describe for me the basic structure of the song you were
singing?
Ian: The lead singer will start off the beat, an appropriate beat and timing
and he’ll let out a lead. And only the lead singer will sing that first part. It’s
like a chant; he brings in the melody and he’ll sing the melody and that’s
the first part of that song. And then the rest of the singers, all of us
together, including the lead singer will come in and second that. We’ll
sing it and then repeat it. After that part is done you’ll hear check beats,
sometimes called honour beats and those will come in and that’s right in
the middle of the song. And then the second body of the song comes
right after that and that is basically the same part as the first but it cuts off
after the lead. So you go into the second part, the second body of the
song and then you are done. Each time through the whole song is called
a push-up. You’ll have four of them in a song. So it is basically repeating
that whole thing, four times through. So that’s how it’s broken up.
FvR: By push up you mean once through?
Ian: One time through is what we call a push-up. That’s from the
beginning, the lead, right to the end. That’ll be a push-up, and then you
will have one more. It’s usually four times. Sometimes you’ll have
intertribals and it will be five or six. So the MC or whoever is running the
powwow will let you know how many times you’ve got to go through. If he
says six times, that’s six push-ups.
FvR: Can you tell me the significance of the honour beats?
Ian: I have heard a lot of different stories, and some say they represent
those thunder beings or gunshot fire. But those drums were around a long
time before the gunfire came. But for dancers and singers usually it just is,
if you listen you know where that song is broken up. When that honour
beat comes in, different dancers do different things. Out of respect, the
traditional dancers will raise their eagle feathers and same with the jingle
dress dancers, they will raise their fans and take those prayers up. But it’s
more of an individual thing. But that honour beat is basically breaking up
that song in the middle and when you listen to it you know where you are
in the song. You got to keep your ears open when you are dancing.
FvR: What qualities would a judge be looking for in terms of a good drum?
Ian: Well it varies with different powwows. But most judges when they
have a ballot and they are judging a drum, they judge all the leads. That
the leads are strong and clear and the beat is in unison. You cannot have
sticks going off a bit. They all have to be going at the same time, and it’s
important that all of them are singing the same song. You don’t want
someone to be singing a different part of some other song. That drum
area, usually they want it clean. No garbage, cigarette butts, whatever,
things that you bring there. They want that area clean. It is just out of
respect for the land and stuff. It reflects on you as a singer, your area. And
they want to make sure that the honour beats are straight and that you
stop on time. Everybody is singing on time, everybody is singing in unison,
like it’s one voice. So it’s a lot of pressure for singers. That’s why we
practise a lot so that we all sound like one voice.
FvR: How much practice does it take?
Ian: Well I’m not done practising. Practising is non-stop. You never stop
practising. You know, if your ego gets in the way and you think that you
are a good singer, you know then you don’t practise. But we are always
striving to be that much better, because we come up with new songs. It’s
not the same songs all the time. So you got to practise them. Make sure
you have them down pat. So practising never ends. It is all about
practice.
FvR: Derrick, what goes through your mind when you are sitting at the
drum?
Derrick: First of all, there are so many stories and so many things that go
with that drum. All of the sacrifices that went with it, the peace offerings
that went with that drum. And when they bring that medicine around it is
like all of those ceremonies and all of those things are still in their original
form. So all of these things are carried through generation to generation.
When we sit there and use that medicine we are with the Creator. Once
that medicine is lit, once that drum is smudged, when we sound it the first
time, that is the direct communication to the spirits to let them know that
something beautiful is going to begin.
FvR: I have heard many different stories about the symbolism of different
drums. Would you talk about that?
Derrick: The drum is circular; Mother Earth is circular and that’s what that
drum represents. It represents Mother Earth. When the singers sound the
drum that is the heartbeat of Mother Earth and we give thanks for
everything that she gives us. She has been taking care of us from the
beginning of time, taking care of us with food, water, medicine,
everything. She has never turned her back on us. So when the singers are
sounding that drum and the dancers are coming around that drum, they
are dancing in time with that drum to show that connection to her. While
they are dancing they are thinking about those things that Mother Earth
provides for us, but as well they are thinking about all their friends and
family that have helped them along the way in their life. Every one of us
has been through trying times and we needed our relatives for support.
We need our friends for support and they’ve been there for us no matter
how down we have been; they have been there for us. So we need to
acknowledge and remember all those people because that drum there
represents life, represents all of the seasons, represents all of those things like the medicine wheel teachings on that drum.
And the story of the big drum is this. It came from a peace agreement
many, many years ago. The drum was given to the Ojibwe people by the
Sioux people as a peace agreement many, many years ago. It’s a long
story, but when the Sioux people gave the drum to the Ojibwe people
they gave it with songs, with instructions, with teachings. The Ojibwe
people in turn were to give this drum to another Nation. And then that
Nation was given the instructions, the same instructions that were originally
given. So around that time the people that heard that beautiful drum
were attracted to it. They wanted one. And so they gave them the
teachings, they gave them the songs they told them everything that was
needed for that drum. This is the celebration of life. Those are the things
that the Creator has given to us..
FvR: What do the honour beats signify to you?
Derrick: Well the honour beats have changed over the years. Many, many
years ago when they had the first drum, which was a grass dance drum,
the grass dancers that were around there would tell stories of hunts and
battles. Those grass dancers were role models in our communities. And
while they brought out that drum to sing those songs they would put hard,
hard beats into that song. And what those hard beats represented at
that time was gunfire. Because many years ago when that drum came
about they were in turmoil, they were at war with other nations and at war
with governments. So they would have to tell the story of that time. So
while the hard beats came in those dancers that were out there, those
grass dancers would duck down to avoid that gunfire. They were always
trying to tell a story in their dance, so those hard beats would represent
that gunfire in that battle scene.
And as years went on dancers evolved from those grass dancers to those
traditional dancers, fancy dancers and all of the women categories;
each one of them have their own style in mimicking those honour beats.
Today for me when I hear the honour beat, when it’s a traditional dancer
that I am seeing out there, I will see them ducking and still remembering
those old stories, honouring those old stories, those warriors that passed on
before us. When I see the women raise their fans in the air sweeping those
beautiful prayers to the Creator, that has another meaning to it. So there
are different meanings. For some they are honouring the four directions,
honouring the four seasons, the four races of man, the four sacred spirits
that sit in those directions. When I think about some of the contemporary
drums, they flare up the honour beats and do them really fancy. So those
honour beats are there to represent just the second body of the song.

Questions on the Interview With
MorningStar River Singers
From http://nativedrums.ca
The Drum
1.
What does Eddie Robinson tell us about setting up the drum? What
does he say about caring for the drum?
2.
What does Derrick Bressette teach us about the symbolism of the
drum?
Smudging
3.
What are the reasons that the singers smudge themselves and the
drum?
On Singing and Songs
4.
According to Eddie Robinson, what is involved in being the lead
singer?
Honour Beats
5.
What does Ian Akiwenzie say about the function of an honour beat
during a song? That is, how do honour beats help the dancers?
6.
Derrick Bressette says that honour beats function to represent the
second body of a song. He also says that there can be many
different meanings associated with honour beats. For instance, when
he sees traditional dancers ducking at the sound of an honour beat,
what, according to him, are they doing? Who are they
remembering?
The Importance of Practice
7.
What does Ian Akiwenzie say about the importance of practice, in
terms of becoming a good singer?
Personal Philosophies
8.
Lead singer Eddie Robinson says, “If our heart is in the right place
then we can only make good music.” What comes to mind when
you hear these words? What does he mean by this?
Powwows
9.
Derrick Bressette tells the story of the big drum (used at powwows).
Why was the big drum given to the Ojibwe people by the Sioux
people? What else was given along with the drum? Who else was
given the gift of the drum? What does Derrick call this whole cycle of
giving/teaching/sharing? (i.e. It is a celebration of what?)
10. Ian Akiwenzie discusses some of the qualities that judges look for
when assessing a drum group performing at a powwow. Name three
of these.

Poem by Lana Whiskeyjack
The first drumbeat sang me back to sleep.
In dreams I danced to a harmonious pulse.
Familiar voices tickled my skin.
“Wan’ska” they whispered.
I awoke with a sigh
surrounded by reflecting light
and cried.
Mother held me tight
the drumbeat still there.
I closed my eyes without a care.
Nohkom gently smiled,
“A-how nitanis nimihito!”
“dance my girl!”
I danced.
I flew.
There was nothing I couldn’t do.
In an instant it was gone.
Not knowing where, how, or why it went wrong.
I lived in silence,
waiting, restless and unaware.
Then one day from an eagle’s eye view
meandering confused in a concrete web.
Stuck in a crevice of books, words and menace
I wept.
I yelled
and prayed.
Then there was silence.
In the unspoken chaos I heard the drum,
familiar voices and tender tones.
I shuffled between doubt and happiness.
Each song I danced.
Drained and exhausted
the beat grew louder.
Slowly I felt sinew coiling me,
inside and out,
then tighter.
A final yank,
a pull from my heart
bonded to a circle of love, kindness, wisdom and laughter.
Ay-ay.
Poem by Lana Whiskeyjack, Saddle Lake First Nations (2004)
Lana Whiskeyjack, Writer, “Mythology and Symbols”, Native Drums Website
[Translation of the Cree words in the poem: Wanska - wake up; Nohkom - my
grandmother; A-how - an expression to get attention; Nitanis - my daughter; Nimihito –
dance; and ay-ay – thank you with the greatest respect.]
Questions:
1. Find where the poet refers to drums and dancing in the poem. How does
the poet feel when hearing the drums? Use examples from the poem to
support your answer.
2. When the poet says, “In an instant it was gone”, what is she referring to?
3. How does she feel when silence replaces the music of the drum?
4. The poet refers to the silence as “unspoken chaos”. Discuss the possible
reasons why. (i.e. The absence of the drum implies the absence of what
else?)
5. When she finally hears the drum once again, what is she hearing?
6. What does the drum ultimately bond her to?
7. The drum is obviously much more than just a musical instrument. What else is
it? Use examples from the poem to explain.
8. Discuss the use of metaphor in this last part of the poem:
Slowly I felt sinew coiling me,
inside and out,
then tighter.
A final yank,
a pull from my heart
bonded to a circle of love, kindness, wisdom and laughter.
Suggestions to help you explore this question:
-
Look up the word ‘sinew’ and write down all possible meanings.
Consider the materials used to make certain types of drum.
How are the drum and the poet connected? What type of imagery is used
to emphasize this connection?
The drum is obviously much more than just a musical instrument. What
else is it? Refer to examples from the poem.
Drumming Workshop
Assignment
You have studied the culture of the drum, seen a performance and
participated in drumming workshops. Use this background to help you
plan and deliver a one-hour drumming workshop for elementary school
students.
You will work in groups of four or five. Each group will work with an equal
sized group of elementary students.
Each workshop must include the following:
 Information on the culture/history of the drum
 A drum making session
 A drumming lesson
Remember that you are working with students who will enjoy active and
fun exercises. Be creative with your planning and include worksheets,
games and group activities.
The planning of your workshop should be spread evenly among all group
members. Be sure to divide up work before you start and communicate
often so that you stay on track.
You must provide the materials to create the drum. You will need enough
materials for five students. Information on drum making can be found at
the Native Drums website at http://nativedrums.ca to get you started,
however you will need to research other sources. The Toronto Public
Library, http://www.torontopubliclibrary.ca, is an excellent resource for
materials on Native culture and traditions.
You will be given time in class to prepare and plan your workshop. On the
day of the workshop delivery, we will travel as a class to the school and
break into groups once at the school. You will be evaluated by your
teacher or by the elementary school teacher using the rubric provided.
*Remember*
There will only be one opportunity to deliver your workshop.
imperative that you participate in the activity with your group!
It is
Drumming Workshop
Category
Knowledge
Demonstrate
understanding of
the collaborative
attitudes and skills
required
Thinking
Explain concept in
an organized
manner
Level 1
Level 2
Level 3
Level 4
Demonstrates
limited
understanding
Demonstrates
some
understanding
Demonstrates
considerable
understanding
Demonstrates
thorough
understanding
Explanation
demonstrates
limited
organization
Explanation
demonstrates
some organization
Explanation
demonstrates
considerable
organization
Explanation
demonstrates
thorough
organization
Limited ability to
assess/extend
research
Some ability to
assess/extend
research
Communicates
with limited clarity
Communicates
with some clarity
Communicate
information
effectively
Communicates
with limited
effectiveness
Communicates
with some
effectiveness
Considerable
ability to
assess/extend
research
Communicates
with considerable
clarity
Communicates
with considerable
effectiveness
Communicate
information using
appropriate style
Limited ability to
communicate
using appropriate
style
Some ability to
communicate
using appropriate
style
Considerable
ability to
communicate
using appropriate
style
A high level of
ability to
assess/extend
research
Communicates
with a high
degree of clarity
Communicates
with a high
degree of
effectiveness
A high level of
ability to
communicate
using appropriate
style
Rarely applies
knowledge of
conventions
Often applies
knowledge of
conventions
Routinely applies
knowledge of
conventions
Demonstrates
limited ability to
apply creative
thinking strategies
Sometimes
applies
knowledge of
conventions
Demonstrates
some ability to
apply creative
thinking strategies
Demonstrates
limited use of skills
and strategies
Demonstrates
some use of skills
and strategies
Demonstrates
considerable
ability to apply
creative thinking
strategies
Demonstrates
considerable use
of skills and
strategies
Demonstrates a
high level of
ability to apply
creative thinking
strategies
Demonstrates
thorough use of
skills and
strategies
Develops and
manages plans
with limited
effectiveness
Develops and
manages plans
with some
effectiveness
Develops and
manages plans
with considerable
effectiveness
Develops and
manages plans
with a high
degree of
effectiveness
Communication
Be able to
assess/extend your
research to
present findings
Communicate
information clearly
Application
Apply knowledge
of organization
conventions to
find information
Demonstrate
ability to apply
creative thinking
strategies
Demonstrates skills
and strategies
used to develop
products and
activities
Develop and
manage personal
plans for a project
Use thinking skills to
develop effective
interdisciplinary
products and
activities
Demonstrates
limited ability to
develop effective
products and
activities
Demonstrates
some ability to
develop effective
products and
activities
Demonstrates
considerable
ability to develop
effective products
and activities
Demonstrates a
high level of
ability to develop
effective products
and activities
Personal Soundtrack
Assignment
Music is a powerful tool for self expression. You have seen how music
communicates religion and culture, and how music allows for self
expression.
In this assignment, you will create a personal soundtrack.
Choose seven to ten songs that reflect your life and experiences. The
songs can be of any genre, culture or time in history. Each song must
connect to your identity, an important relationship, a turning point or
significant event in your life or your culture.
You will create a case for your soundtrack, with cover art and an insert
that explains each song’s significance. You should also include
acknowledgements and thanks to anyone who you feel deserves
mention in light of the songs chosen.
It is not necessary to make an actual CD or recording of all the songs you
choose. You should, however, have access to one or two songs to share
with your peers.
In small groups, you will share your soundtrack and explain the process of
choosing each song and the design of the case. You will also share one
or two songs with your small group at this time.
Your soundtrack will be evaluated using the attached rubric.
Personal Soundtrack
Category
Knowledge
Describe how
personal experience
in gaining information
is viewed in each
subject
Describe how songs,
layout and design
reflect personal
identity and culture
Thinking
Critically analyse key
issues and themes
that have
interdisciplinary
elements
Understand how
music communicates
identity and culture
Communication
Communicate
information effectively
Level 1
Level 2
Level 3
Level 4
Description
demonstrates
limited
understanding
Description
demonstrates
some
understanding
Description
demonstrates
considerable
understanding
Description
demonstrates
thorough
understanding
Description
demonstrates
limited
understanding
Description
demonstrates
some
understanding
Description
demonstrates
considerable
understanding
Description
demonstrates
thorough
understanding
Critical analysis
provides limited
information
Critical analysis
provides some
information
Critical analysis
provides
considerable
information
Critical analysis
provides thorough
information
Demonstrates
limited
understanding
Demonstrates
some
understanding
Demonstrates
considerable
understanding
Demonstrates
thorough
understanding
Communicates
with limited
effectiveness
Communicates
with some
effectiveness
Communicates
with considerable
effectiveness
Communicate
information using an
appropriate format
Limited ability to
use an
appropriate
format
Limited ability to
communicate
and present
Some ability to use
an appropriate
format
Describe key issues
and themes that have
interdisciplinary
connections
Application
Apply proper
conventions of
standard English
Create
interdisciplinary
products based on
your plans and
designs
Demonstrate ability to
apply creative
thinking strategies
Description
demonstrates
limited knowledge
Description
demonstrates
some knowledge
Considerable
ability to use an
appropriate
format
Considerable
ability to
communicate
and present
Description
demonstrates
considerable
knowledge
Communicates
with a high
degree of
effectiveness
A high level of
ability to use an
appropriate
format
A high level of
ability to
communicate
and present
Description
demonstrates
thorough
knowledge
Many errors make
writing difficult to
understand
Creates products
based on plans
with limited
effectiveness
Many errors but
information can
be understood
Creates products
based on plans
with some
effectiveness
Some errors
Few errors
Creates products
based on plans
with considerable
effectiveness
Demonstrates
limited ability to
apply creative
thinking strategies
Demonstrates
some ability to
apply creative
thinking strategies
Use thinking skills to
Demonstrates
Demonstrates
Demonstrates
considerable
ability to apply
creative thinking
strategies
Demonstrates
Creates products
based on plans
with a high
degree of
effectiveness
Demonstrates a
high level of ability
to apply creative
thinking strategies
Demonstrate ability to
communicate and
present information
Some ability to
communicate
and present
Demonstrates a
help develop
effective
interdisciplinary
products
Select songs that
reflect personal
identity and culture
limited ability to
develop effective
products
some ability to
develop effective
products
considerable
ability to develop
effective products
high level of ability
to develop
effective products
Limited reflection
of identity and
culture
Some reflection of
identity and
culture
Considerable
reflection of
identity and
culture
Thorough
reflection of
identity and
culture