Unit Plan Template
Teacher
Subject
Arts Education
Grade
4
Unit /Theme
Cultural/historical FNMI art
Date
Timeline
Big Ideas/Key Questions/Essential Understandings
What can we learn from the art works of First Nations and Métis people?
How is FNMI art changing? How does FNMI art works reflect their unique culture?
Outcomes
CH 4.2 Analyze and respond to arts expressions of various Saskatchewan First Nations and Métis artists.
Multi-grade connections:
CH 3.2 Demonstrate an awareness of traditional and evolving arts expressions of Saskatchewan First
Nations and Métis artists in own communities or regions.
CH 5.2 Compare traditional and evolving arts expressions of First Nations, Métis and Inuit artists from
different regions of Canada, and examine influences of pop culture on contemporary arts.
Concepts/Knowledge (nouns)
Skills (verbs)
- art expressions – drum groups, birch bark biting,
beadwork, powwow dances, quilts, storytelling
- features of FNMI art – media, techniques, symbols,
imagery
- treaty knowledge and manifestations
- worldview
- analyze, respond
- demonstrate
- investigate, analyze, describe
- discuss
Pre-Assessment Plan
- worldview graphic organizer
-
Formative Assessment Plan
- oral feedback
- venn diagram (same/different)
Instructional Strategies/Activities
Concept maps
Viewing artworks
Creating artworks in the style of FNMI
Talking circle
See concept chart
Summative Assessment Plan
- concept map or chart
- poster or artwork
- talking circle or oral report
- illustrated poem
Differentiated Strategies
See concept chart: poster, graphic organizer, chart, concept map, poem, oral report
Materials/Resources/FNMI
Rosella Carney Birch Bark Biting Artist – video, PowerPoint
http://aboriginalperspectives.uregina.ca/rosella/index.shtml
The Metis Sash – power point
1.
http://aboriginalperspectives.uregina.ca/alison/sash.ppt
Finger weaving instructions:
http://www.aboriginalperspectives.uregina.ca/workshop2010/sash/weavinginstructions.shtml
Student handout provided below: “The Importance of Drums to Native American Culture” adapted from
Elisa Thorp
Saskatchewan First Nations Artists: http://www.first-nations-art-store.com/saskatchewan-firstnations.html
(images don’t enlarge; must change VIEW tab to 200% to see larger image)
Arnold Isbister: http://isbister.artplaces.com/gallery1.htm
Art First Nations kits – large FNMI prints housed in red kit in most Sun West school libraries
Allan Sapp’s Art “Through the Eyes of the Cree and Beyond” DVD and teacher’s resource guide on CD:
housed in each school’s OTC Teaching Treaties in the Classroom kit
Ojibwa artist Norval Morrisseau’s works http://www.coghlanart.com/norval.htm
Google image search for images of quilling, Métis sash, birchbark biting, drums, etc.
YouTube searches have many videos of powwow dances
Library books on key topics: powwow, FNMI artworks, Allan Sapp, beadwork, drumming, worldview
Reflection:
Adapt lesson content to fit resources available
Lesson Plan Template
Teacher
Subject
Arts Education
Grade
4
Unit /Theme
Cultural/historical
Topic
FNMI arts
expressions
Date
Duration
Big Ideas/Key Questions
How do FNMI art expressions reflect their traditional lifestyle, worldviews? What can we learn from the art
works of First Nations and Métis people?
Outcome(s)
CH4.2 Analyze and respond to arts expressions of
various Saskatchewan And First Nations and Métis
artists.
Student Friendly Outcome(s)
I can explore and respond to different FNMI
artworks.
Indicator(s)
Demonstrate an awareness that arts expressions
from different First Nations often have strong
foundations in traditional lifestyles and worldviews.
Student Friendly Indicator(s)
I can find connections between FNMI art and their
old ways and worldviews.
Assessment Strategy
□ Pre-Assessment
□ Formative Assessment
□ Summative Assessment
Motivational Set
Show example of a real Birch Bark Biting artifact, if available
You Tube video search “Birch Bark Biting”
Instructional Strategies/Activities (Before/During/After)
Before: Worldview activity
1. Work with Judy Bear’s world view chart as adapted in image format. (Saved as a notebook file) Cover all
parts and reveal parts one by one as discussion unfolds.
2. Have students colour worldview parts as each is being discussed.
3. Teachers use “We Are All Treaty People” pages 26 to 47 as background information to guide discussion.
4. Teachers use pages 44 and 46 to specifically discuss Cree historical worldview and British (Western)
worldview comparisons.
5. As discussion unfolds, and images are revealed, students record worldview ideas that are similar and
different on a graphic organizer.
6. After the entire worldview image chart is revealed and discussed, students cut out and glue the
worldview parts on to a template (DI or younger students) or plain sheet of paper (older students).
7. Optional: students could use the same images and create their own version of their personal worldview.
During: Birch Bark Biting
1. If time and weather permits, take students on a walk to see a real birch tree. Touch the bark. Peel some
off the trunk. Look at and feel the bark.
2. Watch the video of Rosella Carney’s birch bark biting.
3. Show highlights of power point.
4. Provide students with paper, carbon paper
5. Demonstrate how to fold paper and carbon paper in quarters or eighths
6. Have students experiment with biting different designs on the paper
7. Students should choose their best 2 or 3 patterns to mount on construction paper
After: Reflection, discussion, journal writing
(See Summative Assessment file)
1. Students can fill out the journal reflection sheet or explain their ideas in a talking circle
2. Students can create a world view model based on FN ideas
3. Students and teachers can discuss and work through problems encountered in producing birch bark
bitings.
Differentiated Strategies
Use worldview template, if needed
Paper and carbon paper can be pre-folded.
Use pencil guidelines on folded paper to indicate where student should bite
Materials/Resources
World view image hand out
Worldview template handout
Worldview comparison handout
Light weight paper, cut into ¼ sheets
Carbon paper, cut to paper size
Brown construction paper, cut in half, for backing
Glue, crayons, scissors
Contents of Birch Bark Biting folder: supporting documents attached below
Reflection:
Background Information for Worldview lessons
Teaching Treaties in the Classroom (OFC) resource kit:
Treaty Essential Learnings: We are all treaty people (Booklet)
Treaty Essential Learning #4: WORLDVIEWS pages 26 to 47
- use with Judy Bear’s Worldview chart and adapted image chart
FIRST NATION
WORLDVIEW
Tobacco and smudges:
Sweetgrass, sage
Food, Medicine,
Clothing, Shelter, Tools
Love, honesty humility, caring
Worldview
Name: ______________
Creator
North East School Division
Unpacking Outcomes
Unpacking the Outcome
Analyze  arts expressions
Respond to  arts expressions
Outcome (circle the verb and underline the qualifiers)
CH 4.2 Analyze and respond to arts expressions of various Saskatchewan First Nations and Métis
artists.
KNOW
UNDERSTAND
BE ABLE TO DO
Arts expressions – drum groups,
birch bark biting, beadwork,
powwow dances, quilts,
storytelling



Features – media, techniques,
symbols, imagery
Treaty knowledge and
manifestation


That the arts expressions
from different First Nations
reflect strong foundations in
traditional lifestyles and
worldviews.
That First Nations and Métis
art work evolves, like all other
arts expressions.
That unfulfilled treaty
promises have had and
continue to have effects on
both the arts expressions and
daily lives of First Nations
people
The experiences and
challenges faced by a culture
are often reflected in their
arts expressions – the arts
help us make sense of our
world.



Discuss arts expressions from
different First Nations – strong
foundations in traditional
lifestyles and worldviews.
Investigate, analyze and
describe features of traditional
and evolving arts expressions
Discuss the effects of unfulfilled
treaty promises – then and now
on arts expressions and daily
life of First Nations people
View art work that reflects
these issues
ESSENTIAL QUESTIONS
What can we learn from the art works of First Nations and Métis people?
How is First Nations and Métis art changing?
How have unfulfilled treaty promises affected the arts expressions and lives of First Nations
people?
How does art reflect life?
How does art help us make sense of our world? Why?
Link to Birchbark Bitings Power Point and Video
Featuring Rosella Carney
http://aboriginalperspectives.uregina.ca/rosella/index.shtml
Summative Assessment:
Talking circle or Journal reflection: (oral or written)
How is the FNMI worldview reflected in the arts expression of the artist we
studied?
Answer should include materials used, images created, symbols, artist’s views
and values, other.
Product:
Birch Bark Biting
Student is able to demonstrate the traditional techniques used by First nation’s
artists.
Concept map:
Student is able to create a model of a traditional Cree worldview and compare it
to the “western worldview”.
Same / similar
ideas
Cree Worldview
- all parts of
creation are
connected and
depend on one another
-
Western (newcomer)
worldview
- humans
are the
most
important
part of creation
Outcomes
CH2.2 Describe key features of traditional
arts expressions of Saskatchewan First
Nations and Métis artists.
Arts Education 2
a. Compare differences among traditional
arts expressions (e.g., Métis sash weaving,
porcupine quillwork, and beadwork designs).
b. Investigate the distinct characteristics
of First Nations and Métis dances and
dance regalia including connections to
history (e.g., historic banning of traditional
dance and other cultural practices).
c. Identify characteristics of individual
dance styles (e.g., grass dance vs.
traditional or fancy dance, Métis jigging).
d. Identify characteristics of traditional
music styles (e.g., traditional powwow
music, Métis fiddling).
The importance of drums to Native American culture
By Elisa Thorp
Teacher background
Created on: February 19, 2009
It is a Voice. It is a Heartbeat. It is a Prayer to The Great Spirit. The Native American Drum is all of these
things, and more.
Round in design, the drum speaks of Earth, Life, and is the conduit which binds the People to their Creator.
Drawing on the spirit of the animal whose hide covers the drum, the Drummer brings forth the drum's
vibrational voice through coaxing out, never beating, the sound. The voice is the beating of one's own heart
connecting to the heartbeat of the Earth. The Native drummer often places a personal item, or token, inside
the drum to further enhance this spiritual connection between Sacred Instrument, Creator, and Self.
Drumming has always played a significant role in education, healing, history and ceremonies of Native
American peoples. Oral histories and stories, accompanied by drumming, play a vital role in passing on
ancestral traditions and customs to new generations. Costuming, song, dance and drumming shape each
aspect of ritual, providing important information about local culture and Native American beliefs and can
play a significant role in Tribal identity. Shamanic (or healing) drumming provides a pathway for negative
(harmful Spirit) energies to exit the body, simultaneously providing a path for positive (healing Spirit) to
enter.
Through music and stories, a Tribe's history is told and re-told, over and over again, maintaining the
importance of Tribal identity. Though tradition varies from tribe to tribe, archeological evidence suggests
music and dance have been an integral part of Tribal history since as early as the 7th century.
Gender frequently plays a role in Tribal drumming. Most restrict drumming to use by males. The females of
a tribe will have their own, usually less flamboyant or obvious, songs, dances, and drum use. Yet, in some
tribes, women play a more important role than do men.
The traditions surrounding the use of drums, as well as the type of drums played, varies from tribe to tribe. A
particular drum, which most tribes seem to agree is central, is what most people refer to as "The Powwow
Drum". Used at gatherings also including non-Indian People, the Big Drum is traditionally played by men
with men also producing the beautifully haunting vocal accompaniment.
Generally, the Big Drum is 2-3 feet in diameter, made of a bent wooden frame, or a hollowed out log. A
finely tanned buck or elk skin is stretched across the opening and secured with sinew (buck or elk ligament)
bindings. The drum is then played by men either standing or sitting around the drum.
Listening to the Big Drum and the vocals gathers ALL peoples together, regardless of gender, belief, or race.
The throbbing pull of the Drum connects us, one to another, with the pounding Heartbeat of Mother Earth.