iLit Selections ELA A 30 - Unit 2 Literature Class 2012 Sandra McTavish Anthology Teacher's Resource SECPSD All selections and artwork used with permission of the authors and creators.
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Table of Contents
Selection Support: There Are No Coconut Trees in... 4
Selection Support: Footprints in the Snow 9
Selection Support: The Trial of Duncan C. Scott 15
Selection Support: Innovations 20
Selection Support: My Whole Life Going Home 24
Selection Support: We said to Inuit, "Tell us... 29
Selection Support: 3740166701 35
Selection Support: Dibenimiisowin (To Own... 39
Table of Contents MHR Custom 1 Table of Contents
Selection Support: GrAfrica?: The Lost Boys and... 45
Selection Support: I Witness 52
Selection Support: Pardon Me, I'm Canadian 58
Selection Support: Reading Liberia 64
Selection Support: From Prairie Sky to Midnight... 72
Selection Support: Why Apathy Is Boring 77
Selection Support: The History of the Grey Cup 83
Selection Support: Counting On: Canada's Parks in... 89
Selection Support: The Making of Great Cities 95
Selection Support: Graffiti: Art or Blight? 100
2 MHR Custom Table of Contents Table of Contents
Selection Support: Social Statement Stencils 105
Selection Support: No Refunds / Vancouver 111
Selection Support: From Virgil 118
Selection Support: From Acquiesce 123
Selection Support: Of Farmers and Hunters 129
Selection Support: Allen Sapp, Keeper of Stories 135
Selection Support: Wake-up Call 143
Selection Support: Making the Ordinary Feel... 148
Selection Support: Ten Favourite Places to Visit... 157
Table of Contents MHR Custom 3 Selection Support: There Are No Coconut Trees in Toronto
Author Curriculum Connections Randy Boyagoda *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-2) • BC (*ELA 8, 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Short story • ON (*ENG 1D, 2D & 3C) • SK (ELA 9, A10 & B10)
Themes and Topics AB • Citizenship/ethnicity • 2 Comprehend literature and other texts in oral, • Identity print, visual and multimedia forms, and respond • Customs/traditions personally, critically and creatively: 2.1.2, 2.1.3, 2.1.4, 2.2.2, 2.3.1 • Relationships/love/family/friendship • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.3 • Immigration • Gift s BC • Hope/disappointment • Oral Language: A1, A8, A9 • Reading and Viewing: B1, B5, B6, B7, B8, B11, B12, B13 • Writing and Representing: C1, C2, C8, C10 Summary A man remembers a childhood visit from his Sri MB Lankan grandparent and its impact on his emigrant • 1 Explore thoughts, ideas, feelings, and experiences: 1.2.2 family. • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.1, 2.1.2, 2.1.3, 2.1.4, 2.2.1, 2.2.2, 2.2.3, 2.3.2 Readability • 3 Manage ideas and information: 3.1.2, 3.2.4, 3.2.5, • Average selection for most students to read 3.3.1, 3.3.2 • Moderate level of inferencing required ON • Oral Communication Interdisciplinary Links − Listening to Understand: 1.2 • Social Studies − Speaking to Communicate: 2.1 • Family Studies • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.4, 1.6 − Understanding Form and Style: 2.3 − Refl ecting on Skills and Strategies: 4.1 • Writing − Developing and Organizing Content: 1.3, 1.4
SK • Comprehend and Respond: CR A10.1, CR A10.3, CR A10.4, CR B10.1, CR B10.3, CR B10.4 • Compose and Create: CC A10.1, CC A10.3, CC A10.4, CC B10.1, CC B10.3, CC B10.4 • Assess and Refl ect: AR A10.1, AR B10.1
4 MHR Custom Selection Support: There Are No Coconut Trees in... Background Support Sri Lanka, formerly known as Ceylon, is a small island off the southern coast of India. Well over a quarter million Sri Lankans live in Canada, most of them in Toronto. Many emigrated because of civil war between the minority Tamils and majority Sinhalese in their homeland.
Before
Immigration involves moving from one country to another. Often this means leaving family, friends, and most everything that is familiar. Using your personal experience or your imagination, describe what it would be like to leave your home and start a new life somewhere else. • Students refl ect on − how they felt (or would feel) leaving behind their home, other family members, friends, and their community − how they prepared (or would prepare) mentally for such a move − how they felt (or would feel) arriving in their new home. • Ask students to explain why they felt (or would feel) each emotion. • Students share their thoughts with a partner or record their thoughts in their journals.
During
This story is about a Sri Lankan immigrant family living in Toronto. You will encounter some foreign words, foods, celebrations, and historical references that may be unfamiliar to you. As you read, look for context clues you can use to understand these words and references. • Students use BLM 1 to record unfamiliar words and references they encounter as they read. • Encourage them to consider − whether there are suffi cient context clues to help them understand the meaning and, if so, what they are − what strategies to use when encountering words whose meanings they cannot fi gure out from the context − whether knowing the meaning of these words is essential to understanding and appreciating the selection.
Example:
Essential to know in order If no, what to understand? Context strategy Word/ (yes/no) Word/ clues? If yes, what did you use reference Why or why reference (yes/no) are they? to fi nd out? meaning not? Ceylon Yes Reference Sri Lanka’s Yes—establishes to Lucky name from important detail growing up in 1948 to 1972 about family Ceylon background Johnny Yes Reference Actor who No—can Weissmuller to “double played Tarzan understand features” in movies in Lucky’s tropical the 1930s and heroics without 1940s understanding the reference
Selection Support: There Are No Coconut Trees in... MHR Custom 5 After
1. Reading for Meaning The cardboard box represents hopes, adventures, and dreams. It also represents disappointment and reality. Explain, with specifi c reference to the text, how the author uses the symbol of the box to represent these things. • Th e following passages indicate the box as a symbol of hopes, adventures, and dreams: − “I wondered, a little hopeful, if there might be a leopard girl inside that box.” − “I have brought you boys the best gift s from the best of countries.” − “But when I heard the box jiggle and thud into the trunk I had another idea. Maybe this was no cat girl, but some parts from one of those German U-boats inside.” • Th e following passages indicate the box as a symbol of disappointment and reality: − “Th e cardboard box was a big shiny disappointment. No treasure inside, and the gift wasn’t even for us, but for my mother.” − “I mumbled because I was shy, but also because I had become a cynic about the possibility of anything good coming of it.” • To check on students’ understanding of the concept of “symbol,” ask them to Assessment for Learning explain the meaning of the coconut monkey head (e.g., to Oscar, it represents his homeland; to Piyal, it represents his family’s past, which he has dismissed). Listen in as students share their explanations with a partner, or ask students to answer this question on an exit card or in a journal.
2. Understanding Form and Style Toronto is mentioned in the title of this story. This tells the reader that Toronto, as the setting of the story, is important. How does the author use the setting to develop the plot of this story? • Toronto provides the context in which the confl ict between Piyal and Siya (i.e., their diff ering ties to Sri Lanka and their diff ering hopes and expectations, as symbolized by the gift of the coconut monkey head) develops. • Even Piyal’s and Siya’s perceptions of Toronto confl ict with one another. For Piyal, Toronto is a city of apartment buildings that look like giant bars of chocolate and cars that, from above, look like toys. For Siya, Toronto is nothing more than “a boxy landscape” and “a place-setting for homeward gazing.” • Although the story occurs in a particular time and place, the story’s themes (e.g., family relationships, identity, and hope and disappointment) are universal.
3. Critical Literacy There is a kind of opposition in this story with the Canadian-born brothers on one side, and their Sri Lankan-born parents and grandfather on the other. The youngsters are forward looking, while their elders are fi xated on Sri Lanka. Which side is the author on? How do you know? • Students who think that the author is on the brothers’ side might point out his description of the city as an exciting place, with apartment buildings that look like giant bars of chocolate; cars that look, from above, like a Matchbox set; and black roads that are “as smooth as a barbershop shave.” Th ey might also point out the way in which the author describes Piyal’s disappointment with the coconut monkey head from Back Home. Piyal just wants to keep the marbles and throw the “awful head” down to the street. • Students who think that the author is on the parents’ side might point to his descriptions of Sri Lanka’s lush jungles and of Lucky’s pride in his tropical heroics. Although, for Piyal and Srilal, Lucky’s stories are “legends from far off ,” even they are captivated by the tales. As Piyal says, “confi ned on a winter Saturday, ape men and leopard women and jungle greens start fl ying through a boy’s brain.”
6 MHR Custom Selection Support: There Are No Coconut Trees in... 4. Student Voice Do any of the characters do things or react in ways you feel are wrong? Explain. • Students’ judgments of what is “wrong” will depend on many factors, including culture and personal values. • If students are comfortable disclosing value judgments to their classmates, establish a “value line.” Draw an imaginary line across the classroom. One end represents “extremely wrong” while the other end represents “extremely okay.” Call out the name of one character. Students place themselves along the line in a spot that represents their opinion of how that character reacts, then they share their reasons for their position. Repeat for other characters.
5. Metacognition How did your thinking about immigration before reading the story inform your understanding during and after reading the story? • Use this opportunity to reinforce the value of activating prior knowledge before reading. • Provide students with the following framework to use to articulate their answer: − Before reading, I thought that … − While reading I thought that … − Now that I’ve fi nished reading, I think that … • If students conducted interviews in the Before activity, they could − compare the degree to which their interviews express ideas and themes similar to those of the story − compare whether they prefer fi ctional sources, such as stories, to nonfi ctional Assessment as Learning sources, such as interviews, as a way to understand issues such as the immigrant experience.
Beyond
Reading for Meaning Compare and contrast Sri Lanka and Canada to gain a better understanding of the immigrant experience of the characters in this story. Investigate things such as the weather, landscape, population density, religion, economic health, and political stability. Present your fi ndings in a PowerPoint presentation, a graphic organizer, or an oral or written report. • Students work in groups, with each student researching a diff erent aspect of life in Sri Lanka and comparing it with life in Canada. • Students then share with their group what they learned and create a group presentation that summarizes their fi ndings. • To support consolidation of students’ understanding of the similarities and Assessment for Learning diff erences between Canada and Sri Lanka, ask students to imagine they have emigrated from Canada to Sri Lanka and that they are writing a letter to a Canadian friend describing their new life. Encourage them to include accurate and specifi c details about Sri Lanka, based on the presentations. Students can exchange their letters with a classmate and provide one another with feedback as to the richness and accuracy of details and the degree of “authenticity” that their letters conveyed.
Selection Support: There Are No Coconut Trees in... MHR Custom 7 BLM 1: Understanding Unfamiliar Words and References
Use this chart to identify four to fi ve words or references that are unfamiliar to you.
Essential to know in order to If no, what strategy understand? Context clues? If yes, what are did you use to fi nd Word/reference (yes/no) Word/reference (yes/no) they? out? meaning Why or why not?
8 MHR Custom Selection Support: There Are No Coconut Trees in... Selection Support: Footprints in the Snow
Author Curriculum Connections Nichola Batzel *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Poetry • ON (*NBE3C, ENG 1D & 2D) • SK (*ELA 9 & A10)
Themes and Topics AB • Relationships/love/family/friendship • 1 Explore thoughts, ideas, feelings and experiences: • Identity 1.1.1, 1.2.1 • Customs/traditions • 2 Comprehend literature and other texts in oral, • First Nations/Inuit/Métis print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.1, 2.1.3, • Past, present, and future 2.2.2, 2.3.3 • Legacy BC Summary • Oral Language: A2, A9 Th e poem explores the ideas of identity and legacy • Reading and Viewing: B2, B8, B13 from the perspective of a mother thinking of her son. • Writing and Representing: C2, C13 Th e speaker is an Inuit woman who lives in the South. Knowing that her son follows in her footsteps, she MB is conscious of the example she sets and is trying to • 2 Comprehend and respond personally and critically maintain her Inuit identity while also becoming part to oral, print, and other media texts: 2.1.2, 2.1.3, of the southern culture and society. She is hopeful that 2.3.2, 2.3.4 as her son grows up he too will accept himself and • 5 Celebrate and build community: 5.1.1, 5.1.2 hold onto his identity as he fi nds his place in the larger world. ON • Reading and Literature Studies Readability − Understanding Form and Style: 2.1, 2.3 − Refl ecting on Skills and Strategies: 4.1 • Average selection for most students to read • Accessible language for most students SK • Some students may fi nd challenges in the vocabulary • Comprehend and Respond: CR A10.1, CR A10.4 • Imagery requires some background knowledge • Compose and Create: CC A10.1
Interdisciplinary Link Native Studies
Selection Support: Footprints in the Snow MHR Custom 9 Background Support • Some knowledge of the Inuit would be helpful for students before reading this poem. Teachers may want to share this info with students aft er completing the Before activity. • Th e Inuit live in northern Canada, ranging from the Northwest Territories to Newfoundland/Labrador. Most Inuit in northern communities have a lifestyle that blends elements of traditional cultural practices, such as seal and whale hunting, with modern practices and technology such as snowmobiles and guns. While hunting remains an important part of Inuit economies, other industries such as ecotourism, mining, and artistic ventures also fl ourish in many communities. • Inuit communities today are made up of houses with electricity and are connected to communities in the South by satellite. Th rough television and other media, the Inuit are aware of lifestyles in the South. • Northern Canada is the land of the polar bear. (See the photo in the text.) Polar bears have traditionally played a large part in the physical and spiritual life of the Inuit, who have hunted them throughout their history. Inuit culture expresses great respect for these majestic animals and there are many stories about their power and wisdom and their important relationship with the Inuit.
Before
Brainstorm what you know about Inuit life and culture. • Th is activity could be done as a group discussion, with ideas recorded on the blackboard, or students could brainstorm individually in their notebooks using a word map or other graphic organizer. If students record their own individual ideas, their notes will be useful in answering Question 3. • Students may respond with classic stereotypes such as “the Inuit live in igloos in the cold far north,” “they travel using dogsleds,” or “they eat raw meat.” Th e term “Eskimo” may also be raised. Most Inuit consider this term to be off ensive. Teachers should correct these misconceptions by emphasizing the modernity of the Inuit while pointing out timeless cultural values and practices. (See Background Support for some examples.) • Ask students to describe the Arctic environment of the Inuit. What is the landscape like? What animals exist in that environment? If students are unfamiliar with the Arctic environment, describe features of the North, such as the lack of trees and the vast areas of land that are covered with snow and ice. Use a map of Canada to show where the Inuit live and help students understand the climate, vegetation, and isolation of the area.
During
As you read, visualize what the poet is describing. What words and phrases helped you visualize? • A mini-lesson on visualizing might be helpful. Let students know that although it’s called “visualizing,” this technique can include any or all of the fi ve senses. One way to begin is to read the poem aloud to the class and ask students to draw or jot down point-form notes of what they imagine based on the poem’s sensory information. Students will pick up on diff erent cues and their mental images will not be all the same. For example, some will hear the crunch of the snow and feel the stinging cold, while others may think of the powdery feel of dry cold snow and the deep holes that the narrator’s boots make as she walks in it. Others may see a whole landscape of snow and trees.
10 MHR Custom Selection Support: Footprints in the Snow • Either debrief as a class or in small groups; ask for the words or phrases in the poem that gave students their mental images. Ask students to reread the poem and refi ne their visualizations based on a closer reading. Did anything change? • If appropriate for the class, encourage students to consider whether and how a Assessment as Learning lack of familiarity with the imagery and language aff ects their understanding and appreciation of the poem. For example, students who are not from the North may not be able to imagine caribou or bears or the songs of the Inuit. Th ey may not know the meanings of the Inuktitut and Ojibway words in the poem. • Th ere are opportunities to discuss what universal ideas we share wherever we reside, such as caring about our legacy to our children and the desire to preserve and celebrate our identities. • Th ere is also the lesson that it takes respect and eff ort to understand and respond to ideas and cultures that are unfamiliar. Perhaps part of the message of this poem is that this is who the poet is, and if you want to understand her and the confl icts she has worked through in her life, you will need to learn about the things she knows and the language she uses. (She doesn’t translate her words; that has been done by the book publisher.)
After Before working on the Aft er questions, you may want to engage students in a Assessment for Learning discussion of the things that helped them get into the poem. Ask the students to identify things (lines, phrases, facts) that aroused their curiosity and helped them understand what this poet is thinking about or trying to express. Ask them especially to fi nd puzzling lines and images. Have them discuss their fi ndings in small groups and report back to the class. If students are having trouble getting started, off er some starter questions, such as • Th e poet says she walks with relatives, but not with fellow bears (the people of the North). What does this mean? • Th e poet is a person with three names (her English, Ojibway, and Inuit names). How can this information be used to help understand the poem?
1. Reading for Meaning Choose one of the following relationships and explain how the poet portrays this relationship in this poem: mother/son, person/land, present/future/past, or home/away. • Students’ answers should include references to words, phrases, and/or passages within the poem to support their responses. −: Mother/son Th e key to answering this question is recognizing the importance of the footprints imagery. Students will need to think about and explain what the footprints in the snow are meant to represent. Are they a metaphor for the life the poet has lived so far (i.e., life as a journey)? Th e poet’s footprints could represent the actions and attitudes she has been passing on to her son, including the way she has reconciled the diff erent parts of her ancestry. She is passing on to him the lesson of how she has blended with the people she lives among in the South while remaining true to her northern self. Th e poet says “I must be aware of what I leave behind,” so she realizes she must be conscious of the legacy she leaves for her son to follow. Th is suggests that she wants to be a positive role model for him. ■ Students will likely reference passages that directly mention the poet's son, such as “As I walk and leave footprints in the snow, / My son follows and jumps in the impressions” or “I hope he learns to harmonize with the rhythm of his song / As he dances in the snow.” − Person/land: Students’ answers should consider what the land seems to mean to the poet and her identity. Th e poet contrasts the land of her Inuit ancestors
Selection Support: Footprints in the Snow MHR Custom 11 with the land she now inhabits. Th e crunching sound of walking on snow and the footprints that are left in the snow draw her into thinking of the vast snowy land of the North where her longer stride and bigger paws would be better suited to the environment. But now she lives in a land with trees and a dominant west wind (a gentler, warmer wind than the north wind). Th e suggestion is that, while she is not naturally suited to the environment, she has found a way to adapt to it. ■ Students will likely reference places in the poem where the land is mentioned explicitly, such as “I am the white bear from the Great White North, / Who walks among the trees and the West wind of the South,” “I walk with relatives but oft en not side by side with fellow bears; / My fellow bears who live in the land of caribou, ice and snow,” or “Has the rhythm of my stride harmonized to a new and extraneous land?” − Present/future/past: Most of the poem is based upon a consideration of past, present, and future, and the strong connections between them. Th e “footprints in the snow” metaphor refl ects the speaker’s consciousness that what she does today creates a legacy for her son. Every footprint she leaves is a record of the present, and instantly becomes part of her past, or where she has been. It is also a link to the future, as her son will follow in the path of her footprints. She is also conscious of her ancestors, their drum dancing, and her “original bear song,” and she wonders how to keep those connections alive in her new home, which is far removed both geographically and in time. Th is suggests that she feels the past is an important part of her identity, and something that she wishes to preserve. She also expresses hope for her son, an emotion that signifi es looking into the future. Finally, in the last stanza, the speaker turns her attention explicitly to the present, telling the reader directly to “Stop and embrace the rhythm of your steps / As we all dance together and leave footprints in the snow.” She is telling us to be conscious of today, as the record we create (our footprints in the snow) becomes the past that in turn helps to shape the future. ■ Student answers will likely include passages that reference time, either directly or indirectly, for example: “Have you taken time to look at the footprints / you leave behind?”; “As the rhythm of my ancestors’ ajaajas and drum dancing is not heard here”; “How do I blend to those whose songs run deep within this land? / And yet remember my original song of the bears from the land of caribou, ice and snow?”; or “I walk and leave footprints in the snow / As I grow older I realize I must be aware of what I leave behind.” − Home/away: Home and away have a complex relationship for the speaker. Home is a place far away and tied to the past, in the form of her ancestors and their songs. We are not told explicitly whether the speaker ever actually lived there, or whether it is more of a spiritual home. In her “new and extraneous land,” she is clearly out of her element (“My stride is longer and paws bigger than those found here”). She wants to become part of her surroundings and the people who live there (“How do I blend to those whose songs run deep within this land?”), but still wishes to maintain her connection to “home” (“And yet remember my original song of the bears from the land of caribou, ice and snow?”). Th e metaphors of home and away could be seen to represent the speaker’s mixed heritage, how she can make room within herself to hold onto “home” (her Inuit heritage) while still embracing “away” (her European heritage). ■ Student answers will likely include passages that reference where the speaker is now versus where she is from, for example: “I am the white bear from the Great White North, / Who walks among the trees and the West wind of the South”; “I walk with relatives but not oft en side by side with fellow bears; / My fellow bears who live in the land of caribou, ice and snow”; or “Proud to acknowledge who I am, / Yet fl exible enough to adjust to the songs of others.”
12 MHR Custom Selection Support: Footprints in the Snow 2. Critical Literacy How do you think the poet views the people from “the South” as opposed to people from the “Great White North … the land of caribou, ice and snow”? What makes you think this? • Teachers should ask students to provide references from the poem to support their Assessment for Learning ideas. Supporting opinions with reference(s) to the text is a skill that is needed for clear essay and report writing in almost every subject, and for many forms of eff ective communication (public speaking, presentations, debating, and interviews) as well. • Teachers may need to guide students to a consideration of the poet’s relationship with the people of the South in order to answer this question. Encourage them to pay close attention to the use of language and the word choices the poet makes. For example, people of the North are not described as people at all, but as fellow bears. Most of the language the speaker uses reinforces this sense that she is diff erent and apart from the people of the South. She is an outsider, yet isn’t resentful; instead, she is trying to fi nd a way to blend with them while still maintaining her identity as someone from the North. • In considering how the poet views the people of the North and South, students should come to the realization that her perspective reveals more about the speaker than it does about the people.
3. Reading for Meaning After reading this poem, how have your views and assumptions about Inuit culture changed or been affi rmed? • Teachers might want to have students refl ect on the brainstorming notes they made before reading the poem. What do they think of those ideas, now that they have read the poem? Have their ideas changed? Have they added to their ideas? Or did the poem reinforce what they already thought? If so, how? • Ask students to support their answers with reference(s) to the poem and to relate their answers to what they thought previous to reading it. • With this poem, careful reference to the text will help students avoid slipping into a romanticized or fi ctional view of Inuit culture that could obscure the very rich ideas that the poet expresses. • Th ere are some points about Inuit culture that are explicitly or implicitly expressed in the poem, including the following: − Strength and endurance are required to survive in the North (long stride, big paws, and fur to withstand the icy cold and winds). − Th ere is respect for the polar bear and a strong sense of identity with this bear among the Inuit people (“I am the white bear…”). − Songs, stories, dancing, and drums are important forms of cultural expression for the Inuit (“the rhythm of my ancestors’ ajaajas and drum dancing,” “my original song of the bears”). • Students may confuse the poet’s own thoughts with those of the Inuit people. In Assessment as Learning discussion with the class, ask whether it is fair or accurate to make judgments or generalizations about a culture based on the words of a writer from that culture.
4. Understanding Form and Style Identify the elements of poetry used in this text. What makes their use eff ective? • Students could work in groups to identify some of these and report to the class. • Elements of poetry used in this text include − imagery to enhance visual understanding − variety in the length of stanzas − varied use of repetition − metaphors to create comparisons and visual imagery
Selection Support: Footprints in the Snow MHR Custom 13 − patterns: ■ Th e poem starts and ends by addressing the reader directly (“Have you heard…?” and “…the rhythm of your steps”). Th is ensures that the reader is engaged and welcomed into the poet’s refl ections and it establishes a conversation. ■ Questions are asked and answered at intervals throughout the poem, reinforcing the mood of refl ection and drawing the reader into the conversation. ■ Statements that begin with “I”, as in “I am…”, “I walk…”, “I attempt…”, and “I hope…” create a song-like rhythm that fi ts the poet’s references to song and also reinforce the refl ective mood. ■ Repetition of phrases such as “footprints in the snow” emphasizes them and lends the poem a song-like quality.
5. Student Voice How would you answer the two questions that the poet poses at the beginning of this poem? • Students could conceivably think of these questions literally, but aft er working on the previous questions, they should understand that the questions are metaphorical. • To assist students in approaching this question metaphorically, it might be helpful to discuss what the footprints represent. Are they representing life as a journey? Or the path to discovering one's identity? Could they represent something else (e.g., our environmental footprint)? Students should have opportunities to try to articulate exactly what the metaphor of footprints could express, and should provide references to the text to support their interpretations. • If the topic was not addressed in Question 4 above, ask the students why the poet might ask these questions and what eff ect they have on them as readers.
6. Metacognition How did visualizing help you understand this poem? • It may be helpful for students to refer back to the notes they made during their fi rst read-through of the poem. • Ask the students to describe what they see when visualizing this poem. • Ask them why they see it as they do and, if they are discussing it in groups or as a class, why they don’t all see the same things in the same way. • Ask students what ideas in particular became clearer through visualization. Were there places where visualization did not work for them? Why?
Beyond
Reading for Meaning Choose a stanza you consider to be very visual. Why did this stanza stand out for you? Create a visual representation of this stanza, and include an explanation of its signifi cance. • Th e visual representation could be graphic (drawing, collage, etc.), dramatic, or media-based. Students could work in groups or alone. Th e visual representation could be evaluated on how well it depicted the content of the passage and/or how well it refl ected the mood and theme of the poem. • Students will choose stanzas that appeal to their sense of sight, for example, “Stop and embrace the rhythm of your steps / As we all dance together and leave footprints in the snow.” Th is passage recognizes that everyone has a cultural inheritance to explore and celebrate, and that we can share that with others as we go forward together. Students could choose a variety of ways to express this idea using their own visuals.
14 MHR Custom Selection Support: Footprints in the Snow Selection Support: The Trial of Duncan C. Scott
Author Curriculum Connections Chris Bose *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Graphic art • ON (*NBE3C, ENG 1D & 2D) • SK (*ELA B10)
Themes and Topics AB • Discrimination/bias/prejudice • 2 Comprehend literature and other texts in oral • First Nations/Inuit/Métis print, visual and multimedia forms, and respond • Social issues/social justice personally, critically and creatively: 2.1.1, 2.1.2, 2.2.1, 2.2.2, 2.3.1 • Government • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.2, 3.2.3 Summary • 4 Create oral, print, visual and multimedia texts, and Th is graphic art piece presents a quote from Duncan enhance the clarity and artistry of communication: C. Scott, a chief architect of Canada’s early Aboriginal 4.1.2, 4.1.3, 4.1.4, 4.2.2, 4.2.4 policy and the residential school system, against a stark backdrop of ghostly historical images. In laying bare BC the intentions underlying Canada’s policies, the artist • Reading and Viewing: B4, B6, B10, B13 conveys the racist and systematic attack against their • Writing and Representing: C2, C4, C6, C13 traditional ways of life that First Nations peoples have endured. MB • 2 Comprehend and respond personally and critically Readability to oral, print, and other media texts: 2.1.1, 2.2.1, Average selection for most students to read 2.2.2, 2.3.2, 2.3.5 • 3 Manage ideas and information: 3.1.2, 3.2.2, 3.2.3, 3.2.4, 3.3.1, 3.3.2, 3.3.4 Interdisciplinary Links • 4 Enhance the clarity and artistry of communication: • Native Studies 4.1.2, 4.2.4, 4.2.5, 4.4.1 • Canadian History ON • Media Studies Potentially Controversial and − Understanding Media Texts: 1.1, 1.2, 1.3, 1.5 Sensitive Issues − Understanding Media Forms, Conventions, and • Th is selection raises the issue of racism and uses the Techniques: 2.1 term “cultural genocide” in reference to Canada’s − Creating Media Texts: 3.2, 3.4 policy towards Aboriginal peoples. − Refl ecting on Skills and Strategies: 4.1 • Th is piece contains Christian images (Eve, priests, and children in communion gowns) in association SK with these issues. • Comprehend and Respond: CR B10.1 • Compose and Create: CC B10.1
Selection Support: The Trial of Duncan C. Scott MHR Custom 15 Background Support
Duncan Campbell Scott was one of Canada’s Confederation Poets, a group of writers who became well known in the 1880s and 1890s. Scott became most famous for his poetry about the wilderness and Aboriginal peoples. He was also a civil servant in Canada’s Department of Indian Aff airs for decades.
Before
1. Before reading this selection, look over the images and predict whether the subject matter will be historical, contemporary, or both. Explain your thinking. • Remind students about reading visual clues: the colour used in the art, the size of font, the kind of imagery used, and the content of the imagery and text. • Th is piece off ers a contemporary perspective on a fi gure in Canadian history. Students will likely predict that the material is historical because of the black- and-white images and the clothing that people are wearing.
2. What do you know about the poet Duncan Campbell Scott and his role in Canadian history? Teachers can use this question to get a sense of their students’ prior knowledge of Assessment for Learning Duncan C. Scott. Depending on students’ answers, teachers may want to off er them some background information on Scott before moving on to a consideration of the selection.
During
As you view this graphic art, think about the reasons the artist had for creating this piece. Why are they important to know? Students will need to read the author’s Inspiration note before turning their attention to the graphic art. Th e artist says he is drawing attention to an historical act that has had little impact on non-Aboriginal Canadians. He sees Duncan C. Scott as someone who could have stopped the erosion of Aboriginal communities by closing residential schools. Instead Scott openly promoted them with his policies, and this led to the suff ering and deaths of countless Aboriginal children and the sorrow of their parents, families, and communities. It is important to know this, because it off ers a frame of reference for interpreting the piece.
After
1. Student Voice What emotions did this selection evoke in you? Why do you think it had that eff ect on you? Some emotions that may be evoked by this piece are anger, vindication, resentment, supportive justifi cation, sadness, shock, and disgust. Th e key part of students’ answers is their ability to explain why the piece evoked the response in them. Th ey should refer to specifi c elements of the piece in doing so.
2. Reading for Meaning Duncan Campbell Scott did not face a trial. Why do you think the artist chose the title “The Trial of Duncan C. Scott”? • Remind students that Duncan C. Scott is a well-known poet in addition to having been a government offi cial in the early twentieth century. Anyone familiar
16 MHR Custom Selection Support: The Trial of Duncan C. Scott with Scott as a poet may be surprised and intrigued by the title and thus drawn into the piece. • Th e suggestion created by the title is that the piece, itself, is the trial. Scott’s own words are simultaneously his testimony and the charges against him; the images are off ered as evidence. Th e artist is looking at the man and his policies from the perspective of today and he thinks Scott should be tried in the “court of public opinion” for causing so much suff ering.
3. Understanding Form and Style a) List the images that you see in this selection. Th e images are • a noose • Duncan C. Scott • some bones, perhaps human bones (above Scott’s head) • priests dressed in old-fashioned robes • a group of young girls dressed in white, with their hands in prayer position • a soldier standing at attention behind older men sitting; suggests they are men of power • a detail depicting Eve reaching for the apple from “Adam and Eve in the Garden of Eden” by Titian (Renaissance art) • school children (to the left and behind the noose). b) How do the images refl ect the meaning of the text? • Th e images indicate that the residential school policy was implemented in religious schools, with priests and Christian prayer, and Biblical stories that featured European images of the characters, including Eve from the Old Testament Creation story. Th is is not the Creation story of Aboriginal peoples. • Th e images are historical and refl ect the time that Scott was the Deputy Superintendent of Indian Aff airs (1913–1932). • Th e images include the children who were victims of the residential school system and the policy behind it, and the self-assured men who supported the policy. • Th e noose is large, clear, and dramatically placed in the foreground, next to Scott’s face. Students may suggest that it represents the artist’s wish that Scott be tried and convicted of murder. In the 1920s, Canada had capital punishment and the punishment for murder was death by hanging. Others might suggest that it reminds them of lynchings, which are usually associated with the KKK and racist murders in the United States in the 1800s and 1900s. c) How does the juxtaposition of images help to create meaning in this selection? • Th e author juxtaposes the chilling image of a noose with images of Aboriginal children dressed in communion gowns and priests dressed in dark robes. Th e noose encircles the priests, suggesting that the author believes they should be tried as well. • Th e juxtaposition of dark and light in the images of the gowned children and the priests is powerful, making the children glow with angelic innocence while the priests loom dark and ominous behind them. • Th e image of the gowned children is also juxtaposed with the group of men in the left corner of the piece. Th ey clearly represent power and authority, while the children represent helplessness. • Juxtaposing these images of innocent children, self-assured and powerful men, and the noose shows the confl ict the author wants to convey: even if other people don’t know how wrong it was, the Aboriginal community recognizes the
Selection Support: The Trial of Duncan C. Scott MHR Custom 17 imbalance of power that led to the destructive residential school system, the racist policy that lay behind it, and the cultural genocide it enacted.
4. Critical Literacy What is the artist trying to get us to believe about Duncan Campbell Scott? Explain your answer. • Students will need to think critically about both the text and the images in this piece. From the text, the reader discovers that − Duncan C. Scott was the Deputy Superintendent of Indian Aff airs from 1913 to 1932, and as he ran the department for twenty years, it is likely that his beliefs and policies were a refl ection of the attitudes of the times. − Scott stated that Aboriginal people needed to be “absorbed into the body politic” (i.e., assimilated into mainstream Canadian society). − Scott believed that Aboriginal people were “able to stand alone” without Canada having to “continuously protect” them. − Scott believed assimilation was the solution to the “Indian question.” • Th e artist calls Scott a “Confederate” poet rather than a “Confederation” poet. Th e term “confederate” has associations with slavery, racism, and the US Civil War. • Th e artist adds a biographical footnote to Scott’s image, listing empirical and verifi able information about him (job titles and years of employment) and ending with the label “Enforcer of Cultural Genocide.” Th is label is a powerful and highly subjective suggestion in the guise of biographical fact. • Students should be reminded that the artist chose every item in this piece of graphic art. Why would he choose the image of Scott that he did? What eff ect does Scott’s expression, body language, and off -camera gaze have on the viewer? How does this aff ect the viewer’s opinion of Scott and his words? • Students should recognize that the artist wants us to believe that Scott was utterly indiff erent to the wants and needs of Aboriginal peoples, and that he had a complete lack of respect for the very people whose interests he was charged with protecting. Th e artist wants us to believe that Scott is responsible for the cultural attack waged against Aboriginal peoples and the suff ering that resulted. Th e policies Scott advocated may not have succeeded in assimilating Aboriginal people, but they did lead to widespread damage and destruction of Aboriginal families, communities, languages, and cultures.
5. Understanding Form and Style Do you think this graphic art would have had a diff erent impact if presented in colour, instead of black and white? Why or why not? • Students may have diff ering opinions. Th ey should clearly support their opinions with sound reasons. • Students might suggest that the black-and-white colouration makes the images austere and serious, lending them the weight of history. Th e dark, murky quality of most of the images gives the piece a sombre, ominous feel. Colour would have distracted from the seriousness of the message. • On the other hand, students might argue that colour would have made the images clearer and the contrasts and juxtapositions more striking. Th e greys run together and it is hard to see the images clearly in black and white. Without knowing what some of the images are, it is diffi cult to fully or confi dently interpret the meaning.
18 MHR Custom Selection Support: The Trial of Duncan C. Scott 6. Metacognition Refl ect on what you learned by reading and analyzing this selection. Why do you think it is important to refl ect on your learning? • Students might need prompting to refl ect on their learning. Ask them to refl ect Assessment for Learning on the ideas they raised for Questions 3 and 4. Encourage students to think about the power of images—“a picture is worth a thousand words”—to infl uence an audience’s thoughts and feelings about a person or idea. Ask students what thoughts and feelings the artist’s choices elicited in them, and why. Do they think their responses are fair, or do they feel they have been manipulated by the images? • When students refl ect, they can also consider the opinion of the author. Based on the ideas they generated for Questions 2 and 4, do they feel the information he presents is accurate and complete? Is the author biased? What are the truths around Scott? Did he really say those things? Did he actually endorse the abusive treatment of Aboriginal children that occurred as a result of the policies he advocated? Is there more to learn about this story? Is there another side to consider before making a judgment? • Students should recognize that refl ection causes them to evaluate the validity of the opinions they formed based on the piece. It may prompt them to do more research to develop a better understanding of the issues presented.
Beyond
Reading for Meaning Research other examples of cultural genocide around the world. Present your fi ndings in a form of your choice, such as a collage, painting, sculpture, or written report. Explain how these examples are similar to and diff erent from the cultural genocide experienced by First Nations, Inuit, and Métis peoples in Canada. • Th e Tips box provides a defi nition of “cultural genocide” but teachers need to Assessment for Learning ensure that students fully understand the meaning and implications of the term. Th e term is applied to actions that threaten to destroy the cultural identity of a people through forced assimilation, destruction of cultural sites, artifacts and icons, and/or propaganda intended to isolate and demean the people. • Teachers should guide students on this topic. Th ey could suggest that students start with an Internet search for “cultural genocide” to fi nd possible examples. Aft er choosing an example, students could create questions they would like to answer. Teachers should review both the topic and the inquiry questions before students proceed with research. • Students’ presentations should include two parts: a collage, painting, sculpture, Assessment of Learning or written report, and a written explanation of similarities and diff erences between the cultural genocide they researched and that experienced by Aboriginal peoples in Canada. Some considerations when evaluating the completed assignments include − Does the presentation identify a particular cultural group? − Does the presentation include a clear statement describing the cultural genocide experienced by the group? − Does the presentation include the outcome for the cultural group? − Are similarities and diff erences to Aboriginal groups in Canada clearly and adequately identifi ed? − Is the presentation based on sound research from reliable sources? − Are all sources adequately cited? − Are writing conventions followed appropriately in the written portions of the presentation?
Selection Support: The Trial of Duncan C. Scott MHR Custom 19 Selection Support: Innovations
Author Curriculum Connections Elliott Doxtater-Wynn *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Artwork • ON (*NBE3C, ENG 1D & 2D) • SK (see iLit.ca)
Themes and Topics AB • First Nations/Inuit/Métis • 2 Comprehend literature and other texts in oral • Sports/games/recreation print, visual and multimedia forms, and respond • Science/technology personally, critically and creatively: 2.1.1, 2.1.3 • Customs/traditions • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.1, 3.2.3 • Inventions • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: Summary 4.1.2, 4.1.3, 4.1.4, 4.2.2, 4.2.4 Th is selection includes artwork and brief descriptions of First Nations, Inuit, and Métis innovations, such as BC kayaks, snowshoes, hockey, and bunk beds. Th e piece • Reading and Viewing: B3, B6, B7, B11 exhibits the resourcefulness and ingenuity of First • Writing and Representing: C2, C6, C10, C13 Nations, Inuit, and Métis peoples, as well as the role many of their innovations play in our lives today. MB • 2 Comprehend and respond personally and critically Readability to oral, print, and other media texts: 2.1.1, 2.3.5 Average selection for most students to read • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.4, 3.3.1, 3.3.2, 3.3.4 • 4 Enhance the clarity and artistry of communication: Interdisciplinary Links 4.1.1, 4.1.2, 4.1.3, 4.2.3, 4.2.5, 4.4.1 • Native Studies • Canadian History ON • Visual Arts • Reading and Literature Studies − Reading for Meaning: 1.4, 1.5, 1.8 • Physical Education • Writing − Developing and Organizing Content: 1.2, 1.3, 1.4 − Using Knowledge of Form and Style: 2.1, 2.2
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
20 MHR Custom Selection Support: Innovations Before
What do you already know about things invented by First Nations, Inuit, and Métis peoples? • Students will have varied knowledge, depending upon a variety of factors: their region, culture, access to resources, and prior schooling. • Teachers could lead a brainstorming session with students listing things they know to have been invented by Aboriginal peoples. Teachers could encourage students to provide as much information as they can about the inventions, including the specifi c nations who developed them, what they were originally used for, and how they have evolved.
During
As you read, make notes about which innovations interest you the most and what additional information you would like to know. Students may fi nd it useful to record their notes in a table such as the following (students do not have to record questions for every invention):
Sample responses:
Invention What I Want to Know Lacrosse Were the rules then the same as today? Did teams from diff erent communities compete against one another? Did people play just for fun?
Hockey What were the rules for shinny? How many players on a team? Did communities compete against one another, or people within the same community? Did they play just for fun? Why was it mostly the women who played?
Fish hooks How does anyone know when the fi rst fi sh hooks were invented? Where did people get metal so long ago, and how did they turn it into fi sh hooks? What kind of metal was it?
Calendars How exactly does a “medicine wheel” calendar work?
Pain relievers and What is the “active ingredient”? What other natural remedies do we other remedies have today because of Aboriginal peoples’ knowledge?
After
1. Reading for Meaning Choose one innovation. Explain how the modern-day version of this innovation is diff erent from the original innovation. Teachers may want to suggest areas that students could comment on, with prompts such as • How is it made today? • What materials are used to make it? • Where is it used today? • How has it been changed? • Why did the item get changed?
Selection Support: Innovations MHR Custom 21 2. Metacognition Describe how the information presented in this selection can be applied in other subject areas. • Here is an opportunity for students to “think outside the box.” Many of these Assessment as Learning inventions are so familiar to us that we take their existence for granted and don’t think about the steps required to develop them. One example is team sports. Have students identify the values underlying the development and playing of team sports. Th ey may include co-operation, shared enjoyment and recognition, leisure time activity for fun, physical exercise during leisure, working as a team, following rules, and friendly competition. All of these values are indicators of the First Nations cultures that produced team sports in North America. What other cultural values underlie the inventions and innovations described in this selection? • Have students think about this question one innovation at a time. Th ey should recognize that the information can be used to learn about early discoveries in a variety of subject areas, including Science, Native Studies, Canadian History, and Physical Education. • Teachers could suggest that students consider the methods used to create the items. For example, boiling wood to soft en it so that it could be curved for a toboggan is a discovery that could be applied to a multitude of uses, as we can see in the manufacture of snowshoes and lacrosse sticks. Th is is a scientifi c discovery. Th e creation of calendars based on the constellations is another application of scientifi c discovery. Th e development of sports with rules and teams is an innovation in social science and physical education.
3. Critical Literacy There are many more innovations that can be attributed to First Nations, Inuit, and Métis peoples, such as tipis, longhouses, moccasins, soapstone sculpting, snow houses, and other medicines. Why do you think the innovations shown in this selection were chosen? • Th ere are a number of innovations that are covered in early school curricula, such as the traditional housing of Aboriginal peoples, which would be familiar to students at the high school level. • Students should notice that the items listed in the question are fairly well known as Aboriginal innovations, whereas many people would be surprised to learn that the familiar, everyday items included in the selection have Aboriginal origins. Th e sense of surprise that the selection generates in some people could become curiosity and the desire to learn more about Aboriginal innovations. It may also lead to a new level of respect for the depth and breadth of Aboriginal contributions to everyday life and culture in North America.
4. Student Voice Do you think it’s important to learn about innovations made by First Nations, Inuit, and Métis peoples? Explain why or why not. • Teachers could lead a class discussion of this question before having students answer it individually. Th ey may want to encourage students to think about what the results are when people learn about a culture’s contributions to the world. Students should recognize that respect and appreciation develop from such knowledge. • Students may choose either position, but they need to support their opinions with well-explained reasons and facts.
22 MHR Custom Selection Support: Innovations Beyond
Reading for Meaning Choose one innovation that you would like to learn more about. Research this innovation and present your fi ndings in a form of your choice. Be sure to include the ways in which the innovation benefi ts our lives today. • Th ere are several books and many Web sites devoted to this subject. Teachers may want to provide students with a vetted list or review with them the methods for evaluating Web sites as sources. • Have students submit their topic and a plan for their research before they proceed. • Students would likely benefi t from some guidance or parameters on this assignment. Teachers may want to discuss with the class a range of options for presenting fi ndings, such as a Web page, multimedia presentation, or magazine article. Th ey should also establish a list of criteria for evaluating the products. • Whatever form students choose for presenting their fi ndings, the following Assessment of Learning considerations are important: − Information must be accurate, clear, and as specifi c as possible. − Images should be incorporated. − Sources should be cited fully and properly. − Conventions of writing (report format, spelling, grammar, and punctuation) and oral presentations (engaging opening, rhetorical devices, eff ective repetition, and clear delivery) should be followed. In the case of a media presentation, poster, or cartoon, the content must clearly and completely present fi ndings on the chosen innovation and its place in today’s society; the format must work well in conveying the content, since that is the focus of the assignment. − Students must have a clear understanding of the criteria that will be used to evaluate their research and their fi nal products.
Selection Support: Innovations MHR Custom 23 Selection Support: My Whole Life Going Home
Author Curriculum Connections Al Hunter *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Poetry • ON (*NBE3C, ENG 1D & 2D) • SK (see iLit.ca)
Themes and Topics AB • Identity • 2 Comprehend literature and other texts in oral • Citizenship/ethnicity print, visual and multimedia forms, and respond • First Nations/Inuit/Métis personally, critically and creatively: 2.1.2, 2.2.1, 2.3.1 • Home • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.3 • Community • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: 4.1.2, 4.1.3, 4.1.4 Summary Th is free-verse poem describes a chance meeting BC between two Aboriginal people sitting in a restaurant • Reading and Viewing: B2, B8, B8, B13 in Washington, DC. Th e short poem creates vivid • Writing and Representing: C1, C4, C10, C13 images and conveys a message about the importance and meaning of home. MB • 2 Comprehend and respond personally and critically Readability to oral, print, and other media texts: 2.1.3, 2.2.1, 2.2.2, 2.2.3 Average selection for most students to read • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.1, 3.2.4, 3.3.1, 3.3.4 Interdisciplinary Link • 4 Enhance the clarity and artistry of communication: Native Studies 4.1.1, 4.1.2, 4.2.3, 4.2.4
ON • Reading and Literature Studies − Reading for Meaning: 1.2, 1.4, 1.6, 1.8 − Refl ecting on Skills and Strategies: 4.1 • Writing − Using Knowledge of Form and Style: 2.1, 2.2 • Media Studies − Creating Media Texts: 3.2, 3.4
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
24 MHR Custom Selection Support: My Whole Life Going Home Background Support
• Th e governments of Canada and the United States have removed Aboriginal and Inuit peoples from their homes at various times in the past. As part of the residential schools program, children were taken from their families and sent to live in residential schools far away from home. During the 1960s, Children’s Aid Societies removed Aboriginal children from their family homes and placed them in non-Aboriginal homes away from their own home communities. Many times, entire communities have been forced to move from their traditional lands to make room for settlers or new developments (e.g., the Cree of James Bay were forced to move to allow for the building of a mega hydro project). • During World War II, the US government forcibly removed the Aleut people from their villages in the Aleutian Islands for strategic reasons in the fi ght against Japan. Th ey interned the Aleut people for more than three years in abandoned canning factories, mines, and other decrepit facilities more than 2400 km (1,500 miles) away from their homes. It is believed that one out of ten Aleut people died during the internment. • For individuals, displacement has caused a sense of loss and a yearning to understand why they were moved and to recover the traditional knowledge that they lost as a result. For communities, displacement to a new location has never worked out well. People lost their sense of purpose and had to take time to fi nd their role and place in their newly created communities. Traditional ways of life oft en had to be abandoned in the new location, which didn’t support them. • Returning home is a key issue for Aboriginal people, as home represents many things: where they were born and raised; where their ancestors reside; where their kinship ties are; where they are surrounded by familiar culture and traditions; where they are comfortable.
Before
What does the word home mean to you? • Some students may have negative associations with “home.” To avoid making students uncomfortable, teachers could interpret the question so that students simply brainstorm any and all associations they believe the word has. Th ey could consider examples of its use in everything from advertising to folk music. • If teachers want to interpret the question more literally, so that students consider what home means to them personally, students could be asked to create thought webs or journal entries with the assurance that they will be private. • If students do not want to write about their personal feelings and thoughts on this topic, let them write about a place they would like to live or be in.
During
While reading the poem, think about questions that you would like to ask the poet. Predict how he might respond to your questions. Students may want to record any questions they have as they read the poem. Th ey could share them as a class and consider whether their questions were answered. If not, can their classmates help answer them? For questions that remained unanswered, students could consider whether researching answers might help expand their understanding of the poem.
Selection Support: My Whole Life Going Home MHR Custom 25 After
1. Reading for Meaning Read the poem again. As you read, use the words from the poem to create a picture in your mind. What words were most helpful in creating this picture? • A mini-lesson on visualizing might be helpful. Th is technique allows students to bring what they know to their understanding of a new passage, based on sensory details in the writing. Although it’s called “visualizing,” it can include any or all of the fi ve senses. One way to begin is to read the poem to the class aloud, and ask them to draw or jot down point-form notes of what they imagine. • Aft er reading aloud, debrief as a class or in small groups. Students could share the words they found to be most powerful; that is, the ones that prompted them to jot notes or sketch images. Students will pick up on diff erent cues and their mental images will not be all the same. For example, they may have very diff erent ideas about what the “old elegant hotel” looks like. Th ey will probably agree about the beautiful evening in June, but remind them that the scene is in a city, and that will contrast sharply in their minds with “the windswept arctic islands.” Th ey may have quite a clear image of the silent nod of the two people in the dining room, and the polite way they arranged to eat together. • Aft er debriefi ng, ask students to reread the poem and refi ne their visualizations based on a closer reading. Did anything change?
2. Critical Literacy Why do you think the poet has chosen to write about the theme of home? • Students may want to consider the author’s Inspiration note and to refl ect on the ideas that they generated in the Before activity as they form their responses. • Students may need some guidance in approaching this question. Th ey need to consider how the author chose to present “home” in the poem, who they believe the audience is, and what “home” might mean to the author. How might his audience react to his presentation of home? From there, students can consider why he would have chosen to write about home. • Students may suggest that, on the surface, the theme of home (tied as it is here to being away from home and being surrounded by strangers) is a feeling many readers can relate to. • One answer might be that the writer was reminded of home and how far away he feels when he meets another Aboriginal person. He and she could feel that the elegant old hotel in Washington and the formal meal they are eating there do not refl ect their real roots or the world they have left and would like to return to.
3. Reading for Meaning What do you think the woman means when she says, “I’ve spent my whole life going home”? • If students read the Inspiration note, they may suggest a literal interpretation of the statement. Th e woman travels frequently between her home in the Alaska and Washington, DC, and may feel that she is always on the road. Her focus is always on returning home aft er her business. • Sharing the information in Background Support with students might help them arrive at a deeper, more fi gurative interpretation. Th ey could suggest that the woman never sees herself as part of the Washington community and only sees herself as part of her home community. As Washington, DC, is the seat of power in the United States, and the woman considers herself an outsider, it could be taken as a comment on the standing of Aboriginal peoples in North America and their struggle to regain the respect and self-determination that characterized
26 MHR Custom Selection Support: My Whole Life Going Home their communities (home) pre-contact. More specifi cally, it could be interpreted as a reference to the plight of the Aleut people and their displacement during World War II.
4. Reading for Meaning How does the statement “We nodded to one another across the room the way Indians do, a silent acknowledgement and an invitation” help you to understand the poem? • Students might need to be guided toward a clearer understanding of this statement and its implications in the poem. Remind students of the setting (an elegant old hotel in the heart of Washington, DC) and then ask the class to picture the diners around the woman and the poet. What do they see? Now ask students to close their eyes and then read the lines aloud to them. • Students should see the gesture as that of one outsider to another. Th ey should also appreciate the quiet dignity of the gesture. It suggests a shared or common experience.
5. Metacognition How did making inferences and analyzing text help you understand this selection? • Th e poem does not give much direct information. All we know is that the poet sees an Aboriginal woman eating alone in an elegant hotel dining room in Washington, DC, they make a silent connection, and they decide to share a meal. Although we don’t know much of their conversation, we know the woman tells him about her home in the far north. Yet, through inference and analysis we have a much richer picture of the encounter: − We become aware of a form of silent communication that replaces talk and allows them to meet and arrange to share a meal together. − We feel that they share an understanding of what her home in the north means to her, and we sense that the woman loves her home and yearns to be there. − We sense that the encounter is a very signifi cant and powerful memory for the poet and that he understood what the woman meant when she said she spent her whole life going home. • Inference allows us to feel a little bit of what the poet and the woman feel about home, even though those feelings are never articulated by them.
Beyond
1. Student Voice Write about what home means to you. It may be in the form of a poem, a paragraph, or lyrics in a song. Students should refer to the Before activity about the meaning of home. Th ey can use their perceptions as the basis of their presentation. If students handled the Before activity privately, this assignment should be private as well.
2. Student Voice Create a visual representation (such as a video, slide show, or other multimedia presentation) of your home town or community. How does your community compare to the Aleut woman’s community? • Th is assignment can be extensive and will require time and planning. • Students will need to research the communities located in the Aleutian Islands in order to compare their community with that of the woman in the poem. What do these communities look like? How are they set up? What are some
Selection Support: My Whole Life Going Home MHR Custom 27 main industries? Students may choose to blend their perspectives related to the Aleutian Islands into their community profi le or they can create a 1-3 page narrative that off ers their comparative thoughts related to their community. If students are from the same town or neighbourhood, this could make an ideal group assignment. • Th ere are diff erent ways that students could approach the assignment to create Assessment for Learning a visual representation of their community and compare it to that of the Aleut woman. It is important not to force students to limit the defi nition of “community” to a geographical one. Students should be given the opportunity to consider diff erent ways of identifying a “community,” such as the following, or others that they suggest. − Th ey could depict their community as a group of people they know: friends, family, and other acquaintances. Th ey may want to show them in some kind of hierarchy of importance or relevance to their own lives. − Th ey could depict the things about their community that are personally important. Th is form could possibly be quite eccentric, as the important things for a student could be as diverse as their favourite jeans, an old bike, a good friend, a secret place, some music, etc. • Th e importance of the assignment is to let students enter the world view of the poet and think about what “home” means to diff erent people and why “home” is central to most people’s own mythologies.
28 MHR Custom Selection Support: My Whole Life Going Home Selection Support: We said to Inuit, “Tell us your history”
Author Curriculum Connections Justice James Igloliorte *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Interview • ON (*NBE3C, ENG 1D & 2D) • SK (*ELA B10)
Themes and Topics AB • Social issues/social justice • 2 Comprehend literature and other texts in oral • Challenge/change print, visual and multimedia forms, and respond • First Nations/Inuit/Métis personally, critically and creatively: 2.1.1, 2.1.2, 2.1.4, 2.3.1 • 3 Manage ideas and information: 3.2.1, 3.2.3 Summary • 4 Create oral, print, visual and multimedia texts, and Th is interview with Justice James Igloliorte focuses enhance the clarity and artistry of communication: on a truth commission set up to investigate the 4.1.2, 4.1.4 alleged slaughter of Inuit sled dogs by the RCMP. Th e interview explores the relationship between the federal BC government and Inuit. Justice Igloliorte’s fi ndings • Oral Language: A2, A11 reveal Inuit’s deep connection to their land and how • Reading and Viewing: B3, B7, B10, B11 government policies disrupted this connection. • Writing and Representing: C2, C9, C10
Readability MB Average selection for most students to read • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.2, 2.2.1, 2.2.2, 2.3.5 Interdisciplinary Link • 3 Manage ideas and information: 3.1.2, 3.2.4, 3.2.5, Native Studies 3.3.3, 3.3.4 • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.2.5, 4.4.1, 4.4.2, 4.4.3 ON • Oral Language: − Speaking to Communicate: 2.1, 2.3 • Reading and Literature Studies − Reading for Meaning: 1.4, 1.5, 1.8 − Refl ecting on Skills and Strategies: 4.1 • Writing − Developing and Organizing Content: 1.1, 1.2, 1.3 SK • Comprehend and Respond: CR B10.1, CR B10.2 • Compose and Create: CC B10.3
Selection Support: We said to Inuit, "Tell us your... MHR Custom 29 Background Support
• Aboriginal communities do not see justice in the same way as non-Aboriginal communities. For example, the key factor in the Canadian justice system is the admission of guilt by the off ending party, whereas in the Aboriginal system, the focus is on fi xing the reasons why the crime has happened. In Aboriginal communities, justice is aimed at helping the individuals involved and is not focused on punishing the perpetrator of the crime. Sometimes, the perpetrator is involved in the solution process. • It would be helpful to become familiar with Restorative Justice and its signifi cance for Aboriginal communities. Th ere are a number of key values: − desire for community harmony − focus on preserving relationships − respect for life in all forms − teaching through example − sharing and generosity for all − respect for freedom − avoidance of confrontation and adversarial positions. In order to maintain these values, the Inuit traditionally held large group gatherings at which the perpetrator heard how his or her actions impacted others, and also had a chance to explain his or her actions or point of view. • In this selection, readers are introduced to a diff erence of perspective rather than a traditional perpetrator–victim scenario. Th e Inuit saw a role for dogs in their communities, whereas the non-Aboriginal authorities saw them in a diff erent way, as a nuisance and danger to the community.
Before
Preview the text. Describe the text structure and predict what you think the selection is about. Students should recognize the question-and-answer format as being typical of an interview. Based on previewing the questions, they may predict that the interview will be about Justice Igloliorte’s life, his experience running the Qikiqtani Truth Commission, and the fi ndings of the commission.
During
1. As you read, note whether your predictions about the content were confi rmed. It is likely that students will fi nd that the content is not exactly what they predicted. Th ey should be able to articulate how it diff ers from their predictions.
2. As you read, consider what additional questions you would have asked Justice Igloliorte if you were interviewing him. Think about the information you would want him to clarify. Actively thinking of questions helps engage students as they read the selection. Students could suggest a wide variety of questions, such as • Were there alternative ways to provide government services to nomadic Inuit communities without having people relocate and settle in permanent communities? • Why did the Inuit choose to give up their hunting lifestyle for $6 per month if they had lived successfully without the money before? • Why couldn’t hunters travel away from home to continue hunting?
30 MHR Custom Selection Support: We said to Inuit, "Tell us your... • What government services were provided for people to cope with the sudden change in lifestyle? • How are the Inuit changing the conditions of their lives now?
After
1. Metacognition How did thinking about questions you want answered help you analyze and understand the selection? • Students may fi nd it diffi cult to organize the issues that Justice Igloliorte raises. Th e “dog slaughter issue” is raised several times, as is the relocation of the people to allow them to access centralized services. Asking questions while reading may help students stop and think about the information as they read it. • Students may say that they focused on trying to understand the key parts of the text. As their questions came up, they started to look at the rest of the text for possible answers.
2. Reading for Meaning Explain how the alleged slaughter of sled dogs by the RCMP is representative of larger issues concerning Inuit rights and the loss of their traditional way of life. Th e centralization of government services meant that the Inuit had to move into communities if they wanted access to services, schools for their children, and a monthly family allowance. Th e RCMP enforced laws that were in place in the southern parts of Canada regarding unleashed dogs. Under the law, these dogs were viewed as a threat to community safety. Th is view of the relationship between dogs and people represented a misunderstanding of the Inuit’s traditional lifestyle and values. Th e Inuit found the transition into permanent communities diffi cult, and the killing of sled dogs was symbolic of the loss of their way of life. Th e loss of the sled dogs was devastating because the dogs were necessary for the hunters to travel across the land in search of prey. Th e dogs were more than transportation animals; they were also guard dogs and represented a last food source in the event that life got really tough.
3. Critical Literacy Whose perspectives are not included in this interview? Why do you think they weren’t included? • Students should recognize that the RCMP’s perspective and the federal government’s perspective are missing. • In order to answer the second part of the question, students will need to fi rst consider what the interview’s purpose is. If they believe the purpose of the piece is to arouse sympathy regarding the treatment of the Inuit, students could suggest that the writer deliberately left out the other perspectives in order to sway the reader towards the Inuit perspective. Students may also suggest that a writer may omit perspectives in order to focus on one that he or she believes has not been adequately explored or expressed in the past. By representing only one perspective, the writer can present a more detailed and impassioned account of the issue. • If students consider the interviewer’s questions, they will notice that the questions are not leading or biased. Students might suggest that the omission occurs in part because of how Justice Igloliorte answers the questions and in part because of how the interviewer chooses to follow up on the information Justice Igloliorte provides. Th ey may suggest that the omission is not a deliberate act
Selection Support: We said to Inuit, "Tell us your... MHR Custom 31 of bias but instead is refl ective of the judge’s own background and experiences growing up Inuit and of his work with the commission, which appears to have focused on understanding the Inuit perspective on the killing of sled dogs.
4. Critical Literacy With whom do you think Justice Igloliorte wants us to identify or sympathize? Explain, using evidence from the selection. • Students can build on ideas they raised in Question 3 in order to answer this question. Justice Igloliorte wants the reader to sympathize with the Inuit. He says he wanted the report to bring forward the things that bothered the Inuit and that refl ected the “traumatic” period they lived through as the government created permanent communities for them. He mentions that while conducting the commission hearings he heard “things that would pull at anybody’s heartstrings.” • Ask students to watch for key phrases or chunks of information that are used to create empathy and sympathy.
Beyond
1. Student Voice Two reports were completed based on the government’s inquiry into the allegations of the slaughter of Inuit sled dogs by the RCMP. One is the Qikiqtani Truth Commission report, which Justice Igloliorte was involved in. The other is the RCMP report, called Final Report: RCMP Review of Allegations Concerning Inuit Sled Dogs. a) Locate these reports on the Internet and summarize their fi ndings. • Teachers should note that this exercise is very large in scope, and they may want to assign groups or pairs of students to research diff erent sections of the reports. • Th e Qikiqtani Truth Commission (QTC) report can be accessed at: www.qtcommission.com/documents/main/QTCFinalReportOctFINAL.html Th is report documents how the Inuit in the Baffi n area have been aff ected by decisions by the Canadian government. It uses testimonials from diff erent Inuit participants to tell how their lives were changed in the years from 1950 to 1975. It focuses not only on the elimination of the dogs but also on the imposition of a diff erent way of life upon the Inuit, in that the Canadian government needed to have the Inuit living in one community, not travelling across the north in a migratory fashion. • Th e RCMP report can be accessed at: www.rcmp-grc.gc.ca/pubs/ccaps-spcca/sd-ct-fi nal-eng.htm Th is report outlines the government response to the allegation that the RCMP methodically eradicated sled dogs. Th rough review of RCMP documentation and the oral testimony of those people who were living in the communities, the report found that there was not enough evidence to substantiate the claim.
b) How are the reports the same? Th e reports are similar in that they seek to determine what happened to Inuit sled dogs between 1950 and 1975 and they both rely (in part) on personal accounts of the people in Inuit communities.
32 MHR Custom Selection Support: We said to Inuit, "Tell us your... c) How are the reports diff erent? What might account for the diff erences? • Th e reports are diff erent on several general points: − Th ey were prepared by and for diff erent groups with diff erent agendas. − Both reports included statements from non-Inuit people living in the area at the time, although the RCMP investigation appears to be broader in this scope. − Th e RCMP was not able to interview Inuit elders for their statements. − Th e reports arrive at diff erent conclusions. • Th e QTC report off ered the public an understanding of how sled dogs were part of the cultural makeup of the Inuit community. It looked at the issue from the Inuit perspective by starting with their stories. It took a much broader view of the unhappiness and suff ering Inuit had experienced from 1950 to 1975, beyond the killing of the dogs. • Th e RCMP report sought to determine whether there was an organized eff ort by the RCMP to eradicate the sled dog population. Th e investigation and its report were not concerned with issues related to the Inuit lifestyle or the broader trauma the Inuit experienced. • Th e diff erences in the reports are due in part to who initiated them and why. One report was an inquiry into possible wrongdoing by members of the police force, while the other report was based on the fi ndings of a commission looking into how the government fell short in its treatment of the Inuit, and how reconciliation could begin. d) Taking these perspectives into consideration, what are your conclusions about the allegations of the slaughter of sled dogs? Both reports say the killing of sled dogs took place, although they diff er in their fi ndings on the extent of the killing and its purpose. Students may have diff ering opinions as to whether the killing was intended to support public safety or to further eradicate Inuit culture. Th ey should support their opinions with reasons based on this selection and on the fi ndings of the reports.
2. Listening and Speaking Select an issue in your community that involves relations between people in the community and the police or local or provincial government. Choose two people who have diff erent views on the issue. Prepare a list of questions for each person and interview them. Be sure to record your interviews. • To help students prepare for this activity, have them brainstorm issues that are important in their community. Teachers could suggest some issues, for example, the reduction of services (e.g., libraries, schools, fi refi ghting and policing services, public swimming pools, and arenas) as a result of budget constraints. Other issues might be the rising cost of public transportation or the building of controversial quarries, power plants, wind farms, or subdivisions. • Students may have diffi culty fi nding representatives to speak to on these issues. Teachers may want to limit the assignment to the development of eff ective questions. Students should ask questions that refl ect the particular issue they are researching. However, some generic questions to consider include − Tell us about your role in the community. (What do you do? How long have you lived there?) − Describe the issue as you understand it. − How would you like to see the issue resolved? − What are the obstacles, as you see them? − What steps are you taking to get this resolved as you would like? − What support have you organized? − What is your prediction as to the outcome?
Selection Support: We said to Inuit, "Tell us your... MHR Custom 33 • Teachers may want to review with students some general rules about creating Assessment for Learning good questions that would produce an eff ective interview: − Start with research. Interesting, relevant questions grow out of knowing something about the person or the issue you’re asking about. − Aim for open-ended questions. Th ese leave the answer wide open for the subject instead of off ering them the option of giving a one-word answer like “yes” or “no.” Open-ended questions usually start with “how” or “what” or “why” rather than “did you,” “would you,” “have you,” etc. − Try to avoid questions that give a list of choices as an answer. “Either-or” questions tend to limit answers. If you need to ask one of these questions (such as “Would you rather do this or that?”), be sure to follow it up by asking “why?” − Try to avoid leading questions, or questions that suggest the answer. Th ey are usually based on an assumption or bias.
34 MHR Custom Selection Support: We said to Inuit, "Tell us your... Selection Support: 3740166701
Author Curriculum Connections John Adrian McDonald *This selection is most suitable for these courses: AB (*ELA 9, 10-1 & 10-2) BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection MB (*English–Senior 1 & 2) Poetry ON (*NBE3C, ENG 1D & 2D) SK (*ELA 9 & A10)
Themes and Topics AB • Discrimination/bias/prejudice • 2 Comprehend literature and other texts in oral, • Identity print, visual and multimedia forms, and respond • Th e arts (music/literature/dance/fi lm) personally, critically and creatively: 2.1.2, 2.2.2, 2.3.3 • First Nations/Inuit/Métis • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: • Individuality 4.1.3, 4.1.4
Summary BC Th is poem asks a series of rhetorical questions about • Oral Language: A2 the labels and pressures that the poet believes are • Reading and Viewing: B2, B7, B12, B13 applied to First Nations artists and their identities. Th e • Writing and Representing: C1, C13 poet ultimately rejects what he believes are restrictive stereotypes and asserts his individualism. MB • 2 Comprehend and respond personally and critically Readability to oral, print, and other media texts: 2.2.1, 2.2.2, 2.3.2, 2.3.5 Average selection for most students to read • 4 Enhance the clarity and artistry of communication: 4.1.2, 4.4.1 Interdisciplinary Link Native Studies ON • Reading and Literature Studies − Reading for Meaning: 1.3, 1.5, 1.8 − Understanding Form and Style: 2.3 • Writing − Using Knowledge of Form and Style: 2.1
SK • Comprehend and Respond: CR A10.4 • Compose and Create: CC A10.1
Selection Support: 3740166701 MHR Custom 35 Before
What does it mean to you to be labelled as a student, a girl or boy, a teenager, or a member of an ethnic group? What stereotypes are associated with those labels? • Th is question needs to be handled sensitively. Teachers may want to have students raise stereotypes that are associated only with their own groups rather than those of others. Th ey could explain whether the stereotypes bother them, and why. • Discuss why stereotypes arise and ask students to consider whether the stereotypes are factual and truthful. • Ask students to consider whether any of the stereotypes they’ve identifi ed originate from the group itself, as the poet suggests in his explanation for why he wrote this poem. What are the eff ects of these stereotypes? Are they as limiting as stereotypes that come from outside the group?
During
The title of the poem, 3740166701, is the number on the poet’s treaty card. As you read the poem, think about why the poet may have chosen this as his title. • Th e writer criticizes the people who would like to reduce him to his “Native” identity, which is represented by his treaty card number. As he says, “Why does this scene want my treaty card to precede me?” He uses the number as a title ironically, suggesting that readers will expect him to be simply the Native person named on the card, with all the accompanying stereotypes, even though he feels he is an individual and an artist, and only incidentally “Native” or “brown.” He doesn’t want to be preceded by his treaty card, but he precedes his poem by it, to show how limiting that view of him really is. • Th is is a good time to discuss the topic of irony. Th e use of the treaty card Assessment for Learning number as a title is situational irony because it does the exact opposite of what the writer says he wants to have done to him. Irony is used to reinforce meaning and engage readers in understanding the ideas in a piece of writing. • Teachers may want to explore the concepts of dehumanization, individualism, and identity before moving to the Aft er questions.
After
1. Reading for Meaning What words and phrases does the poet associate with stereotypes of First Nations people? • Students might suggest any of the following: − “You must paint nothing but eagles” − “And sing nothing but powwow” − “And write nothing but how good it is to be Native” − “how badly we were treated by the government and churches” − “how tasty bannock is” − “souvenir-stand art” − “sweetgrass plans” − “Tribal Trails” − “scream at you to give our land back.”
36 MHR Custom Selection Support: 3740166701 2. Critical Literacy Whom do you think the poet is referring to when he says ethno-eccentrics? Support your answer with evidence from the poem. Before answering this question, students will need to fully grasp the defi nition of the term “ethno-eccentrics.” Th ey may need further clarifi cation or examples of ethnocentrism, which is part of the defi nition provided in the Tips box.
Sample answer: Clearly expresses I think the poet means Aboriginal people who think that their opinion ways are superior and try to get other Aboriginal people to act in those ways. He talks about how their ways aren’t part of his oral tradition, but it seems expected of him that his Aboriginal Cites evidence from the poem identity (“his genetic life story” and his “treaty card”) must “precede” or defi ne what he creates. He asks, “Why am I evil, if I say I don’t want to?” emphasizing that he’s looked down on Interprets evidence if he refuses to conform to the ethno-eccentrics’ beliefs about to support opinion Aboriginal identity.
3. Understanding Form and Style What eff ect does the poet’s use of rhyme and rhythm have in the poem? • To really appreciate the poet’s varied use of rhythm and rhyme, have students read the poem aloud. Students may notice that this poem, when read aloud, could be a rap. • Th e poet uses a free verse style and in the fi rst verse he writes without punctuation. Ask students what eff ect this has on how they read these lines. Why would the poet want to create a rush of words, with ideas piling up on one another? Does it make it harder for them as readers? Is it a bit tougher to read these lines comfortably? • In the second and third verses, the poet uses punctuation to write direct and pointed questions that literally bring readers to the point; it forces them to stop at the end of each question, which gives the questions greater resonance and weight. Th is is where the message of the poem is at its sharpest. • In the third verse, the poet introduces a rhyming scheme of aa, bb, c, d, e, f, e. It is in this verse that the poet begins to defi ne himself by rejecting the stereotypes. Ask students if they notice the change in rhythm here, a change that makes the lines fl ow more easily. Why would the poet use this rhythm for this verse? • Th e fourth verse has the shortest lines with the sharpest rhythm. Ask students why the poet would choose that structure here.
4. Metacognition How did knowing the title is the poet’s treaty card number help you understand the poem? • To help students approach this question, ask them to consider whether they would have understood the poem as clearly without knowing the signifi cance of the number. Would the title have been confusing? Meaningless? From there, they could consider why the author might have chosen such an obscure title. Would he expect the reader to know what the title represents? If yes, then who is his intended audience? If no, what is the purpose of using the treaty number in the title? Is it to pique the reader’s interest?
Selection Support: 3740166701 MHR Custom 37 • As indicated in the During section, the title is ironic. Ask students if they see that irony clearly now, and if they can explain it in their own words.
Sample explanation: I think it’s ironic because he asks, “Why does this scene want my treaty card to precede me?” and then his poem about his identity is entitled or “preceded by” his treaty card number. I think he’s making a statement that this Cree identity is only part of his identity and that there is much more to him as a person that doesn’t have to do with his Cree tradition and culture.
• Some students may feel that the poet’s Inspiration note was more helpful in understanding the poem than this information about the title.
Beyond
Student Voice Create a visual, oral, or written representation of your own identity. You may want to contrast your own identity with the identity you believe is expected of you. • Before beginning, students may fi nd it helpful to discuss as a class the components of a person’s identity. Th ese can include gender, age, ethnic or cultural group, familial relationships (e.g., son, daughter, brother, sister) and other social relationships (friend, mentor) as well as personal traits that are unique to the individual. • If students choose to address the second part of the exercise, they will need to think about whose expectations they are addressing: society as a whole, their ethnic or cultural group, their family, etc. Encourage students to express why they do or do not try to meet those expectations, for example: − Are they stereotypes? − Are they unfair or unrealistic? − Are they something worth aspiring to? − Do the students feel pressured to conform? • Th is poem raises interesting distinctions among kinds of “identities.” Ask Assessment for Learning students to describe diff erent ways people are identifi ed and why. Examples include − a numbered or administrative identity: A treaty card holder, for instance, has a numbered card that that entitles him or her to certain rights and privileges that are not available to non-status people. (McDonald’s card number is a way of identifying him for this specifi c purpose.) Drivers are given licenses with numbers, so that their driving infractions can be recorded and tracked. − a group identity: A person belongs to many identifi able groups ranging from gender and age groups to ethnic, cultural, and religious groups to occupational groups. (McDonald is a First Nations man, and an artist.) − a personal identity: Th is is who a person believes he or she is, and that close friends and family know. It encompasses all of the personal, individual traits that make a person unique. Which of these kinds of identities is McDonald trying to separate in his poem?
38 MHR Custom Selection Support: 3740166701 Selection Support: Dibenimiisowin (To Own Ourselves)
Author Curriculum Connections Niigonwedom James Sinclair *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 10-2) • BC (*EFP 10 & 11, ELA 9 & 10) Type of Selection • MB (*English–Senior 1 & 2) Speech and essay • ON (*NBE3C, ENG 1D & 2D) • SK (*ELA A10 & B10)
Themes and Topics AB • Social issues/social justice • 2 Comprehend literature and other texts in oral • Discrimination/bias/prejudice print, visual and multimedia forms, and respond • First Nations/Inuit/Métis personally, critically and creatively: 2.1.1, 2.1.2, 2.1.3, 2.3.1 • Residential school system • 3 Manage ideas and information: 3.1.2, 3.2.1, • Relationships/love/family/friendship 3.2.2, 3.2.3 • Healing • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: Summary 4.1.2, 4.1.3, 4.1.44.2.3, 4.2.4 Th is selection presents an excerpt from Prime Minister BC Harper’s Statement of Apology on June 11, 2008 and the author’s reaction to it, written in essay form. Th e • Reading and Viewing: B3, B7, B9, B14 author considers diff erent responses to the apology and • Writing and Representing: C2, C6, C10, C13 discusses how to achieve real healing. MB • 2 Comprehend and respond personally and critically Readability to oral, print, and other media texts: 2.1.1, 2.2.1, • Challenging selection for most students to read 2.2.2, 2.3.5 • Some challenging vocabulary in speech • 3 Manage ideas and information: 3.1.2, 3.2.2, 3.2.4, 3.3.4 Interdisciplinary Links • 4 Enhance the clarity and artistry of communication: 4.1.2, 4.2.3, 4.2.4, 4.2.5 • Native Studies • Canadian History ON • Reading and Literature Studies − Reading for Meaning: 1.3, 1.5, 1.8 − Understanding Form and Style: 2.2 • Writing − Developing and Organizing Content: 1.1, 1.3, 1.4
SK • Comprehend and Respond: CR A10.1, CR A10.4, CR B10.1 • Compose and Create: CC A10.1, CC B10.1
Selection Support: Dibenimiisowin (To Own... MHR Custom 39 Background Support
• Teachers may want to share with students the entirety of Prime Minister Harper’s Statement of Apology, which is available online in both text and video formats. • Th e federal government developed and funded the residential school system in the 1800s, with the goal of eradicating Aboriginal cultures and traditions. Th e government believed that by teaching Aboriginal children to speak English or French and to adopt Christianity and “Canadian” customs, they would pass these on to their own children and, within a few generations, all traces of Aboriginal cultures and traditions would vanish. Th e federal government oft en contracted church groups to run these institutions. • Th e fi rst residential schools were started in the 1830s (before the country of Canada existed) and by 1884 it was compulsory for all Aboriginal children under 16 years of age to attend residential schools. Aboriginal children were forcibly removed from their families and sent to residential schools located far from their home communities. Visits home were limited to summers, so children spent little time with their families. Th e children were essentially cut off from their families, their homes, and their heritage. • At the schools, children were forbidden from speaking their languages and practising their cultures. Th ey were punished harshly if they were caught doing so. Many students were emotionally and/or physically abused by the adults who ran the schools. • Many Aboriginal students left school and returned to their home communities emotionally scarred. Th e emotional damage became a legacy that has aff ected Aboriginal communities and family life for generations. • Th e CBC has a comprehensive overview of the residential school system, as well as digital archives, which can be accessed through www.cbc.ca/news/canada/story/2008/05/16/f-faqs-residential-schools.html
Before
What do you know about Indian residential schools in Canada? Why were residential schools created? • Ask students to share what they have learned about residential schools from their own reading or media use, or through courses in history or Native Studies. • If students are not sure why residential schools were created, teachers may want to share some history of residential schools (see Background Support) before proceeding.
During
As you read the statement of apology, pay close attention to the language used by the prime minister. What impact does this language have on the author’s response to the apology? • Th e language is formal and is very straightforward. It outlines the history of the schools and then explains what was wrong with them and why they had no place in Canada. Th e apology is repeated over and over, as Mr. Harper details specifi c wrongs. Th e formality of the language (words like “impediment,” “reconciliation,” “culminated,” and “forging”) emphasizes the gravity of the situation and the signifi cance of this apology.
40 MHR Custom Selection Support: Dibenimiisowin (To Own... • Th e straightforward, clear details give listeners time to digest the enormity of the wrongs that were done. As well, the speech refers to actions of the past, so that even though the government is taking responsibility for the actions, it is clear that these things “were done” in a diff erent age and not by Mr. Harper or his colleagues. Th e apology is clearly and specifi cally designed to support healing and a way forward. • Th e details and repetition in the speech gave the author an opportunity to remember the suff ering the residential schools policy caused his family and his community, and to weep for that. Although he dared to hope a little for a new beginning, the author couldn’t overlook the racism and inequality still entrenched in Canada’s systems. Th e formality of the speech may have been a reminder to him that the House of Commons is still the seat of power and he was being spoken to by the most powerful representative of that institution. He realized that he couldn’t decide for sure whether the apology was enough and knew that for some it would not be. (His experience later that day indicates that change will not come simply from a formal apology.) • Ask students to reread this apology, fi rst from a non-Aboriginal perspective and Assessment as Learning then from the perspective of the descendents of residential school survivors. From these diff erent perspectives, what do students hear and what do they feel as they reread the apology? Does their perception change? What aspects of the apology do they feel positive about? What aspects do they feel negative about? Students should identify phrases and words that impact their responses. If there are Aboriginal students in the class, encourage them to comment on the ideas non-Aboriginal students raise regarding the Aboriginal perspective, so that any misconceptions can be corrected and a new understanding can be developed. Encourage the same kind of discourse for the other perspective.
After
1. Reading for Meaning The author begins the essay by saying, “Two events defi ned my June 11, 2008.” a) What are these two events? Th e two events are listening to the apology and seeing a First Nations man lying facedown in an intersection and being the only person who went to help while many people sat in their cars and watched.
b) How does the author see the events relating to one another? • Th e author connects the man to the residential school system by thinking that he is likely a survivor. To see this man lying in the street, unable to stand or speak, and to see other people ignoring him (cars slowing and driving around the man; people waiting patiently behind him as he parks his own car and gets out to help) seems to represent the situation of residential school survivors within Canadian society. To him, it reinforces the idea that healing must come from Aboriginal peoples; “no apology, no words, and certainly no time in Parliament, can give healing.” For many Aboriginal people, the apology does not mean anything. It is not going to help them get their lives back, as in the case of the old man. Th ere may be fi nancial compensation, but that is not going to heal the family breakdowns that many Aboriginal families experienced. • Perhaps the author hoped the details of the apology would teach Canadians what Aboriginal peoples have suff ered because of the residential school system. He might have hoped that that knowledge would lead to compassion. What he
Selection Support: Dibenimiisowin (To Own... MHR Custom 41 found on the street was not compassion, but perhaps not meanness either. Were the bystanders indiff erent, or were they ashamed and unsure what to do? Th ey didn’t honk and they waited patiently while he got out of his car, helped, and then drove away.
2. Reading for Meaning Why do you think the author chose the title “To Own Ourselves”? How does this title relate to the content of his essay? • Students may be familiar with the phrase “own it” as it is used to refer to taking responsibility for something. • Th e title is about people taking control of and responsibility for their lives, their pain, and healing themselves rather than relying on someone else. Th e author believes that Aboriginal people, as individuals, have to be independent and take control of their own healing. It is also perhaps a statement that the government of Canada cannot be the one to decide the fate of the Aboriginal people any longer, since they have done so badly in the past.
3. Critical Literacy Describe at least one example from the essay that the author believes demonstrates racism. Explain why the author views this example as racist. • Th ere are several examples from which students can choose including − the residential school system itself − the arrogance (superiority) that allowed for the abuse of children − the “shadow of white privilege that stretches into today” in institutions such as the House of Commons − Canada’s refusal to ratify the United Nations Declaration on the Rights of Indigenous Peoples. • To answer the second part of the question, students will need to consider the example they’ve chosen from the perspective of an Aboriginal person who is the descendent of residential school survivors. (Some students may actually be descendents of survivors.) Th e ideas students generated as part of the Learning Assessment in the During activity could be useful here. • No matter which example students choose, they should recognize that it demonstrates racism because it is based on and/or reinforces the view that Aboriginal peoples, their cultures, beliefs, and customs, are inferior to those of other Canadians.
4. Reading for Meaning a) Why do you think these photos were chosen to accompany this essay? Th e photos add credibility, immediacy, and realism to the piece. Th e reader can make personal connections to people shown in the images and see the impact that the apology and the suff ering have had on people.
b) What do you think the people in the photos are thinking or feeling? Although there will be a variety of acceptable answers, students should be encouraged to explain why they’ve attributed the thoughts and emotions they have to people in the photos. Th ey should point to facial expressions, gestures, body language, the mood created by camera angle, etc., to support their answers, for example: • Picture A: Phil Fontaine looks as if he is appraising the words of Stephen Harper, perhaps deciding on the sincerity of the apology. He is not smiling or frowning, but looking at Mr. Harper and listening intently.
42 MHR Custom Selection Support: Dibenimiisowin (To Own... • Picture B: Th e women are sad and refl ective as they recall the pain that they have experienced as a result of the residential schools policy. Connie Brooks looks as if she is freshly experiencing the pain she felt as a residential school student. • Picture C: Th e man whose face is hidden is getting a comforting hug from a man who looks to be a healer. Th e men are acknowledging one another’s pain and off ering support in dealing with it. Although it is painful, it may also be a relief to have the truth of abuses out in the open.
5. Student Voice In your opinion, do you think the prime minister’s apology is enough to make up for what the survivors of residential schools experienced or lost? Explain. Students must support their opinions with details. Probably most will think the apology alone is not enough to right the wrongs.
Sample answer: Identifi es purpose The apology is a formal acknowledgement that the Canadian of apology government did something wrong in the past. It is important because it is the fi rst time that the government has offi cially admitted these abuses happened and that the government was Clearly states responsible for them. But words alone can never make up for the opinion pain and suff ering that have been experienced and continue to be experienced by Aboriginal people. The apology can only be seen as a fi rst step. As Sinclair’s description of the old man shows, Refers to text to Aboriginal people will need time, resources, and good leadership support opinion and support within their own communities to overcome the losses they have suff ered because of the residential school system.
6. Metacognition How does the information you read in the apology and the essay align with what you already know? Has it altered your views? Explain. • Students will need to recall what they knew before reading the selection. Th ey can return to the ideas they discussed in the Before activity. • Students’ explanations should detail how and why their views have or have not altered and should include references to the text.
Beyond
Reading for Meaning Research a residential school survivor’s personal story. Present your research in whatever form you like (such as an oral presentation, video, poem, or graphic story). • Th e history of the residential schools includes some very sad and disturbing accounts of abuse, loneliness, and despair. Students working individually may need opportunities to debrief either in discussion as a class or in journal writing, as they engage in this research. Students might prefer to work in groups of two or three to research and produce their presentations. • Before students proceed in preparing their presentations, they should identify Assessment for Learning the personal story they will be working with as well as their sources, so that teachers can ensure that students are on the right track from the beginning. • Students should be encouraged to view this activity as an opportunity to learn Assessment for Learning from history about how public policy can go wrong, and about what sorts of considerations are necessary to lay a foundation for supporting human dignity and rights.
Selection Support: Dibenimiisowin (To Own... MHR Custom 43 • Th e presentations should strive for accuracy, clarity, balance, and creativity. Assessment of Learning Whatever format students choose for the presentation, the following considerations are important: − Information must be accurate, clear, and specifi c. − Details should be selected with the goal of creating a clear view of the person’s experiences and the eff ects that residential school had on him or her; they should be presented in a way that makes the story meaningful for the audience. − Sources should be cited fully and properly. − Conventions of the chosen format should be followed.
44 MHR Custom Selection Support: Dibenimiisowin (To Own... Selection Support: GrAfrica?
Title Interdisciplinary Link “Th e Lost Boys and Girls of Sudan” Social Studies
Author Curriculum Connections Melanie White *This selection is most suitable for these courses: • AB (*ELA 20-2 & 30-2) Type of Selection • BC (*COM 11 & 12) • MB (*English–Senior 3 & 4) Matrix • ON (*ENG 3C & 4C) • SK (see iLit.ca) Themes and Topics • War/confl ict AB • Mass media/pop culture/trends • 2 Comprehend literature and other texts in oral, • Discrimination/bias/prejudice print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.2, 2.2.1, 2.3.1 • Danger • 3 Manage ideas and information: 3.1.1, 3.2.1 • Survival • 4 Create oral, print, visual and multimedia texts, and • Refugees enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.4 Summary Th is matrix is a visual summary of the story of the BC lost children of Sudan. Th e matrix is divided into • Oral Language: A1 four quadrants that are organized around a central • Reading and Viewing: B3, B5, B9, B12 title, “Th e Lost Boys and Girls of Sudan: A Matrix of • Writing and Representing: C2, C6 Western News.” Four arrows extend from the title to the subtitles: Survival (top), Death (bottom), Safety MB (left ), and Danger (right). Each quadrant includes written text as well as visual illustrations that refl ect the • 2 Comprehend and respond personally and critically main idea. Each quadrant contains information that to oral, print, and other media texts: 2.1.3, is the “opposite” of the quadrant across from it (i.e., 2.2.1, 2.2.2 Survival—Death, Safety—Danger). • 3 Manage ideas and information: 3.1.4, 3.2.4, 3.2.5, 3.3.1 Readability • 4 Enhance the clarity and artistry of communication: 4.1.2, 4.1.3, 4.2.4, 4.3.5 • Average selection for most students to read • Moderate level of inferencing required ON • Straightforward diction/words/phrasing • Reading and Literature − Reading for Meaning: 1.4, 1.8 • Graphical literacy required − Understanding Form and Style: 2.1, 2.2 Potentially Controversial and • Writing − Developing and Organizing Content: 1.3 Sensitive Issue Th e use of red to represent both the Sunni Muslim SK population in the pie graph and the subtitles “Danger” Will be included when the ELA curriculum is fi nal. and “Death” is unintentional and is not meant to imply See iLit.ca for more details. a connection; it may be problematic for some students and potentially off ensive to Muslim students.
Selection Support: GrAfrica?: The Lost Boys and Girls of the... MHR Custom 45 Background Support • North Sudan at one time was under the rule/infl uence of Egypt, whereas South Sudan was under British control until it achieved independence. Th is accounts for the predominantly Muslim ideology of the North, and the Animistic and Christian traditions of the South. Th ere have been two bitter and brutal civil wars in the country, and South Sudan has only recently declared its independence from Sudan (July 11, 2011). • As part of the ongoing confl ict, northern forces targeted the children of the south—mostly boys—to prevent them from growing up and fi ghting as soldiers for the South. Th ousands of these children left their families to fl ee on foot and seek refuge in neighbouring countries, oft en travelling over a thousand kilometres. Many children died of hunger, starvation, and other causes, as indicated in the matrix. • Panther Kuol, one of 600 “Lost Boys” who found refuge in Canada, lived in a refugee camp in Kenya, fought for an education, and earned scholarships. He is currently attending university in Vancouver, British Colombia. Th ere are a number of Web sites that off er information about “Th e Lost Boys” of Sudan and Panther Kuol.
Before
Locate Sudan on a map. As a class, brainstorm everything you know or can guess about this country, e.g., climate, plants, animals, population, religion, economy, etc. How do you know these facts? • Teachers might use a projection system and interactive maps of Africa. Google Earth maps for Sudan and South Sudan do allow for zooming in on some of the major cities; however, detail is limited. See www.nationsonline.org/oneworld/ map/google_map_sudan.htm • Students can share their answers to “How do you know these facts?” Th ey might have personal experience as African Canadians. Students might watch the news, surf the Internet, or study this in history or geography class. Th ey might just make educated guesses based on what they already know about the geography of Africa.
During
The information in this selection is organized into a rectangular form called a matrix. This matrix uses the intersecting lines of Survival–Death, and Safety–Danger, as well as symbols, numbers, and text to graphically show the reported experiences of the lost boys and girls of Sudan. Use a T-chart as you read to make notes about what you understand from the matrix, and what you wonder about. • It is suggested that students begin in the middle of the matrix, read the all-important title, and then look to the right, which identifi es the dangers. From there, students should read the matrix clockwise, ending with “Survival.” • Students should be able to identify the important pieces of information provided in each of the four quadrants of the matrix.
46 MHR Custom Selection Support: GrAfrica?: The Lost Boys and Girls of the... Sample T-chart notes:
What I Learned from the Matrix What I Wonder About civil war in Sudan began 1983 What was it like for little children, having to leave their families? children have to fl ee on foot How did such small children survive on their 10,000 children died own? 2,000,000 Sudanese people die in war How did children cope with the danger and 22,000 children arrive in Ethiopia (1987) but the fear? What gave them the strength to must leave due to a military coup there go on? 16,000 children make it to refugee camps in What is it like in Sudan now? Kenya (1992) Do the children now in Canada like it here or had to suck water from muddy puddles to do they want to go home? survive What are the survivors doing now? had to run from soldiers Who is Panther Kuol? had to swim in infested waters 600 boys moved to Canada (2005) war now over
After
1. Reading for Meaning Using the information in this matrix, summarize the plight of the lost boys and girls of Sudan in writing. If there are any gaps in your telling of the story, write a list of questions at the bottom of your report outlining the additional information needed. • Students might benefi t from a mini-lesson on how to write a summary: 1. Read the text several times. 2. Identify the main idea (look at the title if there is one, or make up a title if there isn’t one); put the main idea in your own words. 3. Look for subtitles that indicate how the main idea is broken down into subcategories of ideas and information. 4. Take point-form notes, in your own words, wherever possible. 5. Eliminate non-essential information. 6. Eliminate multiple examples (one is enough usually). 7. Eliminate quotations. 8. Eliminate unnecessary or repetitious statistics. • Aft er students have fi nished writing their summaries, they should review the steps from the mini-lesson above and double-check to make sure their summaries refl ect all of the points. • Possible questions to obtain additional information: − How did the lost boys and girls know where to go and what to do when they fl ed? − Did they travel in huge groups? − How did some of the boys make it to Canada? − Who is Panther Kuol? − Where are the children now who moved to Canada? − What is it like now in Sudan? − What happened to the rest of the lost boys and girls who did not come to Canada? − Where are the families of the lost boys and girls today? Did some of the children make it back to them?
Selection Support: GrAfrica?: The Lost Boys and Girls of the... MHR Custom 47 2. Viewing and Representing Find an example of each feature in the list and then describe what it adds to the meaning or to your understanding of the matrix.
Possible response:
Text feature Example from matrix What does it add? Supportive graphics The drawings of the Creates fear in me; makes me visualize crocodile & snake what the children had to face Symbols The planes & the dotted Shows how 600 boys were rescued and lines where they travelled Lines of direction The arrows Really helps me follow the direction of the ideas, from the middle out Organization The division of the page Organizes the information into four into four quadrants subtopics, so I can understand it in chunks Titles The main title in the Really helps me fi gure out what is middle is the main idea; important & how every idea is categorized the four subtitles divide according to the subtitle/subtopic the main title into four areas Fonts Diff erent sizes/styles Size of font refl ects importance/size of of font for main titles idea: title, subtitle, text and subtitles; diff erent Colour of font categorizes information: colours for pairs of red for danger & death, blue for safety & subtitles survival; helps me make connections
• Students should have an opportunity to critique the eff ectiveness of this matrix Assessment as Learning as a source of information. Th is can be done through a discussion at this point, or as a refl ection or discussion aft er completing the study of this selection. Ask students to consider the following questions: − What are some of its strong features? (the drawings of the crocodile and snake really bring home the physical danger; the prints of bare feet indicate the incredibly long journey and the horrifi c deprivation the children suff ered; the arrangement of information emphasizes the diff erences between safety and danger, survival and death.) − What are some of the weaknesses of this matrix? (the pie chart in the bottom right corner is confusing—at fi rst glance it seems to represent the religious backgrounds of the lost children, since the lost children are the topic of the matrix, but that contradicts the information given in the paragraphs accompanying the matrix; the footprints lead back to Sudan, but there is no information [i.e., numbers and year, as there are for the ones who went to Ethiopia, Kenya, and Canada] about children who went back, so a reader is left wondering how many and why.) − How could the matrix be improved? (move the pie chart to the middle and the title to the top, or move the pie chart to the top and label it as “Sudan’s People”; put a number and year on the footprints that lead back to Sudan; change the colour representing Sunni Muslims in the pie chart.) − Which has more impact for the reader: the information presented in the text accompanying the selection or the information presented in the matrix? Why? (Students will have diff erent opinions and need only to support them with reasons based on what they experience with this selection.)
48 MHR Custom Selection Support: GrAfrica?: The Lost Boys and Girls of the... 3. Student Voice a) Do you think Canada should off er money to help people in other countries who are suff ering or are in danger? Explain. • Students with diff erent philosophies will take diff erent positions on this point. What is important is for them to be able to defend their positions with facts and reasoned arguments. • Teachers might try to guide students to an understanding of what happens when people stand by and do not try to help others. What would have happened to those 600 lost boys had Canada not given them refuge? What would have happened to all those thousands of children who found themselves in Kenya, if there had not been refugee camps for them? Canada has a long history of helping others, whether through peacekeeping, disaster relief, or other works of charity. To help develop an appreciation of Canada’s place on the global stage, the class could generate a list of humanitarian eff orts in which Canada has been involved.
b) What do you think teens like yourself could do to help children in situations similar to that of the lost boys and girls of Sudan? • Teens can participate in fundraisers and they can volunteer for charities and other organizations whose purpose is to help such children. • Teachers might want to share with students stories of children who have been victims of exploitation, such as Iqbal Masih who became famous aft er speaking out against child slavery and was murdered for it. Information on Masih can be accessed at − http://www.newint.org/easier-english/child_labour/iqbal.html • Teachers may also want to share examples of inspiring teens such as Craig Kielburger, who founded Free the Children when he was just twelve years old. Information about Kielburger can be accessed at − http://www.freethechildren.com/aboutus/history/ • Th is is an ideal opportunity for students to consider the power of social media. Encourage them to see that simply sharing information is a strong way to eff ect change. Facebook, Twitter, online petitions, and even simple emails can be used to put pressure on governments to act. Letters to editors, rants on YouTube, and other public acts can pressure the parties involved. Change oft en starts at the grassroots level. • At the same time, students should consider the problems that can be associated Assessment for Learning with grassroots movements that spread through social media. Because people feel anonymous, they can express extreme and sometimes dangerous views. Students can discuss what kinds of principles they would want themselves and others to follow in working for positive change in society. Th e role that social media played in rioting in Great Britain and the Middle Eastern “Spring” in 2011 could be researched and discussed in terms of whether they represented positive or negative models for fomenting social change.
4. Critical Literacy This matrix presents facts visually. However, through the choice of facts, choice of organization, and choice of pictures, beliefs are also presented. What set of beliefs does this matrix present? • Students should see that the title tells them that this is Western news. All the information presented is from a Western perspective. Th ere is no representation of Northern Sudanese ideas or information. Since only a Western viewpoint is presented, the matrix can be seen as slanted or biased. • Th e boys and girls are described in heroic terms under “Strategies for Survival,” having faced incredible dangers such as crocodiles and starvation. Th e sketches
Selection Support: GrAfrica?: The Lost Boys and Girls of the... MHR Custom 49 of a soldier, a crocodile, and a venomous snake emphasize the incredible dangers that the lost girls and boys faced. In this way, the choice of pictures draws attention to the heroism of the children and the threats to their survival. It also reinforces Western views of Africa as a dangerous and untamed continent. Th ere is no information from a soldier’s viewpoint and no information as to the causes of the civil war. Choice of facts is important, since it admits some pieces of information and omits others.
5. Metacognition Which features helped you the most to read and understand this matrix? What does this say about the way you read graphical texts? Th is question will help students identify what their reading strengths and styles are. Visual learners might say that the images and colours were the most helpful. Linguistic learners might say that the written text helped them the most, while students with logical-mathematical strength might say the graph, for example, extended their understanding of the problems in Sudan. Students should be able to make some conclusions about what works best in aiding their comprehension.
Beyond
Reading for Meaning Research a story about one of the lost boys and girls of Sudan. Present his or her story in the form of a news article, photo collage, or oral presentation. Be sure to include information that was not part of this matrix. • Below is a partial list of names of lost boys from which students can choose if they need specifi c research support: − Benjamin Ajak − Jacob Deng − Aher Arop Bol − Peter Nyarol Dut − Santino Majok Chuor − Emmanuel Jal − John Bul Dau − Gabriel Bol Deng − Ger Duany − Koor Garang − Alephonsion Deng − Garang Mayuol − Valentino Achak Deng − DiAnn Mills − Benson Deng − Abraham Nhial • To begin planning their research inquiry, students could be encouraged to use BLM 1: KWS Chart. • Students and teachers might generate a list of criteria, common to all the fi nal Assessment for Learning research products. Th ese criteria could include the following: 1. Depth of research 2. Proper citation of sources used; a works cited page 3. Eff ective use of visuals 4. Consistent use of formatting tools such as titles, colour, italics, bolding, etc. 5. Correct use of grammar, diction, and conventions of eff ective communication 6. Professional polish of product Th ese criteria could then be turned into a checklist for students to assess their research and fi nal products before submitting them.
50 MHR Custom Selection Support: GrAfrica?: The Lost Boys and Girls of the... BLM 1: KWS Chart
Topic:
What I Know What I Want To Know Possible Sources
Selection Support: GrAfrica?: The Lost Boys and Girls of the... MHR Custom 51 Selection Support: I Witness
Author Curriculum Connections Michael Redhill *This selection is most suitable for these courses: • AB (*ELA 20-2 & 30-2) • BC (*ELA 11 & 12) Type of Selection • MB (*English–Senior 3 & 4) Narrative essay • ON (*ENG 3U & 4U) • SK (see iLit.ca)
Themes and Topics AB • Th e arts (music/literature/dance/fi lm) • 2 Comprehend literature and other texts in oral, • Science/technology print, visual and multimedia forms, and respond • Customs/traditions personally, critically and creatively: 2.1.1, 2.1.2, 2.2.1, 2.3.3 • Personal essays • 4 Create oral, print, visual and multimedia texts and • Literature enhance the clarity and artistry of communication: • Storytelling 4.1.1, 4.1.2 • Human connections BC Summary • Oral Language: A1, A9 • Reading and Viewing: B2, B5, B6, B7, B10 Michael Redhill reminds readers that we are all humans being, not merely human beings. He explains the • Writing and Representing: C1, C5, C6, C7, C12 relevance and history of the personal essay and reveals the importance of recording our experiences so that we MB can share a part of ourselves and provide “proof that • 2 Comprehend and respond personally and critically [we] have lived.” to oral, print, and other media texts: 2.1.2, 2.2.1, 2.2.3, 2.3.1, 2.3.2, 2.3.5 • 4 Enhance the clarity and artistry of communication: Readability 4.1.2, 4.2.1, 4.2.4 • Challenging selection for most students to read • Historical and literary references may be unfamiliar ON to many students • Reading and Literature Studies • Decoding strategies may be needed to understand − Reading for Meaning: 1.1, 1.2, 1.3, 1.4, 1.6 specialized vocabulary related to forms of writing − Understanding Form and Style: 2.1 • Writing − Using Knowledge of Form and Style: 2.1, 2.2, Interdisciplinary Links 2.6, 2.7 • Ancient history • Sociology/anthropology SK • Art history Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
52 MHR Custom Selection Support: I Witness Background Support • Caves paintings in Lascaux, France: Cave paintings in southwestern France that are more than 17,000 years old; mainly images of large animals that lived in the area at the time. • Paleolithic people: People who lived in the Stone Age and were the earliest to make and use stone tools. • Stonehenge: Prehistoric monument in southwestern England. Some astronomers believe that Stonehenge was used to predict eclipses and other astronomical events. • Virginia Woolf (1882–1941): English author, feminist, essayist, publisher, and critic known for her innovative stream of consciousness writing and emphasis on the psychology of her characters. • Eruption of Mt. Vesuvius: Located on Italy’s west coast, Vesuvius overlooks the Bay and City of Naples and is the only active volcano in mainland Europe. It has produced some of the continent’s largest volcanic eruptions; the most famous, in 79 AD, destroyed the cities of Pompeii and Herculaneum. • Pliny (23–79 AD): Lawyer, author, and magistrate of ancient Rome, who wrote emperors and historians hundreds of letters, many of which survive to this day and provide us with invaluable information about the Roman Empire. • Tacitus (56–117 AD): Senator and historian of the Roman Empire. • George Orwell (1903–1950): English author and journalist who wrote about social injustice and the dangers of totalitarianism. • Ivan Turgenev (1818–1883): Russian novelist, short story writer, and playwright known for his detailed descriptions of everyday life in Russia. • Sei Shonagon (c. 966–c. 1025): Japanese diarist and poet, and a witty, learned lady of the court, whose Pillow Book (Makura no sōshi) is one of the best sources of information on Japanese court life in the Heian period (784–1185). • Annie Dillard (1945–): Pulitzer Prize-winning American author, known for her works of narrative fi ction and nonfi ction.
Before
Recall details of a signifi cant event in your life, and share it with another person, either in writing, orally, or in quick sketches. Then refl ect, in journal style, upon why you chose that event and how well you shared it. • Students share information about signifi cant birthdays or childhood celebrations, religious ceremonies, grade school graduations, fun times with family or friends, meetings with special people, events that caused them to change in some way, etc. • As students write in their journals, encourage them to refl ect on how they felt as Assessment as Learning they recorded or shared their experiences.
Selection Support: I Witness MHR Custom 53 During
As you read, note the multifaceted defi nition for the personal essay provided by the author, and select your favourite aspect. • Students keep a running list of points that Redhill makes about personal essays (i.e., reasons for writing personal essays and forms that essays may take) or they place sticky notes in the text beside appropriate passages. • Examples include the following: - a record of “what I’d seen, what I’d experienced, and what I knew” - “the texture of lived experience” - “the act of witness” - “a record of the world [people had] lived in” - “proof that I had lived” - “From cave paintings to diaries and all the modes in between—these are the archetypes and seedbeds of the modern personal essay. Th ese forms have been used, down through time, to commemorate, to connect, and to give proof of life.” - “a little parcel of truth, or presumed truth, or selected truth, reaching out to the reader” - “the highest goal of the personal essay: to bring the reader into another life, time, or place. To expand his or her frame of reference.” • Students then develop a working defi nition of “personal essay” based on the ideas in “I Witness.” • Ask students what element of the defi nition they connect with most. What is it about the idea of personal essays that makes them want to read one? Write one? • Students might recognize that their writing in journals, school newspapers, online blogs, and wikis might all be examples of personal essays.
After
1. Reading for Meaning According to the author, what traits are required to become a successful personal essayist? After you record your responses, number them in order of importance. • Th e author explains that the “tools of the personal essayist” are the same ones that a person needs to lead a meaningful life. Th ey include − “the presence of a voice, a living voice, that reaches out to at least one other person” − “a willingness to look longer, passion as well as empathy, the desire to leave something of yourself behind, a profound interest in people and the world, and humility paired with ambition” − the ability to “capture,” “observe,” and “share some part of one’s self” − the desire “to give of oneself, not only as a service, but also to be truly among others” − the desire “to put something small and important to you out there into the world, hoping someone else will fi nd it.” • Aft er students rate these traits in order of importance, they can read the Inspiration note to infer what traits are most important to Redhill. • Talk with students about their ratings. Ask them which “tools” they feel they Assessment as Learning possess and which ones they’d like to work on.
54 MHR Custom Selection Support: I Witness 2. Understanding Form and Style Use both quotations from the essay and your own words to show the diff erence between fi ction writing and personal essay writing. Use a graphic organizer, such as a Venn diagram, to help organize your response.
Sample answer:
Personal Essay Writing Fiction Writing Both • A record of personal • Novelist “creates” • Made-up stories experiences; stories and “imagines” a at heart of fi ction and “drawn from life” story in subjectivity of essay • “Presumed truth” • Story usually • Want to reach the reader • “Situation of the writer conveys an author’s • “The mundane, the in respect of the story is point of view or aside, the detail seemingly often the heart of the entertains meaningless, is what telling” makes both fi ction and • “Involved in a nonfi ction tick” conversation that crosses time” • A process of capturing and observing
3. Student Voice Create a hypothesis about the role of the personal essay in modern society. Be sure that your hypothesis extends beyond Redhill’s thesis. Students begin by identifying Redhill’s key idea about the role of the personal essay in modern society, and then they off er an alternate hypothesis.
Sample answer: Clear main idea Michael Redhill’s thesis is that the highest goal of the personal essay is “to bring the reader into another life, time, or place. To Specifi c references expand his or her frame of reference.” Cave paintings, letters, lists, to details in text diaries, memoirs, and more are all meant to achieve this goal.
My hypothesis is that personal essays provide writers with an Alternate opportunity to better understand themselves and the events hypothesis happening around them. Then when readers read about situations and feelings that are similar to ones they have experienced, they come to understand themselves better too. Additional hypothesis For writers, personal essays are also a way to connect people in deep ways. They are a way of reaching out to others, of letting people who we may never have the opportunity to meet know Specifi c references to details in text who we are, of proving that “we have lived.”
Selection Support: I Witness MHR Custom 55 4. Critical Literacy The author maintains that “the novel is fi ctional, but the personal essay is subjective. Which is to say, a form of fi ction is at play.” Use the author’s logic to identify subjectivity in any of the personal essays studied thus far. • Students discuss with a partner what Redhill means by “the personal essay is subjective … a form of fi ction is at play.” Th ey look for other statements that support his idea that personal essays are subjective, for example: − “All of these I’s; each and every one of them a little parcel of truth, or presumed truth, or selected truth, reaching out to the reader.” − “It’s the choice of detail that makes an essay last, the way the writer structures the chaos of life into something small but somehow comprehensive.” • Th en students look for examples of subjectivity within this essay and in other essays that they’ve read. For example, when Redhill writes that “the personal essay is the fullest expression of [life],” he’s sharing his opinion about personal essays. When he writes “what a rather marvelous image of something so common,” he’s off ering his thoughts about a thousand-year-old description of mosquitoes. • Ask students what eff ect subjectivity has on them as readers. Some students may say that it helps them understand the author’s point of view, while others may say that they prefer to form their own opinions rather than be told the author’s.
5. Metacognition “Where the diarist is almost always witnessing him- or herself, the essayist may be recounting stories or events he or she has heard tell of, but the situation of the writer in respect of the story is often the heart of the telling.” Keeping this passage in mind, what did you learn from this essay that you might apply to your own writing? • Students talk with a partner or small group about what the quote means: Diarists write about things that they witness personally or that they experience, while essayists also write about things they hear about but may not see or experience. Regardless of whether writers are diarists or essayists, it is their point of view that is key to their writing. • Have students skim through “I Witness” to fi nd evidence of how Redhill has situated himself at the heart of his writing. For example, he writes − “I was a thirteen-year-old in a suburb of Toronto called Willowdale. And despite the vast diff erence of time that separated me from those artful painters, I had in common with them a basic human instinct: I wanted to record what I’d seen, what I’d experienced, and what I knew.” − “What I remember of my adolescence would hardly take a single notebook to fi ll, but in this diary, and others like it from later on in life, the texture of lived experience fi lled every page.” Students can repeat the process with other personal essays they have read. • Students then develop a list of fi ve tips to keep in mind as they write personal essays. Th ey could explore some of these ideas by writing one or two paragraphs of a personal essay on a topic of their choice.
Example: Tips for Writing a Personal Essay • When selecting a topic, choose something you’re passionate about. • Make sure that the opening statement grabs readers’ attention. • Show, don’t tell. Use descriptive language and specifi c details to communicate your ideas. • Help readers connect to what you’re writing about by describing experiences and emotions that they can relate to. • Personal essays by defi nition contain a personal perspective. Make sure you’re in your essay.
56 MHR Custom Selection Support: I Witness Beyond
1. Speaking and Listening Research an essay written by Orwell that fi ts the defi nition of personal essay. Find and highlight excerpts from the essay that exemplify the power of this form as described by Redhill. Read your excerpts for others to contemplate and engage in a discussion about the role of the personal essay in modern society. • Possible essays include − “Shooting an Elephant”: Th is story about a colonial offi cer who feels obliged to shoot a rogue elephant because he does not want to appear indecisive or cowardly before a crowd of indigenous residents is an example of “the writer in respect of the story [being] the heart of the telling.” − “Down the Mine”: Orwell’s essay about the arduous conditions of coal miners in the early 1930s involves readers in a “conversation that crosses time.” − “How the Poor Die”: Orwell’s essay based on his experiences in a publicly funded hospital in Paris is part of his “texture of lived experience,” a story “drawn from life.” • As students discuss the role of the personal essay in modern society, remind them to consider the hypotheses they developed in Question 3 of Aft er.
2. Creating Media Texts Create a “personal essay” using one of the forms identifi ed by the author: • Pensée • Runes • Reverie • Ideogram • Memoir • Lecture • Diatribe • Letter • Hieroglyphs Be sure that, in your selected form, there “is the presence of a voice, a living voice, that reaches out to at least one other person.” Your piece must also conform to the hypotheses on form and style you have created in your After reading considerations. • Students work in pairs. Each pair explores one form of personal essay that the author identifi es. Th ey look for examples (or you might provide students with examples), explore the form’s rules, discuss why this form might be considered a personal essay, and refl ect on whether the examples contain “the presence of a voice, a living voice, that reaches out to at least one other person.” • Each pair then meets with another pair that has studied a diff erent type of personal essay and shares what they have learned. Pairs continue to rotate until all students have learned about all the personal essay forms identifi ed by the author. • Students each choose one form to explore in their own writing. Th ey show their Assessment for Learning draft s to their partners, who off er feedback on the extent to which their writing refl ects the features of a personal essay, as defi ned by Redhill, and the extent to which it follows the rules of the particular personal essay form. • Students revise their writing based on the feedback, and then share their personal essays with other pairs.
Selection Support: I Witness MHR Custom 57 Selection Support: Pardon Me, I’m Canadian
Author Curriculum Connections Dominic Ali *This selection is most suitable for these courses: • AB (*ELA 20-1 & 20-2) • BC (*ELA 11 & 12) Type of Selection • MB (*English–Senior 3 & 4) Expository essay • ON (*ENG 3U & 4U) • SK (see iLit.ca)
Themes and Topics AB • Citizenship/ethnicity • 2 Comprehend literature and other texts in oral, • Identity print, visual and multimedia forms, and respond • Discrimination/bias/prejudice personally, critically and creatively: 2.1.1, 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.1, 2.3.3 • Customs/traditions • 3 Manage ideas and information: 3.2.1, 3.2.3 • Travel • 4 Create oral, print, visual and multimedia texts and • Stereotypes enhance the clarity and artistry of communication: • Canada 4.1.1, 4.1.3, 4.2.1, 4.2.2, 4.2.3, 4.2.4 • Culture • 5 Respect, support and collaborate with others: 5.1.1 • Manners BC • Etiquette • Oral Language: A1, A8 • Politeness • Reading and Viewing: B1, B2, B5, B6, B7, B8, • Disrespect B11, B12 • Writing and Representing: C2, C6, C10, C11, C13, Summary C14 Although Dominic Ali says that Canadians have MB a global reputation for politeness, he knows fi rst- • 1 Explore thoughts, ideas, feelings, and experiences: hand how easy it is to make etiquette mistakes while 1.1.1, 1.1.2, 1.2.2 travelling abroad. In an eff ort to help readers avoid such blunders, he has compiled a series of examples to • 2 Comprehend and respond personally and critically show us what not to do when visiting another country to oral, print, and other media texts: 2.1.1, 2.1.2, and how to react should we fi nd ourselves in the midst 2.2.1, 2.2.2, 2.2.3, 2.3.1, 2.3.2, 2.3.3, 2.3.5 of an embarrassing mistake. • 3 Manage ideas and information: 3.1.1, 3.1.3, 3.2.1, 3.2.2, 3.2.4, 3.3.1, 3.3.2 Reading Level • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.3, 4.2.1, 4.2.2, 4.3.1, 4.3.2, 4.3.3 Average selection for most students to read • 5 Celebrate and build community: 5.2.2, 5.2.3
Interdisciplinary Links • Sociology • Civics • Geography
58 MHR Custom Selection Support: Pardon Me, I'm Canadian ON SK • Oral Communication Will be included when the ELA curriculum is fi nal. − Speaking to Communicate: 2.1 See iLit.ca for more details. • Reading and Literature Studies − Reading for Meaning: 1.1, 1.3, 1.4, 1.5, 1.6, 1.7 − Understanding Form and Style: 2.1, 2.3 • Writing − Developing and Organizing Content: 1.2, 1.3, 1.4, 1.5 − Using Knowledge of Form and Style: 2.3, 2.4, 2.5 − Applying Knowledge of Conventions: 3.1, 3.3, 3.4
Selection Support: Pardon Me, I'm Canadian MHR Custom 59 Background Support
• Gringo: A derogatory slang term used in Latin America to indicate foreigners, especially English-speaking people. • Namaste : A word and gesture used to greet and say farewell to others, originating from India; the gesture involves placing one’s hands together by the heart and bowing the head.
Before
Identify three perceived cultural characteristics or traits of Canadians. Do not include habits or interests—only qualities. • Encourage students to consider both positive and negative qualities. • Possible traits include being − polite − friendly − helpful − caring − accepting of diverse cultures (i.e., multicultural) − peaceful − moderate − boring − unpatriotic. • Ask students whether or not they think these traits are accurate. Encourage them to give examples to support their points of view.
During
1. As you read, be aware of how tone and diction used by the author aff ect your understanding of his message. • Refer students to the defi nitions of “tone” and “diction” in the Tips box. • Students will notice that Ali creates an informal, friendly, humorous tone by using colloquial language and short, concise phrases, and by poking fun at his and others’ embarrassing travel moments. • Th e author’s friendly tone − helps readers understand the message because it makes the selection seem easy to read − makes readers feel as though they are engaged in a conversation with the author − indicates that the subject matter can be approached in a light-hearted way − reinforces the perception of Canadians as friendly.
2. As you read, list the customs of the countries mentioned. What values do these customs all have in common? • Students will read about customs to follow and customs to avoid. • Encourage students to list the countries, customs, and meanings of the customs in a chart.
60 MHR Custom Selection Support: Pardon Me, I'm Canadian Sample chart: Country Custom Meaning of Custom Canada Touch tip of index fi nger to Agreement or positive feelings; “okay” thumb to create a circle Brazil Touch tip of index fi nger to Disrespect, since this gesture refers to thumb to create a circle a body part; soccer fans often use this gesture to insult supporters of rival teams Senegal Reaching for food with left Disrespect, since left hand is used to hand wipe oneself after going to the toilet Mongolia Tossing food to a person Disrespect, since in Mongolia one only tosses things to dogs India Off ering visitors a cup of tea Welcome Asian countries Using tongue scraper after Hygiene brushing teeth Canada Taking up two parking Rudeness, selfi shness spaces in a crowded lot Canada Picking teeth with dinner Rudeness fork India Saying “Namaste” Polite way of greeting and saying farewell India Taking off shoes before Respect entering a shop Germany Saying “Gesundheit” after Politeness someone sneezes Canada Saying “Please” and “Thank Politeness you” Canada Removing shoes before Cleanliness, politeness entering a home
• All of the positive customs share the values of politeness and respect for others.
After
1. Reading for Meaning Explain which of the author’s anecdotes is strongest at proving his thesis. • Students may begin by identifying Ali’s thesis. One possibility is “Canadians enjoy a global reputation for being polite, both to each other and to others when travelling. But breaches of etiquette happen everywhere.” Students may also suggest a thesis such as “Canadians have a reputation for politeness but they sometimes act rudely in other cultures in spite of their best intentions.” Remind students that the thesis does not have to be explicitly stated in the text. • Encourage students to cite at least three supporting anecdotes before they refl ect on the strongest one. Ask them to support their opinions with valid and relevant reasons.
2. Understanding Form and Style This essay employs two distinct expository forms. Identify the two forms, and explain why the author chooses this organizational pattern to deliver his message. • Review with students the diff erent types of expository essays: − Defi nition: Th is type of expository essay defi nes a subject through a combination of research and other gathered facts and examples.
Selection Support: Pardon Me, I'm Canadian MHR Custom 61 − Compare and contrast: Authors of this type of essay try to educate readers on an issue or subject by noting the similarities and diff erences between examples or viewpoints. − Cause and eff ect: Th is type of essay demonstrates the results of particular actions. • Ask students, “Given the characteristics of the diff erent types of essays, which Assessment for Learning two forms are used in this essay? How do you know?” • Th is essay employs − compare and contrast, as Ali describes how a word, gesture, or action can mean one thing in one country and something completely diff erent in another country − cause and eff ect, as Ali describes local people’s reactions to Canadians’ blunders or demonstrations of respect.
3. Critical Literacy What values or world view does the author assume the reader holds? How do you know? • Th e author assumes that the reader values politeness and respect and wants to represent Canada to the rest of the world politely and respectfully. • If the author did not assume this world view, he would not have written an essay whose goal is “to make sure that none of the students reading this essay will turn out to be the Global Village Idiot.”
4. Understanding Form and Style What tone does the author achieve through his diction? Give examples from the essay that illustrate his tone. Is this tone appropriate for the subject matter in the essay? • Students could refer to their answers for Question 1 of During. • To create a casual, conversational, light-hearted tone, Ali − uses an abbreviated style of questions. For example, he writes, “Hate when somebody bumps into you …” instead of “Do you hate it when somebody bumps into you …?” − uses casual words and phrases, such as “Canucks,” “jerks,” “left paw,” “didn’t go over too well,” “wasn’t a big deal,” and “gross.” • To help students identify whether this tone is appropriate for the essay’s subject matter, have them recall why Ali chose this tone. As well, encourage them to consider the perspective of people whose fi rst language is English and who are familiar with this vernacular versus the perspective of people whose fi rst language is not English and who are not familiar with this vernacular.
5. Metacognition Rate the reading diffi culty of this essay on a scale of one to ten, with ten being extremely diffi cult. Explain the criteria on which you based your rating. To what extent does the level of complexity aff ect your appreciation of the essay? • As students rate this essay’s reading diffi culty, they could consider the following: − vocabulary − sentence length − sentence structure − tone − use of anecdotes − organization − length of essay − subject matter − reader’s comfort level with vernacular Canadian English.
62 MHR Custom Selection Support: Pardon Me, I'm Canadian • Students may have diff erent opinions about the reading diffi culty, based on their own experiences and on the relative importance of the factors in the list. Ask them to support their opinions with relevant and specifi c reasons.
6. Student Voice Working in a small group, create a manifesto of universal etiquette in which you identify customs, behaviours, and practices that you, as a group, believe every culture in the world should adopt. Present your manifesto to the class. • Review the defi nition of “manifesto” with students (i.e., a public declaration of principles, opinions, or objectives). • Ask students what ideas or values they think should be the basis of universal rules of behaviour. • Encourage students to brainstorm ideas for their manifesto, and then to choose the three customs, behaviours, and practices that they consider most important universally. • Ask students to refl ect on this activity. What was diffi cult about it, if anything, Assessment as Learning and why? Students may say that it is diffi cult to impose rules of behaviour on other cultures when language, gestures, and manners are so tied to cultures and assumptions.
Beyond
Creating Media Texts Create a research-based etiquette guide for a country with which you are familiar, or are interested in discovering. Divide your guide into sections, such as eating, shopping, and dressing. Consider using one of the following formats: a blog, a pamphlet, a Prezi, or a Web site. • Students can work in small groups, with each student focusing on one aspect of etiquette in the country of their choice. • Whichever format students choose for their presentation, their guides should Assessment of Learning include the following: − clear, accurate, interesting information based on research − specifi c, relevant details − proper citation of all research sources used − clear organization of information into sections and topics − accurate spelling, grammar, and punctuation − precise diction. • Encourage students to share their presentations with one another and to compare and contrast the customs they’ve identifi ed.
Selection Support: Pardon Me, I'm Canadian MHR Custom 63 Selection Support: Reading Liberia
Author Curriculum Connections Kathy Stinson *This selection is most suitable for these courses: • • AB (*ELA 9, 10-1 & 20-1) • • BC (*ELA 8, 9 & 10) Type of Selection • • MB (*English—Senior 1 & 2) Travel journal • • ON (*ENG 1D, 2D & 3C) • • SK (see iLit.ca)
Themes and Topics AB • Education/learning • 2 Comprehend literature and other texts in oral, • Th e arts (music/literature/dance/fi lm) print, visual and multimedia forms, and respond • Social issues/social justice personally, critically and creatively: 2.1.2, 2.2.1, 2.3.1, 2.3.2 • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.1, 3.2.3 Summary • 4 Create oral, print, visual and multimedia texts, and When years of civil war ended in Liberia, schools enhance the clarity and artistry of communication: were sorely lacking in resources. Today, the country 4.1.1, 4.1.3, 4.1.4, 4.2.1, 4.2.2 sees education as the way to a better future. Author Kathy Stinson travelled to Liberia to help local authors BC produce schoolbooks that the children would want to • Oral Language: A2, A5, A6, A7, A10, A12 read. Th is travel journal documents Stinson’s trip to Liberia and the work she did there. • Reading and Viewing: B2, B5, B6, B8, B10, B12 • Writing and Representing: C2, C5, C6, C10, C12
Readability MB Average selection for most students to read • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.2, 2.3.5 • 3 Manage ideas and information: 3.1.2, 3.2.4, 3.2.5, 3.3.1, 3.3.2, 3.3.4 • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.3, 4.2.4, 4.2.5, 4.3.1, 4.4.1, 4.4.3
ON • Oral Communication − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6 • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.4 − Understanding Form and Style: 2.1, 2.2, 2.3 • Writing • Developing and Organizing Content: 1.1, 1.2, 1.3, 1.4 SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
64 MHR Custom Selection Support: Reading Liberia Before
Preview this selection to see how it is organized and to identify three diff erent text features that you think will help you understand the piece. • What does it mean to preview a text? By previewing a text students will skim and Assessment for Learning scan in order to answer the following: − What is the purpose for reading? − What can the title tell me about the text? − What is the text about? − Who is the author? − How is the text structured? • Hand out BLM 1: Text Features and review the types and purposes of text features. • Students may identify the following text features from their preview of the text: − headings: dates that create a timeframe − graphics: map showing location of Liberia within Africa; tape over corners of photographs creates sense of scrapbook − photographs: visual support for the text − captions: explain context and actions in photographs − sidebar: Tips box (glossary).
During
The author sometimes describes her emotions exactly, and other times uses rhetorical questions, fi gurative language, and carefully chosen anecdotes to express herself. As you read each journal entry, try to read between the lines to infer what the author is thinking and feeling. • Teachers may want to review the concepts of rhetorical questions, fi gurative language, and anecdotes before beginning: − anecdote: a story from life that is used to illustrate a point − rhetorical question: asked merely for eff ect with no answer expected −fi gurative language: the use of words or expressions in a way that diff ers from their literal meaning for comparison, contrast, emphasis, or freshness; includes metaphors, similes, alliteration, and hyperbole. • As they read, have students fi ll in BLM 2: Inferencing Th oughts and Feelings. • Students can share their inferences as a class when they are fi nished.
Sample responses for BLM 2: Inferencing Thoughts and Feelings
Example of rhetorical Journal question, fi gurative What is the author thinking Entry language, or anecdote and feeling? December 18 “A world traveller I’m not.” She’s anxious at the thought of going to a country so far away and so outside her realm of experience. January 23 “Will anything I’m planning She doubts she can make a connection be relevant in a country so or contribution that will be meaningful. diff erent from my own?” February 20 “But the ocean that lies Her experience in Liberia has made her between their country and feel closer to the country and its people; mine is somehow not as big as it no longer feels as strange or foreign as it used to be.” it did when she was just reading about it.
Selection Support: Reading Liberia MHR Custom 65 Sample responses for BLM 2: Inferencing Thoughts and Feelings (continued)
Example of rhetorical Journal question, fi gurative What is the author thinking Entry language, or anecdote and feeling? January 29 “‘The knowledge acquired … She understands and appreciates the is value[d] more than gold and importance of the project and the silver or any other precious resulting books. stone.’” June 23 and Story about her connecting She feels a connection to the little girl, July 1 with a little girl on the streets of the country, and the project. Monrovia.
After
1. Reading for Meaning Create a comparison chart to show how the classrooms in Liberia are similar to and diff erent from classrooms in Canada. • As there can be a wide variation among classrooms in diff erent parts of Canada, teachers may want to have students consider the characteristics of their own classroom as the point of comparison.
Sample comparison chart:
Similarities Diff erences in Liberian Classrooms • using newly learned strategies for • small, dark, and overcrowded teaching reading • one copy of one book for whole class • variety of teaching styles and methods • teacher printing on chalkboard and among teachers children reciting over and over • students motivated to learn as a result of • children copying words from the board new teaching methods into copy books • students are engaged by active learning • students can’t go to school unless parents more so than memorizing can pay for uniforms • some teachers “motivate” students to learn with corporal punishment
2. Viewing and Representing If there could be only one of the fi ve images included with this selection, which one would you choose to keep and why? • Images are usually chosen carefully with a defi nite purpose in mind: to illustrate directly a scene or character or object described in the text; to complement the text by showing things that are described briefl y or only hinted at; to create an emotion that reinforces the text; to visually represent the meaning of the text, etc. • Students should begin by considering the purpose for each picture in the selection and how the image contributes to the overall piece. Each of the images does serve an important function in enhancing the text, so students may choose any one of the images for a particular reason. Th e important thing is for students to clearly explain their reasoning for selecting a particular image, including an explanation of its purpose and its relationship to the text as a whole.
66 MHR Custom Selection Support: Reading Liberia Sample reasons for choosing each image
Image Reason for choosing as the only image map sets the location of the project; makes the whole article more interesting and understandable a student copies words shows the conditions in the schools; makes a connection with the reason for the project—improving education for the students Liberian writers’ workshop shows the various writers working on the project; these are the people the author teaches; they look serious and interested in learning James Dwalu shows success of the project—an author and a printed copy of his book; reinforces why the author went there in the fi rst place streets of Monrovia shows a slice of life that helps make the author’s description of the little girl feel even more real; sets the stage for the author’s account
3. Critical Literacy How has the author’s position changed on Liberia before she began and upon completion of the project? What is she trying to make the reader understand about Liberia and the type of work she was doing there? • Th e author’s purpose for travelling to Liberia is the literacy project. Th e success of the project has a great impact on the author in her understanding of the people and the importance of the work that she was doing there. • Students may fi nd it helpful to begin by creating a T-chart to compare the author’s view of Liberia before beginning the project and aft er completing it.
Sample T-Chart:
Before the project After the project surprised by the off er to travel to Liberia doesn’t feel the physical separation makes such a diff erence didn’t know much about the country so did notices positive changes in the city streets some research and beaches mixed messages regarding the safety of feels at home in the country travelling to the country reads that Liberians see education as their having met the teachers and their students, hope for a better, more peaceful future and seeing their commitment to education, feels that it’s true wonders how relevant her support will be feels like she has played a signifi cant role in a country so diff erent in Liberian history; is proud of the books that have been produced by the writers she taught.
• To answer the second part of the question, encourage students to make connections between how the author related to Liberia before and aft er the trip and how she would want her readers to perceive that country. Before, it was a distant, abstract place that she knew of only through facts. Aft er, it was a place of real people, real relationships, and personal successes. Her knowledge of Liberia went from impersonal, arm’s length information to real, fi rsthand experience. • Th e author’s changing perceptions of Liberia may be a way of illustrating that what people in the West think of Africa may not be accurate, and that we oft en
Selection Support: Reading Liberia MHR Custom 67 make assumptions and judgments about places and their people that do not come close to capturing the reality of the situation. Th e author shows that, in many ways, people are not so diff erent and that meaningful connections—and success—can be achieved.
4. Student Voice In the fi nal sentence of this work, the author states, “We’re connected by stories that I have read and that she will, I hope, read one day, too.” Do you believe that stories read by people around the world help us better understand ourselves and each other? Explain your position. • To help students approach this question and shape their opinions, begin by asking students to refl ect on the following questions: − What are the purposes of stories? − What can stories reveal about other cultures or peoples? − Have you read stories from other parts of the world? What did you learn from them? Did you gain new understanding? • Some students may suggest that if people around the world read the same stories, they would see how much we have in common as “citizens of the world” and it would be a means to better understanding. Other students may argue that stories may not always be a means of understanding ourselves or one another, especially stories that are diffi cult for readers outside of the culture to understand or appreciate. In fact, in some cases, stories may create more misunderstanding. Others may take a position in between, by noting that the level of understanding that could be achieved through a story depends on the nature of the story, including its subject matter, symbolism, imagery, and message, and the nature of the reader. • Regardless of the position they take, students should be able to explain their view clearly, with reasonable arguments and examples to support it.
5. Understanding Form and Style How is the information about Liberia and the writing program presented diff erently in this fi rst- person perspective compared to the third-person perspective often seen in newspaper articles? • Here is an opportunity to review some of the diff erences between fi rst- and third- Assessment as Learning person perspectives in writing, including: − First person uses “I” and “me.” First person lets the writer express the narrator’s personal feelings and attitudes about events and characters. It can only tell what the narrator knows, and the narrator may not be accurate or honest and therefore can’t always be relied upon. −Th ird person uses “he,” “she,” or “it.” Th e narrator may have a limited view or an omniscient view, depending on whether or not the narrator knows everything about the situation. Th ird-person narration gives the writer an opportunity to present a wider picture of events and characters than fi rst person does. • By writing from the fi rst-person point of view, the author includes details that allow the readers to experience the events through her thoughts and feelings. It is more personal but less objective than third-person narration used in a newspaper article. • What information could a third-person account of this story include? It might give details about how people in Liberia felt about the visitor from Canada. It might explain much more about the school system, literacy rates, the problems the Liberians perceived, and what they hoped to address with this project. It might tell more about the local writers and the books they were producing. It might include specifi c facts and fi gures on Liberia’s education system, the Reading Liberia program, and the organizations behind it.
68 MHR Custom Selection Support: Reading Liberia • Once students have determined what information would be diff erent, ask them to consider how these changes would aff ect them as readers. What impact would the changes have on the eff ectiveness of the author’s message?
6. Metacognition How did previewing the text and making inferences help you to better understand this selection? • Ask students to look back at the text features that they identifi ed in the Before activity and think about how previewing the text helped them set the context for reading and making a connection with the author. Ask: How did knowing that it was a series of journal entries infl uence your approach to reading the text? • Next, ask students to refl ect on the inferences they jotted down in the During activity. How did making note of their inferences aff ect their reading? Students will likely say that it helped them engage with the text by giving their reading a focus and forcing them to pay closer attention to clues in the text.
Beyond
Speaking and Listening Do a short interest talk on the education system in another developing country. Summarize the challenges the country faces and present them to the class along with any initiatives underway to help the situation. Afterwards, take questions from the class and actively listen to be sure your response answers the question. • Students are to research a developing country and may need to be reminded that a developing country is designated by a low standard of living, low economic growth, and limited industrial development. • Encourage students to think about the following as they plan their interest talks: − What educational challenges are the country and its people facing? − What are the causes of the challenges? − What initiatives are addressing those challenges? How? − Are the initiatives having any success? Why or why not? − If there are no initiatives, identify reasons why they may be lacking, and suggest some approaches to the educational challenges yourself. − What visual(s) can you include to support the content of your interest talk? • Encourage the audience to ask open-ended questions of the presenter, i.e., questions that cannot be answered by a simple “yes” or “no.” Open-ended questions oft en begin with “why” or “how.” • Before beginning this assignment, students could review active listening skills Assessment as Learning in preparation for taking questions from the audience. An active listener − avoids interrupting the speaker before he or she has completed the question − faces the speaker and shows that he or she is paying attention − asks for clarifi cation if a question is not clear − pauses before answering − may repeat the question to make sure it is clear before answering − follows up an answer by asking if it has addressed the question.
Selection Support: Reading Liberia MHR Custom 69 BLM 1: Text Features
What are text features? Text features are created to help you locate and learn information. Text features are used in designing and organizing the information.
Why are text features helpful? Looking at text features will help you know what is most important in a text and will help you locate information quickly. Looking at the titles in the table of contents or on a page can quickly tell you what information you will learn about. Reference sections, such as the glossary or index, can help you fi nd out more about a certain topic or word. Organizational features Graphical features • titles • photographs • headings and subheadings • artwork or illustrations • index • diagrams • table of contents • graphs • glossary • maps • boldfaced, italicized, or highlighted words • charts and tables • use of fonts: colour, style, size, underlining, etc. • timelines • sidebars: vocabulary, tips, interesting facts or fi gures, etc. • bulleted or numbered lists • captions • labels
How can you use text features? To understand words and vocabulary, look for • glossary • vocabulary boxes • boldfaced, italicized, or highlighted words To fi nd main ideas and topics, look for • table of contents • headings and subheadings • index • sidebars To fi nd data including facts, fi gures, and geographical location, look for • graphs • maps • charts • tables • sidebars • bulleted or numbered lists
70 MHR Custom Selection Support: Reading Liberia BLM 2: Inferencing Thoughts and Feelings
Name:
Example of rhetorical question, What is the author thinking Journal Entry fi gurative language, or anecdote and feeling?
Selection Support: Reading Liberia MHR Custom 71 Selection Support: From Prairie Sky to Midnight Sun
Subtitle AB “Our Journey North with the Little Yellow Mosque” • 2 Comprehend literature and other texts in oral, print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.1, 2.1.2, 2.2.1, Author 2.3.1 Nilufer Rahman • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: Type of Selection 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.4 • 5 Respect, support and collaborate with others: 5.1.1, Travel journal 5.1.2
Themes and Topics BC • Spirituality/faith • Oral Language: A1, A2 • Identity • Reading and Viewing: B2, B5, B6, B7, B9, B10, B12 • Writing and Representing: C4, C5, C9, C10, C13, C14
Summary MB Th is travel journal charts the 4000-km journey of a • 2 Comprehend and respond personally and critically small mosque that was built in Winnipeg, Manitoba, to oral, print, and other media texts: 2.1.2, 2.1.3, and moved by truck to Inuvik, Northwest Territories. 2.2.1, 2.2.2, 2.3.2, 2.3.5 • 4 Enhance the clarity and artistry of communication: Readability 4.1.1, 4.1.2, 4.1.3, 4.2.1, 4.2.3, 4.2.4, 4.3.1, 4.3.2 Average selection for most students to read • 5 Celebrate and build community: 5.1.3, 5.2.2, 5.2.3 ON Curriculum Connections • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.5, 1.6, 1.8 *This selection is most suitable for these courses: − Understanding Form and Style: 2.1, 2.2 • AB (*ELA 9, 10-1 & 20-1) • BC (*ELA 8, 9 & 10) −Refl ecting on Skills and Strategies: 4.1 • MB (*English—Senior 1 & 2) • Media Studies • ON (*ENG 1D, 2D & 3C) • SK (see iLit.ca) − Creating Media Texts: 3.1, 3.2, 3.3, 3.4 SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
72 MHR Custom Selection Support: From Prairie Sky to Midnight... Before
Consider the title of this selection. What do you think “midnight sun” refers to? What do you predict the selection will be about? • Students may or may not be familiar with the term “midnight sun.” It’s a reference to the phenomenon of around-the-clock daylight that occurs in summer in the Far North. Because of the angle of the earth to the sun, the sun never sinks below the horizon. • Based just on the title, students might predict the selection will be − about a move from south to north, from the Prairie to the Arctic, “land of the midnight sun” − a story set between the Prairie and the Far North. • If students consider the subtitle “Our Journey North with the Little Yellow Mosque,” as well, they will likely predict that the selection will be about a trip from the Prairies to the Far North with a mobile mosque.
During
As you read, record any questions you would like to ask the author or the people involved in the journey. Asking questions helps students engage with the text. Encourage them to ask open-ended questions, which are those requiring more than a simple “yes” or “no” answer, such as • Who paid for the mosque and its delivery? • What kinds of barriers did you have to work around in the move? • How did documenting the journey change your view of the North? • What most surprised you about the North?
After
1. Reading for Meaning “When you respect other people, people will respect you for who you are, too, and that’s the way our people should live together.” What evidence in this selection confi rms that the community believes this? Students may identify the following evidence from the selection: • Diff erences in their culture, religion, and skin colour are not important to Jase and Isaac. • Being part of the community is a priority for Amier, a prominent Muslim businessman. Amier volunteers as a fi refi ghter, soccer coach, and cultural coordinator and has run for municipal offi ce. • Muslims and their neighbours and friends volunteered for weeks to complete the mosque’s construction. • Muslims mentioned the respect they have for the Inuvialuit and Gwich’in who hold the land in such high esteem. • Hamid enjoys spending time with First Nation elders who remind him of the warmth of his family back in Sudan. • Th e Muslim community announced that everyone would be welcome, always, in the mosque. • Members of the whole community, including the mayor, were invited to celebrate the inauguration and share a feast at the local arena.
Selection Support: From Prairie Sky to Midnight... MHR Custom 73 2. Understanding Form and Style a) What kinds of information are given in the headings? What are the benefi ts of this text feature for readers? • Students should note that there are two types of information given in the subheadings: the dates and stages of the journey, and a hint at the content that follows. • Th ese headings make locating specifi c information easier, identify the focus for reading in that section, and help readers follow the sequence of events in the journey.
b) This travel journal is organized chronologically. Find four examples of transition or connecting words and explain how they clarify the sequence of events.
Sample answers:
Transition or connecting words (underlined) Clarifi cation “The mosque got a celebrity send-off ” signals the start of the journey “Gradually the endless prairie became hills indicates the slow movement of and winding roads…” the mosque “Still, the mosque encountered…” emphasizes ongoing issues/continuing journey “At last the mosque arrived safely…” signals the journey’s end “In the coming weeks I discovered…” indicates the passage of time “In the end I discovered…” signals fi nal refl ection
3. Viewing and Representing Analyze the photos accompanying this selection. What nonverbal cues (for example, body language, facial expressions, posture) help you to understand what’s happening in the photo? Students may suggest the following: Photo/Caption Nonverbal cues/what’s happening #1 The mosque travelling the lonely no other traffi c on the road; mosque dwarfs truck; prairie roads. long and diffi cult trip #2 Moving the teetering mosque over a diffi cult work and important part of the journey— narrow bridge in northern Alberta. someone is fi lming it; highway workers are involved #3 The mosque aboard a barge on the tranquil waters, sun is setting; calm and peaceful part Mackenzie River in Northwest Territories. of the journey; feels like the home stretch #4 The spectacular Mackenzie Delta long-distance aerial shot of mosque on barge; where the little mosque approaches emphasizes how small the mosque is in the vast Inuvik, Northwest Territories. wilderness; shows how remote and distant the destination is #5 Pals Jase and Isaac go sledding at both boys look off in the distance—something Boot Lake. has captured their attention so they pause while sledding; they look relaxed and casual; they are friends #6 Members of the Inuvik Muslim photographer has captured another photographer community… taking a group shot outside the new mosque; everyone is smiling and some have their arms around each other #7 Hamid stops his cab to introduce me seated side by side in cab; warm smiles; reinforces to one of his Gwich’in jijuu (grandmas), comfort with one another, warm relationship Eileen Koe.
74 MHR Custom Selection Support: From Prairie Sky to Midnight... Photo/Caption Nonverbal cues/what’s happening #8 Former Northwest Territories crowded shot, with people milling in the background; premier… people in foreground are smiling, appear to be sharing a laugh; a plate of cookies in one person’s hand reinforces that it’s a celebration #9 The most northern mosque… warm glow of moon, streetlights, and mosque lights in cold Arctic night; road is empty but doesn’t feel lonely, as photo #1 did; mosque is a beacon, snug and warm
4. Student Voice Think about a place in your neighbourhood that builds community. How does it function to connect people? • Brainstorm with students the various places that exist for people to connect and build community in their area. Some suggested places include − youth centres − community centres − religious and cultural centres − arenas or other sports venues − libraries −schools − farmers’ markets. • How do these places build community? Students might suggest a variety of activities and programs, including − community luncheons and dinners − celebrations of signifi cant dates or events − dances and concerts − sporting events − book clubs − programs for parents and children. • Students should recognize that organizations and places build community in the same general ways: they bring people together, give them a common purpose, reinforce values, and allow them to share. Th ey also create a physical space to gather with others, and they encourage people to organize set times for activities and events that bring them together.
5. Critical Literacy Why did the author write this article? What is she trying to get the reader to understand? • Students should recognize that, as a photo journalist, the author agreed to make the trip to fi lm “history in the making.” But why did she also choose to write this travel journal? What can she convey here that she might not be able to in her fi lm? • Ask: What was the author’s personal journey? Why is it important for her to share that personal journey? Students should note that the author’s perception of the Far North was transformed in the course of fi lming the mosque’s journey and arrival in Inuvik. She was surprised and impressed with the closeness of the diverse little community. What does the author’s surprise suggest about her own experiences in a larger, southern community? • Ask students to consider why, as a Muslim woman, the author might want to share her experience of such a respectful and close community. What might she hope to inspire in her readers?
Selection Support: From Prairie Sky to Midnight... MHR Custom 75 6. Metacognition How did asking questions as you read impact your understanding of and appreciation for this selection? What other strategies did you use to understand what you read? • Students should recognize that asking questions as they read forced them to pay closer attention to the text and the events that unfolded. It helped them engage more deeply with the text. • Other strategies students might identify include − previewing the text to identify text features and view photos − recording any unfamiliar words − scanning the headings and predicting the content.
Beyond
Viewing and Representing Photo journalists often see things that ordinary observers miss. Use sketches or photos to document a journey you make frequently, perhaps your travels to and from school. What did you notice and document that you hadn’t noticed before? • Ask students to think about journeys that they make on a regular basis. Ideas could include travelling to or from − school (walking, driving, riding on a school bus) − a frequent vacation spot − a shopping venue − a friend’s or relative’s home − a sports venue − a location within the school, such as the gym or library. • Students should be asked to submit both a photo or sketch document, and a Assessment of Learning brief description of at least one detail or aspect of the journey that they had not noticed before. Teachers may choose to post the photo- or sketch-documentaries around the classroom and assign peers to assess one another’s work, or they may wish to evaluate the students’ products themselves. In either case, criteria for assessment/evaluation of this project could include −Th e visuals document a journey taken by the student. −Th e visuals are complete and well organized so that there is a clear and accurate sequence to the journey. −Th e written explanation is clear and identifi es a newly noticed detail that is revealed in one of the visuals. − Grammar and spelling are accurate in the written text. Peer assessors should also give feedback on − the visual that is most eff ective for them in understanding the journey − a possible visual that the author could include to make the journey clearer or more interesting.
76 MHR Custom Selection Support: From Prairie Sky to Midnight... Selection Support: Why Apathy Is Boring
Author Curriculum Connections Ilona Dougherty *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-1) • BC (*ELA 8, 9 & 10) Type of Selection • MB (*English—Senior 1 & 2) Informational text • ON (*ENG 1D, 2D & 3C) • SK (see iLit.ca)
Themes and Topics AB • Social issues/social justice • 2 Comprehend literature and other texts in oral, • Morals/values print, visual and multimedia forms, and respond • Challenge/change personally, critically and creatively: 2.1.1, 2.1.2, 2.2.1, 2.2.2, 2.3.1 • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.1, Summary 3.2.3 Apathy is Boring is an organization aimed at • 4 Create oral, print, visual and multimedia texts, and encouraging Canadian youth to become politically enhance the clarity and artistry of communication: active in their communities, provinces, and country. 4.1.1, 4.1.3, 4.1.4, 4.2.2, 4.2.3 Ilona Dougherty, cofounder of this organization, outlines the reasons why students should get involved BC and gives them some advice on how to do so. • Oral Language: A1, A2, A5, A6, A12 • Reading and Viewing: B2, B6, B8, B10, B12 Readability • Writing and Representing: C1, C2, C5, C8 Average selection for most students to read MB • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.3, 2.3.5 • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.4, 3.3.1 • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.3, 4.2.5, 4.4.1, 4.4.2
ON • Oral Communication − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6 • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.5, 1.6 • Writing − Developing and Organizing Content: 1.1, 1.2, 1.3, 1.4
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
Selection Support: Why Apathy Is Boring MHR Custom 77 Before
Scan the text and identify as many text features as you can that the author has used to highlight diff erent types of information throughout the article. One of the most diffi cult aspects of this article is the amount of information that is included in it. It may be helpful to hand out BLM 1: Text Features and review the types and purposes of text features with students. Students may identify the following text features as they scan the text: • headings/subtitles: “Why You Should Care,” “How to Make a Diff erence,” etc. • lists: top fi ve answers, top fi ve tips for making a diff erence • sidebars: “Find out how to get in touch with your MP by doing an Internet search for ‘Who is my MP?’”; “Find volunteer opportunities by doing an Internet search for ‘get volunteering,’” etc. • visuals: cartoon images support key concepts in text (e.g., making placards) • captions: explain content and give context to cartoons (e.g., “All youth can make a diff erence…”) • boldface text: highlights key ideas in lists (e.g., “Keep Learning,” etc.)
During
The author wants young people to become involved in their communities. As you read, take notes to summarize the author’s arguments for involvement, and the methods she suggests readers use. You might create a mind map to track your thinking. Students may choose to organize their thoughts using a mind map or another type of organizer that works best for them. Below are some ideas that their organizers could contain: Arguments for getting involved Methods for getting involved • decision makers impact your life • vote • take action instead of complaining • get involved with a political party • become more interesting • contact elected offi cials • make sure your voice is heard • volunteer time • action will equal rewards • donate money • meet exciting and interesting people • go out to organizations’ events
After
1. Reading for Meaning Using your own words and examples, explain what the author suggests are some of the benefi ts to youth who get involved. • Students can use the information from the graphic organizer they completed in the During activity as a starting point. • Benefi ts to youth include changing or improving things that aff ect them, making them more interesting, building confi dence, helping them get into a good school or land a job, and making new friends. • Students should rephrase the author’s ideas in their own words and off er their own examples to illustrate the ideas.
78 MHR Custom Selection Support: Why Apathy Is Boring 2. Reading for Meaning Which one of the following is not one of Apathy is Boring’s fi ve tips for making a diff erence? A. Don’t just take on menial tasks. B. Get fully involved right away. C. Remember that politicians work for everyone D. Continue to gain knowledge • Ask students to review Apathy Is Boring’s top fi ve tips and identify the main idea in each, for example: − Don’t Overcommit: start small and try a lot of things until you fi nd your passion − Keep Learning: keep asking questions − Sometimes It Will Take Time. Be Persistent: be patient and keep trying − Don’t Settle for Stuffi ng Envelopes: make sure you get a chance to help make decisions − Remember Th ey Work for You: let elected offi cials know your views. • Ask students to consider the multiple choices and by process of elimination select the one that doesn’t match the ideas they just identifi ed. Th e correct answer is B: “Get fully involved right away.”
3. Student Voice Did the author persuade you to get involved in your community in some way? Explain why or why not in an email to her. • To help students shape their opinions, begin by asking them to refl ect on the following questions: − What kinds of things are you involved in that would connect to the ideas presented in the selection? − What are some of the barriers to getting involved? • Some students may already be actively involved in their community, so their email may validate and possibly build on the author’s arguments. Others may have personal or other reasons for not getting involved, or they may simply remain uninterested aft er reading this selection. Th eir email may express their reasons to the author and note why her arguments failed to convince them. • Regardless of the position they take, students should be able to explain their views clearly, with reasonable arguments and examples from the text to support them.
4. Understanding Form and Style How has the author’s use of lists and subtitles helped to organize her ideas? Did she use these text features eff ectively? Explain. • Students should note that the use of lists and subtitles chunks the information and makes it easier for readers to skim the selection. Readers can quickly get a sense of the type of information that is contained in each section, and they can quickly locate specifi c ideas. Students could work with a partner to reinforce this idea. One student selects a key idea and the other tries to fi nd it in the text as quickly as possible using these text features. • Students may also note that the author directly addresses the reader in the lists and subtitles, which has the eff ect of raising curiosity and drawing the reader in.
Selection Support: Why Apathy Is Boring MHR Custom 79 5. Critical Literacy a) The target audience for this article is high school students across Canada. Find evidence of specifi c techniques, diction, and examples the author uses to target youths. • Review with students the ways that writers can engage a target audience. Ask Assessment as Learning students to suggest examples of each of the following techniques: − Create content (information, examples, and visuals) that aligns with the audience’s values and interests and that respects their prior knowledge. − Provide a degree of challenge that gives the audience new insights, but doesn’t bewilder them with facts and data they can’t relate to. − Use language and examples that are familiar and interesting to the audience. Avoid highly technical terms unless the audience is comfortable with them. − Adjust tone to suit the age, attitudes, and expectations of the target audience. − Use images and visuals that are interesting, clear, and relevant to the audience. • Ask students to work in pairs to identify examples of these techniques, such as − use of comic-style visuals that are appealing to youth − casual and direct diction (e.g., “if you think…,” “here to change your mind,” “OK, one extra…,” etc.) − words and phrases that resonate with teens (e.g., “democracy is sexy,” “no one is standing up for youth,” etc.) − examples of issues and perks that will speak to youth, such as unappealing class schedules, getting into a good college or university, being more fun, not being boring, etc.
b) How might this article be written diff erently if senior citizens were the target audience? • Ask students to make a list of changes that would allow the text to connect to senior citizens. Suggested answers might include − images of identifi able political fi gures, political cartoons, historic events − more formal and deferential diction − references to issues and perks that would resonate with older audiences (e.g., getting better medical care or ensuring better opportunities for their grandchildren). • Students might also note that the article states senior citizens are more active and vocal, and they turn out in greater numbers to vote. Th e article would be more about reinforcing their activities and interests than convincing them not to be apathetic. • Ask students to share their ideas for connecting with a target audience of senior citizens and to explain why they would be eff ective.
6. Metacognition When you encountered challenging text, what strategies did you use to try to understand it? Explain why you chose the strategy you did. Students could discuss this question with a partner. By hearing what strategies another student employed and why, students can expand their own range of approaches. Possible strategies might include • predicting • using prior knowledge • asking questions • making inferences.
80 MHR Custom Selection Support: Why Apathy Is Boring Beyond
1. Speaking and Listening Research and present a persuasive speech on a nongovernmental organization (NGO) that operates in your province or territory. Use persuasive techniques in your speech (as exemplifi ed in this article) to try to convince your audience to support the NGO you chose. • As students begin writing their speeches, encourage them to incorporate some of the persuasive writing techniques they identifi ed in the selection, such as rhetorical questions and well-chosen diction. • Before students present their speeches, teachers may wish to review ways of Assessment as Learning speaking persuasively, by eliciting suggestions from the class, such as − speak slowly and clearly, adjusting pace, volume, and tone to support meaning − use pauses, repetition, volume, tone, and pacing for emphasis − monitor audience reaction and adjust pace and content to ensure that audience is engaged and understands − use body language and facial expressions to reinforce meaning and add emphasis − engage audience by asking rhetorical questions, using visuals, and adding humour. • Th is assignment can be self-, peer-, or teacher assessed based on how well it Assessment of Learning incorporates the techniques identifi ed by the class for writing and speaking persuasively. • Aft er the speeches are complete, students could vote to see which NGO would attract the most support.
2. Student Voice Create a mind map to brainstorm ways you can get involved in your community. Consider what you are passionate about and how much time you can commit to the cause. Afterwards, ask yourself if you will follow through on your plan, and explain why or why not. • Discuss with students the strategy of creating a mind map as a graphical representation of ideas and concepts. • Students can brainstorm individually or in small groups to create their mind maps. Sharing their mind maps can help illustrate the various ways that information can be processed for comprehension. • Students can then refl ect on their ideas and write a journal entry on why they will or will not follow through on their plan.
Selection Support: Why Apathy Is Boring MHR Custom 81 BLM 1: Text Features
What are text features? Text features are created to help you locate and learn information. Text features are used in designing and organizing the information.
Why are text features helpful? Looking at text features will help you know what is most important in a text and will help you locate information quickly. Looking at the titles in the table of contents or on a page can quickly tell you what information you will learn about. Reference sections, such as the glossary or index, can help you fi nd out more about a certain topic or word. Organizational features Graphical features • titles • photographs • headings and subheadings • artwork or illustrations • index • diagrams • table of contents • graphs • glossary • maps • boldfaced, italicized, or highlighted words • charts and tables • use of fonts: colour, style, size, underlining, etc. • timelines • sidebars: vocabulary, tips, interesting facts or fi gures, etc. • bulleted or numbered lists • captions • labels
How can you use text features? To understand words and vocabulary, look for • glossary • vocabulary boxes • boldfaced, italicized, or highlighted words To fi nd main ideas and topics, look for • table of contents • headings and subheadings • index • sidebars To fi nd data including facts, fi gures, and geographical location, look for • graphs • maps • charts • tables • sidebars • bulleted or numbered lists
82 MHR Custom Selection Support: Why Apathy Is Boring Selection Support: The History of the Grey Cup
Author • 3 Manage ideas and information: 3.1.1, 3.1.2, 3.2.1, Aaron Navrady 3.2.3 • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.3 Type of Selection Graphic text BC • Oral Language: A1, A2, A3, A4, A5, A10 Themes and Topics • Reading and Viewing: B3, B5, B6, B7, B9, B10, B12 • Sports/games/recreation • Writing and Representing: C3, C4, C5, C6, C8, C10, C11, C13 • Customs/traditions MB Summary • 1 Explore thoughts, ideas, feelings, and experiences: Artist Aaron Navrady writes that if the Grey Cup of 1.1.1, 1.1.2, 1.1.3, 1.2.1, 1.2.3 Canadian football could speak, it would have many • 2 Comprehend and respond personally and critically stories to tell. He then proceeds to tell some of those to oral, print, and other media texts: 2.1.2, 2.1.3, stories, using beautiful illustrations and text in this 2.2.1, 2.2.2, 2.3.1, 2.3.5 graphic selection. • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.2, 3.2.4, 3.3.1, 3.3.2 Readability • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.2.4, 4.4.1 Easy selection for most students to read ON Interdisciplinary Link • Oral Communication Physical Education − Listening to Understand: 1.2 − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4 • Reading and Literature Studies Curriculum Connections − Reading for Meaning: 1.1, 1.2, 1.3, 1.5, 1.8 − Understanding Form and Style: 2.1, 2.2, 2.3 *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-1) • Writing • BC (*ELA 8, 9 & 10) − Developing and Organizing Content: 1.1, 1.2, 1.3, • MB (*English—Senior 1 & 2) 1.4 • ON (*ENG 1D, 2D & 3C) − Applying Knowledge of Conventions: 3.6, 3.7 • SK (see iLit.ca) SK AB Will be included when the ELA curriculum is fi nal. • 1 Explore thoughts, ideas, feelings and experiences: See iLit.ca for more details. 1.1.1, 1.1.2, 1.2.1 • 2 Comprehend literature and other texts in oral, print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.2, 2.2.1, 2.2.2, 2.3.1
Selection Support: The History of the Grey Cup MHR Custom 83 Before
What would you like to know about the history of the Canadian Football League (CFL)? Make a list of information you would like to learn and any questions you have. Watch for the information in the selection. Ask students to complete a graphic organizer such as a K-W-L chart to activate any prior knowledge about the CFL. Th en, as a class, generate a list of questions to guide students’ reading and ask them to record any answers they fi nd as they read. Th ey can also record any facts they consider to be interesting.
Sample K-W-L chart:
What I Know about What I Want to Know What I Learned about the CFL about the CFL the CFL • it is a professional football • When did it start? league • How did they decide which • there are 8 teams cities would have teams?
During
A graphic text uses illustrations and text to give information in a visually appealing way. As you read, create a very simple timeline and record what you feel are the more important events in the history of the Grey Cup. Creating a timeline encourages students to focus their reading and pay attention to dates included in the text. It should help them understand and retain some of the information as they read.
After
1. Reading for Meaning The Grey Cup trophy is a symbol of the Canadian Football League (CFL) and its game is a part of our Canadian culture. a) Why are the CFL and the Grey Cup representative of Canada and Canadians? Ask students to refer to the events recorded in their timeline to identify the importance of the Grey Cup to Canadian culture. Th ey might suggest • the league began mostly in the east and expanded west, just as Canada did • cities from across Canada have competed for and won the cup • an attempt to expand into the US was short-lived • fans in diff erent cities have put their own spin on the Grey Cup game, including Stetson hats and pancake breakfasts • the league is inclusive of people from various backgrounds • weather has played a major role in shaping the games and their outcomes • the trophy survived a major fi re in 1947, making it a symbol of resilience and survival.
b) Make a list of some other symbols of Canadian identity; for example, the maple leaf. • Students can brainstorm Canadian symbols in pairs or small groups. Students could suggest a variety of symbols, including −beaver − polar bear − hockey stick
84 MHR Custom Selection Support: The History of the Grey Cup − lacrosse stick − inukshuk − Mountie. • As part of their discussion, ask students to identify the criteria that would make Assessment as Learning something a symbol for Canadian identity. Some suggested criteria might be that − it has meaning beyond its literal representation − it represents Canadian values, ideals, or history − Canadians recognize and identify with it − it is recognized in other parts of the world. • Ask students to evaluate the symbols that they listed according to the criteria. Which symbols meet the criteria and which symbols don’t? Discuss with students whether they should change or add to the criteria in order to include the symbols that don’t meet the criteria.
2. Reading for Meaning Choose a panel where part of the illustration is cut off . What actions can you infer are taking place outside the frame? • Students should understand that making sense of the story requires inferencing. Th e author cannot show every single action in or between scenes, but by fi lling in the blanks based on clues in the text, readers can understand what has happened. For example, in the panel for 1993, we see a player looking boisterous and part of the cup sideways; we read that the player head-butted the trophy and broke it. We can infer that the player is happy because his team won, that there is a celebration going on around him, and that the sideways cup has been knocked off its base and is falling, even though we can’t see any of these things. In the next panel, we see the cup being presented in 1995 to the Baltimore Stallions. We can infer that the cup was repaired in the space between the frames, even though we don’t see those actions. • Students could work with a partner to take a frame and expand it to include details and information surrounding what is shown. Students could then do a gallery walk to view the panels and the additional information presented.
3. Viewing and Representing Choose a panel in the selection that gives more information through the illustration than through the accompanying text. a) What additional information does the illustration give? • Ask students to work with a partner to select a frame that has a minimum amount of text. Have them record the information that is given in the accompanying text and then any information that is conveyed through the illustration. Students may note that the illustration provides information such as − a person’s thoughts − contrasting points of view − details (e.g., the fact that the Grey Cup game between Calgary and Ottawa in 1948 seems to have been played in Toronto, since the signs in the picture say “Hello Hogtown”) − a person’s reaction or emotion, such as excitement, conveyed through body language and facial expressions − additional information through body language (e.g., arms raised in victory suggests a team won) − historical details like uniforms, equipment, and fashion. • Teachers may want to have students share their lists and create a master list for the class to refer to in Beyond reading Question 1.
Selection Support: The History of the Grey Cup MHR Custom 85 b) Why is it important to pay attention to these illustrative details when you read a graphic text? Students should recognize that in a graphic text the illustrations are not just accompaniments to the text, as they are in other forms, but are an integral part of expressing the author’s message and intended meaning. By overlooking visual cues and details, readers can misunderstand or misinterpret the message.
4. Student Voice Make a list of some reasons you think the Grey Cup matches were postponed for World War I. Write a short blog entry on whether or not you think signifi cant sporting events like the Grey Cup should be postponed during times of war. • Ask students to brainstorm a list of reasons why the Grey Cup would have been cancelled during World War I. Th e reference in the selection is to both WWI and politics. Students may wish to research more on the topic in order to discover all the reasons for the Grey Cup being postponed. Some suggested answers include − young, healthy men were off fi ghting the war; cancelling games was a show of respect to them and their families; there would not have been enough team members available − economic factors; people may not have had money to spend on tickets − there was a fl u pandemic. • To help them generate ideas, have students discuss in small groups whether they agree or disagree with the statement: Sporting events should be postponed during times of war. • Students may choose either position on the issue, but they should present clear arguments with well-reasoned evidence. Th eir blog entries should include an introduction and conclusion, be written in complete sentences, and off er evidence of fresh thinking. Students could publish their blogs electronically, allowing other students to read them and post comments with additional questions and points for consideration.
5. Critical Literacy The author used only facts, not opinions, to tell the history of the Grey Cup yet he set a mood that presents a particular view of the game. How does the author want readers to feel about the CFL and the Grey Cup? Explain how you know. • Ask students to review the facts presented in this selection. Students may refer to the timelines they created in the During reading activity. Ask: What is the nature of the events the author chose to include? What mood do they create? Students may note that the author describes various games in which players overcame weather and other obstacles to win; human interest stories linked to the game, such as the $10,000 scholarship; famous leaders who have attended; and mishaps involving the cup itself. • By focusing on these events and facts, the author is trying to create a sense that the CFL and the Grey Cup extend beyond the world of football and that they have relevance in people’s lives and in Canadian society in general. He is also trying to connect a sense of the fun and the thrill of overcoming adversity to the CFL and the cup by recounting personal stories of players and fans rather than simply presenting statistics or talking about teams in only a detached way. • What language does the author use to set a mood and express a particular Assessment as Learning perspective? Examples are “a uniquely Canadian event,” “to top it all off ,” “the Mud bowl,” “the Fog Bowl,” “the Wind Bowl,” “the Ice Bowl,” “talented,” “impressive,” and “Long live the Grey Cup.” How do these phrases and terms help set the mood?
86 MHR Custom Selection Support: The History of the Grey Cup • Ask students to consider how the author portrays the game and its players Assessment as Learning visually. Encourage students to think about how the author frames the images, the perspective he uses in the frames, and the actions he chooses to highlight. In most frames, the author presents the players in a heroic, powerful way, highlighting their physical strength and size.
6. Metacognition What did you learn about reading graphic texts that you can apply when you encounter similar types of graphic texts in the future? Students can discuss in pairs what strategies and insights they developed when Assessment for Learning reading this graphic text. Approaches might include • using prior knowledge • asking questions and looking for answers • identifying key information • making inferences • looking at how the author used visual conventions (e.g., colour, perspective, image size, etc.) to convey his message • reading the text, considering the image, and thinking about how they connect with one another.
Beyond
1. Viewing and Representing At the end of the selection, the author asks “who, therefore, will write the next chapter?” Take this challenge and research a recent Grey Cup championship game. Create additional panels using both illustrations and text to highlight the event. • Ask students to research information on Grey Cup Games that have taken place since 2009. Th ey could work in small groups to gather the information. Students could identify the highlights of the championship game, such as key plays, important players, extenuating weather conditions, game winners, and any other notable information. • Working either individually or in small groups, students should decide on a highlight of the game and consider how best to convey its importance through illustrations and text. Although artistic talent should not be the focus here, students may want to divide up the tasks of drawing and writing, if there are aptitudes for both in the group. If desired, they could also use clip art or stick sketches to suggest the visual content. • When they are ready to create their panels, encourage students to refer to the answers they recorded for Aft er reading Question 3. • Have students share their panels in chronological order. Th ey can be presented informally or posted around the room for a gallery walk. • Th is assignment could be peer, self, or teacher assessed, using the following Assessment of Learning guiding questions: − Does the content present one or more specifi c highlights from a recent Grey Cup game? − Is there suffi cient information in the text and visuals to give readers a clear idea of what occurred and why it is signifi cant? − Do the events, language, and visuals work together to set a mood and present a perspective on the game? − Are the panels interesting and engaging? − What is one aspect that is particularly appealing and what is one suggestion for improvement?
Selection Support: The History of the Grey Cup MHR Custom 87 2. Speaking and Listening Think-Pair-Share. Review your list of symbols that defi ne Canadian identity (see Reading for Meaning question 1). Consider why you think these symbols represent Canadian culture. Pair with a partner and discuss your ideas. Be prepared to share one or two of your ideas with the class as part of a large group discussion. Listen carefully to your classmates’ ideas to see how they align or do not with your own thinking. • Ask students to refer to the list of Canadian symbols they generated for Aft er reading Question 1b. If students worked in pairs or small groups for that question, ensure that they work with diff erent students this time. • Th e goal of this activity is to generate discussion and allow students to practise their active listening skills. Students’ answers are less important than the skills they demonstrate in expressing them and in considering the ideas presented by others. • At the end of the large group discussion, students could vote on the symbols that were discussed to select the top three symbols as identifi ed by the class.
88 MHR Custom Selection Support: The History of the Grey Cup Selection Support: Counting On: Canada’s Parks in Numbers
Author AB Samia Madwar • 1 Explore thoughts, ideas, feelings and experiences: 1.1.1, 1.1.2, 1.2.1, 1.2.2 • 2 Comprehend literature and other texts in oral, Type of Selection print, visual and multimedia forms, and respond Statistics personally, critically and creatively: 2.1.2, 2.2.1, 2.2.2, 2.3.1 Themes and Topics • 5 Respect, support and collaborate with others: 5.1.1, 5.1.2, 5.2.1, 5.2.2 • Nature/the environment/stewardship • Sports/games/recreation BC • Oral Language: A1, A2, A4, A5, A6, A10 Summary • Reading and Viewing: B2, B5, B6, B7, B8, B9, B10 Statistics can do more than give us cold, hard facts. • Writing and Representing: C1, C4, C5, C8, C10, C13 Depending on which bits of information are chosen and how they are arranged, statistics can also paint MB a vivid and engaging picture. In this selection, the • 1 Explore thoughts, ideas, feelings, and experiences: numbers presented celebrate the amazing story of 1.1.1, 1.1.2, 1.1.3, 1.1.4, 1.2.2, 1.2.3 Canada’s national parks. • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.2, 2.1.4, Readability 2.2.1, 2.2.2, 2.3.1, 2.3.5 Easy selection for most students to read • 5 Celebrate and build community: 5.1.1, 5.1.2, 5.1.3, 5.1.4
Interdisciplinary Link ON Geography • Oral Communication − Listening to Understand: 1.1, 1.2 − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6 Curriculum Connections • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.5, 1.8 *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-1) − Understanding Form and Style: 2.1, 2.2, 2.3 • BC (*ELA 8, 9 & 10) • MB (*English—Senior 1 & 2) SK • ON (*ENG 1D, 2D & 3C) • SK (see iLit.ca) Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
Selection Support: Counting On: Canada's Parks in... MHR Custom 89 Before
Brainstorm a list of facts you would like to know about Canada’s national parks. • Ask students to talk about what they know about Canada’s national parks. Some students may have visited one or more of the parks and have personal experiences to share, or they may have knowledge about a specifi c national park depending on what part of Canada they live in. Other students may have no experience with the park system or what purposes the parks are meant to serve. • Aft er an initial discussion about Canada’s national parks, have students brainstorm a list of facts that they would like to know about the parks.
During
As you read, ask a question about each statistic to gather more information. Ask students to create a chart in order to record the question they ask about each statistic.
Sample chart:
Statistic Question 224 466 The area, in square kilometres, collectively Where are the parks located? covered by Canada’s national parks. 39 The number of distinct natural regions in What is a natural region? Canada. 6000 The number of volunteers in Parks Canada. How do you become a volunteer? 18 000 The average cost in dollars of a one-way How would you travel? trip from Ottawa to Quttinirpaaq National Park. 9 The number of grizzly bear sightings in Wapusk How many people visit the park? National Park in northern Manitoba between 1996 and 2008. 2 The number of visitors to Quttinirpaaq National Does anyone work there? Park in 2010. 160 The number of species at risk found in What are the species? Canada’s parks. 186 The number of bird species found What makes that park so attractive to within Prince Albert National Park in central the birds? Saskatchewan. 100 The number of armed enforcement positions What do they do? in the national parks. 12 The height diff erence, in metres, between low How does that aff ect the park? and high tide at Fundy National Park. 505 000 000 The age, in years, of the Burgess What are the fossils of? Shale fossils found at Yoho National Park in eastern British Columbia. 8000 The age, in years, of the earliest arrowheads Who would have lived there? and stone tools found in Ivvavik, a national park adjoining Yukon’s border with Alaska. 1 The ranking given to Gwaii Haanas National Who ranked it? Park in 2005 for its management practices and archaeological preservation.
90 MHR Custom Selection Support: Counting On: Canada's Parks in... After
1. Understanding Form and Style Numbers provide a concrete description of what we know. Why is this an eff ective way of presenting information? • Th e numbers in this selection are quantitative, that is, they all measure something. Most are either surprisingly big (e.g., “18 000 Th e average cost in dollars of a one-way trip…”) or surprisingly small (“2 Th e number of visitors…”). Either way, they catch the reader’s attention and convey a sense of size and scale very quickly. • Students may also suggest that numbers are a universal language and off er a point of reference for comparison.
2. Reading for Meaning Review each fact and point out the modifi ers that place limits on the numbers given. Write a statement for each that explains this limit. Teachers may want to refer students to the Tips box for a defi nition of the term “modifi er” and an example of how to approach this question.
Sample chart:
Statistic Modifi er Explanation 224 466 The area, in square collectively covered These modifi ers indicate that kilometres, collectively the number refers to the covered by Canada’s national total area of land in square parks. kilometres. 39 The number of distinct distinct This modifi er indicates that the natural regions in Canada. regions are all unique. 6000 The number of in Parks Canada This modifi er indicates that volunteers in Parks Canada. volunteers in Parks Canada only are being counted. 18 000 The average cost in dollars; These modifi ers indicate how in dollars of a one-way trip one-way the cost is measured and how from Ottawa to Quttinirpaaq much of the trip it covers. National Park. 9 The number of grizzly bear grizzly; These modifi ers specify when, sightings in Wapusk National in Wapusk National Park; where, and exactly what type Park in northern Manitoba between 1996 and 2008 of bear was seen. between 1996 and 2008. 2 The number of visitors to to Quttinirpaaq National These modifi ers specify where Quttinirpaaq National Park in Park; the visitors went and when. 2010. in 2010 160 The number of species at at risk; These modifi ers limit the risk found in Canada’s parks. found in Canada’s parks species to those that are at risk and that live in Canada’s national parks. 186 The number of bird bird; These modifi ers limit the species found within Prince within Prince Albert species to birds and specify Albert National Park in central National Park where they live. Saskatchewan. 100 The number of armed armed; These modifi ers limit enforcement positions in the in the national parks enforcement positions to those national parks. that carry guns and work in national parks.
Selection Support: Counting On: Canada's Parks in... MHR Custom 91 Sample chart (continued):
Statistic Modifi er Explanation 12 The height diff erence, in in metres; These modifi ers specify the metres, between low and at Fundy National Park measurement and the location high tide at Fundy National of the tides. Park. 505 000 000 The age, in in years; These modifi ers specify the age years, of the Burgess Shale found at Yoho National measurement and the location fossils found at Yoho National Park of the fossils. Because the age Park in eastern British is in years rather than centuries Columbia. or millennia, the number is especially large. 8000 The age, in years, of in years; These modifi ers specify the the earliest arrowheads and earliest; age measurement of the tools stone tools found in Ivvavik, found in Ivvavik and where they were found. It a national park adjoining suggests that there are other, Yukon’s border with Alaska. later tools from the same area. 1 The ranking given to Gwaii in 2005; These modifi ers limit the Haanas National Park in for its management ranking to one specifi c year 2005 for its management practices and and to a specifi c set of criteria. practices and archaeological archaeological preservation. preservation
3. Viewing and Representing Present this information in a diff erent, yet visually appealing format. Why did you decide to represent the information in this way? • Ask students to brainstorm the various ways that statistics can be presented visually, and list the answers for student reference. Suggested answers may include maps, representational posters, and charts. Teachers may also want to have samples of diff erent visual data presentation methods on hand to help spark students’ brainstorming. • Let students develop a format and share it with a small group for feedback Assessment as Learning and discussion. Students could consider the following criteria in assessing one another’s presentations of the data: − Does the format include all of the data? − Does the format make the data easily understood and accessible? − Is the information in the presentation consistent with that in the original text? − Is the format an eff ective way to organize and present the data? − Are there ways that the format used could be tweaked to make it more informative, complete, clear, or interesting? • Have each group select one format to share with the rest of the class. Ask groups to give a rationale for choosing their format. Students could then rank the new formats based on how clearly and accessibly they present the data.
4. Critical Literacy Statistics can be used to promote a point of view. Identify important information missing from this selection that might change the perspective. Suggest some reasons that the information would have been omitted. • Ask students to consider the questions that they posed in the During reading activity. Some of these questions might point to information that has been omitted. • Students may identify that there is no mention of the cost of running and maintaining the parks or where the funding comes from in order to sustain the
92 MHR Custom Selection Support: Counting On: Canada's Parks in... parks. Other students may have wondered what issues might be associated with the parks’ conservationist mandate or with First Nations land claims. • Overall, the author presents a very positive picture of the parks as a sanctuary for nature and an important aspect of binding the country together. Does everyone believe parks are a useful creation? Whose perspective might diff er from that of the author? (e.g., mining companies and communities, logging companies and communities, First Nations with land rights issues, etc.)
5. Student Voice Explain why you are more or less inclined to visit one of Canada’s national parks after reading this selection. • Students can refl ect on the information shared in the Before reading activity as an additional source of information to answer this question. Some students may be intrigued by the reference to the wildlife that might be seen in the parks. Others may be interested in the natural and historical opportunities off ered. Some students may have no desire to travel to the parks. • Regardless of the position students take, they should be able to explain the reasons for their response clearly and with reference to the text.
6. Metacognition The facts in this selection are presented numerically. Compare your understanding of information in this text form to information written in essay form. Which do you prefer and why? • Ask students to use their prior knowledge of the essay form to identify some of the ways information is presented. Students may refer to an introduction, a thesis statement to present the point of view, supporting points, and a conclusion. Students can contrast the presentation of information in sentence and paragraph form versus the presentation of information using numbers and icons to represent the content. Some students may prefer the condensed way the information is presented in this text and fi nd it easy to read while other students may prefer to read through a text that has information presented in a logical step-by-step format. • Some factors students might consider in deciding which format they prefer Assessment as Learning include − level of detail included − organization of information − links between ideas and facts − explanation of the signifi cance or relevance of information − ease and speed of reading, and ability to skim/scan based on personal interest. • Encourage students to recognize that there is no “right” answer, and one form is not superior to the other. Th eir preference may simply refl ect their learning style. Students might also recognize that their preference depends on the type of information being presented. Diff erent formats are better suited to diff erent types of content. • Students should refl ect on their chosen preferences and use that knowledge to help them select and approach texts according to their preferences.
Selection Support: Counting On: Canada's Parks in... MHR Custom 93 Beyond
Speaking and Listening Hold a class debate on the following question: “Should funding for Canada’s national parks be increased due to their cultural signifi cance to Canada?” Remember to adhere to the rules and procedures for debates as set out by your teacher. • In small groups, students should research some answers to the questions that were posed in the Before reading activity and Aft er reading Question 4 as well as other information regarding Canada’s national parks. Th is information should be shared with the class before considering the debate question. • Teachers may want to divide the class into pro and con sides, or they may give students the option of choosing sides. • Th e teacher may choose to be judge and moderator or a student could be assigned the role. • Encourage students to actively listen to the points presented by the opposing viewpoint in order to be able to address them. • Suggested format for classroom debate: − each group is to agree on and record three points of argument − pro group reads its fi rst point of argument as recorded − selected members of the pro group will support the point − the con group is given an opportunity to counter − the con group reads its fi rst point of argument as recorded − selected members of the con group will support the point − the pro group is given an opportunity to counter − the same procedure follows for the other two points − a representative of each group presents a summary statement. • Remind students that the goal of this debate is not “winning,” but rather Assessment of Learning presenting arguments and supporting evidence in a well-prepared delivery, actively listening, and communicating respectfully as part of a group.
94 MHR Custom Selection Support: Counting On: Canada's Parks in... Selection Support: The Making of Great Cities
Author Curriculum Connections Lisa Rochon *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-1) • BC (*ELA 8, 9 & 10) Type of Selection • MB (*English—Senior 1 & 2) Article • ON (*ENG 1D, 2D & 3C) • SK (see iLit.ca)
Themes and Topics AB • Th e arts (music/literature/dance/fi lm) • 2 Comprehend literature and other texts in oral, • Social issues/social justice print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.2, 2.1.3, 2.2.1, 2.3.1 Summary • 4 Create oral, print, visual and multimedia texts, and Carefully thought out architecture makes for great enhance the clarity and artistry of communication: cities and happy citizens, according to architecture 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.2, 4.2.3 journalist Lisa Rochon. Th rough a combination of narrative and informational text, graphs, and photos, BC Rochon takes readers on an investigation of how • Oral Language: A2, A5, A6, A10, A12 architecture aff ects communities around the globe and here at home. • Reading and Viewing: B2, B5, B6, B9, B10, B12 • Writing and Representing: C1, C4, C5, C10, C12
Readability MB Challenging selection for most students to read • 2 Comprehend and respond personally and critically to oral, print, and other media texts: 2.1.1, 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.2, 2.3.5 • 4 Enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.2.4, 4.2.5, 4.3.1, 4.4.1, 4.4.2
ON • Oral Communication − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4, 2.5, 2.6 • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.4, 1.5, 1.7, 1.8 − Understanding Form and Style: 2.1, 2.2, 2.3
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
Selection Support: The Making of Great Cities MHR Custom 95 Before
Before you read, scan this selection for its special text features (for example, the title, headings, graphics, and captions). What might this selection be about? Why do you think that? • Ask students to identify the special text features in this selection by taking a quick look through the text. Th is can be a class activity. Students might identify −title − headings −bar graph −photographs − photo captions − coloured fonts. • Aft er students have scanned the text, they can share their ideas on what the selection might be about. Encourage students to support their ideas with specifi c reference to the text features.
During
As you read, use a T-chart to record ways architecture can positively or negatively aff ect communities.
Sample T-chart:
Positive eff ects of architecture Negative eff ects of architecture • can revitalize a building, a neighbourhood, • can separate people into rich and poor; a city affl uent areas and slums • catalyst for change • lack of planning leads to inconsistencies • gives people a reason to be proud • reclaiming neighbourhoods can help reduce crime • encourages people to leave their houses, and engage with their neighbourhoods and cities • can unify people, like the Multi-Faith Centre and the fi ght to stop Walmart
After
1. Understanding Form and Style The author uses a frame narrative to introduce and conclude her article. What is the purpose of this writing technique and how eff ectively is it used in this selection? • Ask students to review the information in the Tips box explaining a frame narrative. • Students can draw on their prior knowledge of narrative as a form to understand that the author is making a personal connection with readers and engaging them right away by using fi rst-person narration in the frame. She reveals her personal connection to the city of Paris and uses her story to illustrate and introduce ideas about the eff ects of architecture on a personal level, before drawing readers into a consideration of big-city architecture in general. Encourage students to recognize the author’s new experience in a foreign city as the catalyst for her interest in all cities.
96 MHR Custom Selection Support: The Making of Great Cities • In understanding what the author’s purpose was in using this technique, students can then decide whether they fi nd it eff ective. Th ey should be able to explain their opinion with specifi c reference to the text.
2. Reading for Meaning The author lists many positive changes in the slums of Medellín following the architectural changes that took place. What inferences can you make about how new architecture prompted those changes? • Ask students to list the positive changes that occurred in the slums of Medellín. Some of those changes may have been identifi ed in the During reading activity. • Discuss with students the inferences that they made about what Medellín was like before the new architecture. Based on the author’s description of gang leaders sitting on rooft ops and shooting rival gang members in the street, students might infer that people avoided leaving their homes out of fear of being caught in the crossfi re. Th ey may also infer that there was little for people to do in the slums. • Ask students what they inferred based on the author’s description of the neighbourhood aft er the new public transportation, library, community centre, and basketball courts were built. Sports and cultural facilities and child care provide ways to socialize, learn, and participate in society, so students might suggest that the new architecture got people out of their homes by giving them somewhere attractive to go. It reduced the isolation of those dwelling in the slums and acknowledged their existence as members of the community. Th ese changes developed alternatives to violence and despair and they fostered community pride. Th is sense of pride and the residents’ feeling of security in numbers allowed them to take back their community.
3. Viewing and Representing Examine the photos accompanying this selection. How does looking at the photos in this article help you understand what the author is trying to say about what makes a great city? • Ask students to view the three photos included in the article. Th e photos of the Woodward building then and now are an indication of how something old can be incorporated into something new, thus maintaining the historical nature of an area while making additions that will refl ect and enhance modern living. It shows how revitalization can bring new life into neglected parts of a city. • Th e third photo shows the importance of infusing art into a functional structure such as a warming hut. Th e glowing orb enhances the natural setting, not only beautifying the area but also making it more attractive for people to spend time in outdoor spaces. • As an extension, students could consider the questions: Does building new mean that something is better? Is it important to keep older buildings? Why or why not? What role should art play in building something functional?
4. Viewing and Representing After reviewing the graph, what inferences can you make about the future of cities? Consider the relationship between world population and the percentage of the population living in cities. • Aft er students view the graph to gather information, ask what story the graph is telling. Encourage students to refer directly to the information presented in the graph when they are sharing their thoughts. • Students should note that the percentage of people living in cities is increasing along with world population. By 2050, 70% of the world’s population will be living in cities. Based on this, students will likely infer that existing cities will
Selection Support: The Making of Great Cities MHR Custom 97 have to grow, and that accommodating billions of people in the world’s cities will take careful planning. Students may also infer that there will be more cities. • Teachers may also want to ask: What action will have to be taken by cities to plan for this increase? What is the implication for rural communities? (Question 5 will build on students’ responses to this question.)
5. Critical Literacy By focusing on the positive changes that architecture makes for cities, what, if anything, is the author implying about rural communities? How do you think someone from a rural community might react to this article? • Students could suggest a number of things that the author is implying about rural communities, such as − rural communities do not have interesting architecture − architecture does not play a role in making great rural communities − rural communities are a thing of the past. • Depending on where students live, they may be able to answer this question from a personal perspective. Th ey will likely suggest that someone from a rural community might feel that this article − overlooks universal truths about architecture by not making examples inclusive of all communities − makes them want to experience one or more of the cities the author describes − inspires them to look at their own community’s buildings in a new way − doesn’t have anything to do with them.
6. Student Voice Imagine your neighbourhood needs a new community centre. Choose an existing building to repurpose or decide to build a new centre. Use a computer program or hand drawing to design the façade and fl oor plan of the new community centre. Write notes to point out special features of the building and the purpose of each. Based on what you have read, what eff ect do you hope the new building would have on your neighbourhood? • Ask students to begin by considering the people that make up their neighbourhood. Are there people of various religions, ethnic backgrounds, socio-economic status, and ages? What are the various needs of these people? Is there an issue that seems to aff ect most people in the neighbourhood that could be addressed by the creation of a community centre? • Ask students to list the activities that would be part of the community centre, and how they would help address the needs they identifi ed. Some students may be focused on a community centre for athletics while others may see it as a venue for the arts and still others may see it as a place to socialize in a safe environment or as a centre for children and their parents or caregivers. • Th is assignment could be self-, peer-, or teacher assessed according to the Assessment of Learning following criteria: − Design is clearly drawn and realistic as to size and scope. − Notes on special features and purposes are specifi c and clear. − Explanation of eff ect of new centre on the neighbourhood is related to and consistent with information in the selection. − Explanation addresses identifi ed needs of the neighbourhood. − Explanation is clear, relevant, and specifi c. − All written work is accurately spelled and grammatically correct.
98 MHR Custom Selection Support: The Making of Great Cities 7. Metacognition How did the text features aff ect your understanding of the selection? What other strategies did you use to understand what the author was saying? • Ask students to review the text features that they identifi ed in the Before reading activity. Students will likely say that the text features helped them sort the information, predict what diff erent sections would be about, and understand the author’s points by seeing them illustrated in the graph and photographs. • Strategies that students may have used include rereading sections, asking a peer or the teacher for clarifi cation, and asking questions and fi nding answers in the text. • At this time students could also consider whether the predictions that they made regarding the content of the selection were accurate.
Beyond
Speaking and Listening Oral stories are an important part of the history of communities. Recent oral history projects in Vancouver’s Chinatown or downtown Kenora, Ontario, relate the histories of neighbourhoods through people’s personal stories. Choose a building in your community and record a three- minute story about its signifi cance to you. • Ask students to identify a building in their community with which they have a strong personal connection, such as the scene of a life-changing experience, a place where they learned or discovered something, the setting for a ceremony that marked a milestone in their life, etc. Have them jot down the main points of their story, including reasons why this building is signifi cant to them and any feelings and sensory memories they associate with it. • Students can record their stories using voice recorders or video and then share them with the class. • Students’ oral histories can be evaluated according to the following criteria, Assessment of Learning which should be shared with students in advance: − clear identifi cation of a specifi c building − complete explanation of personal connection −eff ective use of sensory descriptive words and literary devices to evoke feelings and express memories − clear speaking voice and eff ective use of pacing and volume for emphasis and eff ect.
Selection Support: The Making of Great Cities MHR Custom 99 Selection Support: Graffi ti: Art or Blight?
Authors BC Dan Haves, Doerthe Keilholz • Oral Language: A1, A2, A3, A5, A6, A8, A9, A10 • Reading and Viewing: B2, B5, B6, B7, B8, B9, B10, B12 Type of Selection • Writing and Representing: C2, C4, C5, C6, C9, C10, Debate C13
Themes and Topics MB • Th e arts (music/literature/dance/fi lm) • 1 Explore thoughts, ideas, feelings, and experiences: 1.1.1, 1.1.2, 1.1.3, 1.2.1, 1.2.2, 1.2.3, 1.2.4 • Morals/values • 2 Comprehend and respond personally and critically • Mass media/pop culture/trends to oral, print, and other media texts: 2.1.2, 2.2.1, 2.2.2, 2.3.2, 2.3.5 Summary • 4 Enhance the clarity and artistry of communication: Is graffi ti an expression of artistic ability that should 4.1.1, 4.1.2, 4.1.3, 4.2.4, 4.4.1, 4.4.2 be valued or is it an ugly smudge on the face of the city? Using a combination of interviews, explanations, ON statistics, and opinions, authors Haves and Keilholz • Oral Communication each present one side of this debate. At the end, the − Listening to Understand: 1.1, 1.2 reader decides who has won. − Speaking to Communicate: 2.1, 2.2, 2.3, 2.4 • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.5, 1.6, 1.8 Readability − Understanding Form and Style: 2.1, 2.2, 2.3 Challenging selection for most students to read SK Curriculum Connections Will be included when the ELA curriculum is fi nal. See iLit.ca for more details. *This selection is most suitable for these courses: • AB (*ELA 9, 10-1 & 20-1) • BC (*ELA 8, 9 & 10) • MB (*English—Senior 1 & 2) • ON (*ENG 1D, 2D & 3C) • SK (see iLit.ca)
AB • 1 Explore thoughts, ideas, feelings and experiences: 1.1.1, 1.1.2, 1.2.1 • 2 Comprehend literature and other texts in oral, print, visual and multimedia forms, and respond personally, critically and creatively: 2.1.2, 2.1.3, 2.1.4, 2.2.2, 2.3.1, 2.3.2 • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.3
100 MHR Custom Selection Support: Graffiti: Art or Blight? Before
As a class, brainstorm words, images, and ideas associated with graffi ti. Make two lists and categorize the associations as either positive or negative. Determine which list is longer and discuss how your class generally feels about graffi ti. • Aft er students have brainstormed the list of positive and negative associations, ask them to think about their community and identify some of the graffi ti that is evident. Discuss the locations where graffi ti is found, the purpose for the graffi ti, and who might be responsible. • Some students may identify lots of examples in their community while others may not have examples that are familiar to them. Discuss where you might be more likely to fi nd examples of graffi ti. Students may also identify graffi ti that is seen in fi lms and on TV shows. Discussing these things helps students become aware of the bases for their positive and negative associations with graffi ti and any biases they may have. • Activating students’ prior knowledge and having them think about the positive and negative nature of graffi ti will set them up for the opinions expressed in the debate.
During
As you read, use a graphic organizer to jot down a very brief summary sentence for each argument for and against graffi ti as a justifi able form of artistic expression.
Sample graphic organizer:
Art form Destruction Graffi ti is a skill that takes many years of Graffi ti is criminalized by city offi cials, training and perseverance to master. police, and the older generation. Graffi ti and vandalism are two diff erent Graffi ti is destruction under the guise of art. things. Graffi ti is a crime that has victims: it costs Graffi ti writers are not just young, male taxpayers, property owners, and small troublemakers; some are in their forties and business owners millions of dollars a year fi fties, some are excellent students, some to remove. are girls. The motivation for graffi ti is vandalism; A graffi ti investigator has found graffi ti graffi ti indicates that vandalism is writers to be thoughtful, intelligent, and acceptable. sensitive. Graffi ti in a community is linked to residents Murals and other graffi ti can brighten and feeling unsafe. beautify back alleys and grey concrete walls. There is a perception that places with a lot of graffi ti are where crime is more likely. Manuel di Rita, a former graffi ti writer, is an internationally acclaimed artist who When cities targeted graffi ti in the 1980s exhibits in galleries and gets paid to paint and 90s, crime rates dropped. murals on walls. Graffi ti is thought to be an entry into a Graffi ti is an indicator of an overlooked more serious life of crime. social need felt by young males, which A graffi ti investigator says to stop treating should be addressed. young graffi ti writers as troubled artists and treat them as just troubled. Kids involved in graffi ti are not artistic but are displaying aggression.
In recording this information, students will likely see that there is more information supporting the opinion that graffi ti is destructive.
Selection Support: Graffiti: Art or Blight? MHR Custom 101 After
1. Reading for Meaning Explain the broken-windows theory in your own words. How do both authors use this theory to help strengthen their side of the debate? • Students may explain the broken-window theory by suggesting it is the belief that the appearance of petty crime, such as broken windows or graffi ti, leads to more vandalism and more serious criminal activity. • For the second part of the question, students might fi nd it helpful to create a T-chart to record their observations on how the authors use the theory.
Sample T-chart:
Doerthe Keilholz Dan Haves Jeff Ferrell does not support the Kristina Copeland explains that the theory is the basis theory and feels that the research of Vancouver’s bylaws on graffi ti and other vandalism. behind it was not sound. Crime dropped in cities that began targeting graffi ti in 2008 Statistics Canada study 1980s and 90s. supports Ferrell’s point of view: only 11% of people in Canada’s 2008 Statistics Canada study found that graffi ti and 12 biggest cities believe graffi ti or vandalism lead to perceptions of incivility; concluded vandalism is a problem. “these perceptions play a central role in the fear of crime.”
• Ask students to summarize their points into a statement explaining how each author used the theory. Th ey might point out that Keilholz refutes it while Haves reinforces it. • Students could also refl ect on the fact that both authors use the same 2008 Statistics Assessment as Learning Canada study to support their views of the broken-windows theory. How can one study support opposing views of an argument? Do the authors’ citations of the study actually, directly support their arguments? (Encourage students to pay close attention to which parts of the study the authors chose to reference, and how these tie in with their arguments.) What should students take from this that they can apply when they are reading other selections that include research and data?
2. Understanding Form and Style How do the authors use direct quotations to support and further their arguments? • Ask students to list the people that are quoted in each of the arguments, including their titles: − Coma2, graffi ti artist − Sgt. Valerie Spicer, member of Vancouver Police Department antigraffi ti unit − Adrian Archimbault, mural coordinator at RESTART − Kristina Copeland, head of City of Vancouver’s graffi ti management program −Jeff Ferrell, professor of sociology at Texas Christian University − Manuel di Rita, internationally acclaimed artist and former graffi ti writer − Dave Jones, graffi ti consultant for downtown Vancouver BIA − Karen Fan, assistant manager of Tom Lee music store • Ask students to work with a partner to examine the quotations and show how they support the author’s argument. Students should note that each author quotes professionals and other experts involved with graffi ti in order to lend credibility and authority to their arguments. By using direct rather than indirect quotes, the authors create an impression of objectivity; they have not interpreted or manipulated the quotes or put their own slant on them, but are simply presenting the experts’ statements.
102 MHR Custom Selection Support: Graffiti: Art or Blight? 3. Critical Literacy What stereotypes and biases about graffi ti writers did the authors use in their arguments? How do these stereotypes and biases infl uence your view of graffi ti writers? • Ask students to begin by identifying the stereotypes each writer uses. Th ey should note that Keilholz uses the stereotype of graffi ti writers as frustrated, misunderstood, sensitive artists of all ages, whose crime isn’t a crime at all. Haves uses the stereotype of graffi ti writers as aggressive young criminals whose goal is to destroy private and public property. Aft er students have identifi ed the stereotypes, ask them to consider the biases inherent in each by thinking about their own reactions. How do they feel about artists? About criminals? • Have students create a visual image or a collage that represents the stereotypes in the selection, or a dialogue involving members of the stereotyped groups. Students can read their dialogues aloud or post their visuals in a gallery walk so students can refl ect on the dangers of creating stereotypes, whether the bias is positive or negative. • Aft er they have considered the representations, ask students to answer the second part of the question on how the stereotypes and biases infl uenced their own view of graffi ti artists. Did the stereotypes reinforce or challenge their views? Did one of the author’s arguments seem stronger as a result? Why?
4. Speaking and Listening Consider whether cities should create legal spaces for graffi ti. With a partner, each choose a side of the debate and prepare your argument for or against legal spaces for graffi ti. Share your position and listen to your partner’s position. Then, prepare and share a rebuttal to your partner’s arguments. • Before students choose a side to debate, review the various options and ideas for legal spaces for graffi ti, as suggested in the selection. Th ese include commissioning legal murals, allowing graffi ti in all skate parks, and identifying “free walls” for graffi ti writers. What other ways could graffi ti be used in a positive way in a community? Students may be able to ground their ideas in what is happening in their community. • It may be easier to have students identify their viewpoints before arranging them into pairs, to ensure that each student gets to argue his or her chosen side. Aft er students have debated their side of the issue with their partner, the class could be divided into two large groups for an informal classroom debate. • At the end, have the class determine which points were the strongest for each side of the argument. Did anyone change their position during the discussions? Why or why not?
5. Metacognition Did you fi nd it helpful to summarize and record each author’s arguments as you read the selection? Explain why or why not. • Students can review the information they recorded in the During reading activity. Encourage students to share the positives and negatives of this strategy in a class discussion. Some students may indicate that it was diffi cult to pick out the authors’ points in a fi rst reading, while others may have found it presented a good purpose for reading. By discussing what worked or didn’t work, students can off er one another tips and support, and may discover ways to improve their use of the strategy. • Students should be thinking about what strategy is most helpful to them in order to engage with and comprehend a text.
Selection Support: Graffiti: Art or Blight? MHR Custom 103 6. Student Voice Hold a class vote on the question of whether graffi ti is art or blight. Write art or blight on a piece of paper along with one reason for your opinion. Fold your paper in half and give it to your teacher. As your teacher reads the results of the vote, listen to your classmates’ opinions. Were you persuaded to change your mind? Why or why not? • Before they cast their votes, students should brainstorm what they think about when something is referred to as art and when something is referred to as blight. • Students should consider the various points of view presented in the selection regarding graffi ti as art or blight. Encourage them to provide a real-world example or reference to the text to support their reasoning. • Aft er the vote, have students discuss what impact the process had on their opinion. Students should be able to use the compiled information to support their position. Beyond
1. Viewing and Representing Review the photos of graffi ti in these selections. To what extent do the photos sway your opinion of graffi ti and its writers? Look online to fi nd other photos of graffi ti that you think lend credibility to the side of the debate with which you most agree. Explain your choices. • To explain how and why photos of graffi ti lend credibility to one side or the other Assessment as Learning of this debate, students should ask themselves what aspects of the photos are likely to aff ect their opinion of graffi ti and its writers. Th ey might identify some or all of the following factors: − the appeal or interest generated by the image − the artistic ability exhibited in the image − the originality of the image − the idea expressed, such as a social message, humour, imaginative thought, repetitive slogan, obscenity − the messiness of the presentation, wall, or venue. • Students can then look for other photos to support the view of graffi ti with which they agree. Th ey can use the factors listed above as the basis for evaluating additional images and for developing eff ective explanations of their choices. Have them consider their response to the original images in their explanations. • Students can share their images and explanations in small groups. Discussions would be most interesting if the groups were made up of some students who see graffi ti as art and some who see it as a blight. 2. Viewing and Representing Graffi ti writers mark their “tag” (shown below) in as many places as possible. Use a computer program or hand draw a “tag” that would represent you. Explain how your tag symbolizes you. • Review the explanation of a “tag” given by Coma2. (It is the artist’s name consisting of an intricate jumble of lines forming letters, beautiful and impossible for the untrained eye to read.) • Have students create a name that they would adopt as a “graffi ti writer.” Th en have them create the tag to represent this name. Students can post their tags and have a gallery walk. Under each tag, students can write who they think it belongs to. At the end, the artists can all be revealed, and students can explain how their tag symbolizes them. • Students’ tags can be peer-assessed on the basis of the following criteria: Assessment of Learning − Is it somewhat original? − Does it refl ect some characteristics of the creator? − Is it visually interesting (e.g., colours, shape, size, font)?
104 MHR Custom Selection Support: Graffiti: Art or Blight? Selection Support: Social Statement Stencils
Authors Curriculum Connections Jessie Huggard, Megan Potts, Brooke Carey, Courtney Morey *This selection is most suitable for these courses: • AB (*ELA 10-2 & 20-2) • BC (*ELA 10, Comm 11 & 12) • MB (*English—Grades 11 & 12) Type of Selection • ON (*ENG 2P, 3C & 4C) Graffi ti • SK (see iLit.ca)
AB Themes and Topics • 2 Comprehend literature and other texts in oral, • Mass media/pop culture/trends print, visual and multimedia forms, and respond • Social issues/social justice personally, critically and creatively: 2.1.2, 2.2.1, 2.2.2 • Th e arts (music/literature/dance/fi lm) • 3 Manage ideas and information: 3.2.1, 3.2.3 • 4 Create oral, print, visual and multimedia texts, and Summary enhance the clarity and artistry of communication: 4.1.1, 4.1.3, 4.1.4 Students in an art class at Huntsville High School created a series of stencils about social issues BC (including drinking and driving, objectifi cation of • Reading and Viewing: B2, B3, B5, B6, B7, B9, B12 women, homophobia, and violence against women) and painted them on the walls in the school. Each of • Writing and Representing: C2, C4, C5, C6, C10, C13 the four students included in this selection explains the MB thinking behind her particular stencil. • 2 Comprehend and respond personally and critically to oral, literary, and media texts: 2.1.1, 2.2.1, 2.3.1, Readability 2.3.3, 2.3.5 Easy selection for most students to read • 3 Manage ideas and information: 3.2.4, 3.3.2 • 4 Enhance the clarity and artistry of communication: Potentially Sensitive and Controversial 4.1.1, 4.1.3, 4.4.2 Issues ON Th e stencils focus on drunk driving, domestic violence, • Writing objectifi cation of women, and discrimination against − Developing and Organizing Content: 1.1, 1.3 those who self-identify as LGBTQ (lesbian, gay, − Using Knowledge of Form and Style: 2.1 bisexual, transgender, or queer/questioning). • Media Studies − Understanding Media Texts: 1.1, 1.2, 1.5 Interdisciplinary Link − Understanding Media Forms, Conventions, and Visual Arts Techniques: 2.1 − Creating Media Texts: 3.1, 3.4 −Refl ecting on Skills and Strategies: 4.1
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
Selection Support: Social Statement Stencils MHR Custom 105 Before
As the saying goes, a picture is worth a thousand words. In what ways can images sometimes be more powerful than words? • Have students discuss this question in small groups or as a whole class. • Students may recognize that the right image can convey a complex idea almost immediately, whereas a written text can take time and work to understand. Certain images can evoke feelings in ways that a description of the same thing cannot. Students may also point out that there is a lot of information presented in an image, which could take many words (a thousand even) to describe, so it is more powerful because it conveys more concentrated meaning.
During
As you look at each stencil and read the artists’ explanations, write down one connected idea that comes to mind. For example, have you read a book or seen a movie about this topic? Does this remind you of another issue? • Encourage students to think about things they have read or heard about as well as things they have experienced. For example, students may have − seen a news story about a drunk driving accident − experienced stereotyping or discrimination − known about negative experiences of a friend or relative who is gay − read a story about domestic abuse − seen a movie about violence against women. • It is important for students to understand that we all bring diff erent personal experience and knowledge to our views of these stencils, but we generally come away with a shared understanding of the message. • During this activity, watch for potential student sensitivities. Make sure students don’t feel obliged to disclose any personal information that would make them uncomfortable.
After
1. Reading for Meaning Choose an image from each of the four stencils and explain how the image symbolizes an idea. For example, a skull and crossbones might symbolize death. • Encourage students to use a chart to organize their ideas, for example:
Stencil Image Symbolism Feel Cool Now? beer bottle symbolizes drinking alcohol and getting intoxicated Meat; Not Meat female fi gure symbolizes all women Rainbows two stick fi gures symbolize people of the same gender or the unimportance of gender Wife Beater business suit symbolizes a professional man, whom we assume has a high education level and exhibits socially appropriate behaviour
106 MHR Custom Selection Support: Social Statement Stencils 2. Reading for Meaning These stencils are intended to convey meaning quickly to people who walk by them. Answer the following questions to analyze the word choice for each stencil and infer meaning. • Students could work on this question in small groups. Th is will support students who are not familiar with the connotations of certain words in the stencils. • Although there may be common understandings of the connotations of the language used in these stencils, answers should not be deemed incorrect as long as students support their analysis. • Th is question may provide a good opportunity to discuss the impact of language in general. For example, if students casually refer to a tank top as a “wife-beater,” they are making light of violence against women by ignoring the severity of the issue. a) Why would some people think drinking and driving is “cool”?
Sample answer: Some people might think drinking and driving is cool because it is risky or dangerous and therefore exciting. It may also be an activity that students exaggerate and brag about in order to sound cool, which in turn pressures others to drink and drive. b) What is meant by treating a girl “like a piece of meat”?
Sample answer: Treating a girl like a piece of meat means you see her as a sexual object and not as a person. c) What does the artist mean by “rainbows” and “in closets”?
Sample answer: Rainbows are a symbol embraced by LGBTQ people, and “in the closet” refers to a gay, lesbian, or bisexual person who hasn’t made that known yet publicly. d) Why is a tank top sometimes unfairly called a “wife-beater”?
Sample answer: The implication is that men who wear tank tops beat their wives. To me, a tank top is usually associated with people who have less money, and a business suit is associated with people who have more money and white-collar jobs. So, the connotation is that poor people beat their wives, which is untrue and unfair.
Selection Support: Social Statement Stencils MHR Custom 107 3. Understanding Form and Style In contrast to a longer text, how does the stencil format limit communication? How does the stencil format enhance communication? Use a chart like the one below to organize your ideas. Students can draw on ideas generated in the Before reading activity to answer this question.
Sample answers:
How Stencils Limit Communication How Stencils Help Communication The stencil format limits the number of It is quick to understand and therefore it words you can use, so it might be harder can have more impact than a longer text- to get your message across; one needs to based message. choose the words carefully. You need to choose an image that is easy It may be easier to construct meaning to recognize so that people will understand with one picture than to write a clear the symbolic meaning immediately. If the explanation. image is poorly chosen, the meaning will not be communicated eff ectively. The image may be easier for people to remember than a page of text would be.
4. Student Voice These stencils are a form of graffi ti. In a persuasive paragraph, argue whether or not they are an appropriate and eff ective means of communication in school hallways. • Paragraphs should have a standard paragraph format with a clear topic sentence expressing an opinion either for or against the use of stencils in school hallways. Students should include suffi cient detail to support their arguments and can use examples from their experiences or other texts. Finally, they should close with a compelling concluding sentence that does not simply restate the topic sentence. • Students may argue that stencils are inappropriate because − they are graffi ti and might promote unwanted graffi ti in other locations as well − the messages are permanent and might off end some students or parents who come into the school. • Students may support the stencils because they − allow students to express their opinions and showcase their creative work − force others to think about issues that are important and may potentially help save someone from a dangerous or violent situation.
5. Critical Literacy These students knew that their artwork would appear in the halls of their school. Do you think this knowledge aff ected the students’ choice of messages and the way they presented their messages? Why or why not? Students may consider that the artists here seem courageous in the content of their messages, given that other students will see them. Th e stencils engage controversial social issues, and the artists take a clear stand knowing their peers may or may not agree. On the other hand, students’ real opinions may be even more controversial or adamant than is demonstrated in their work. Obviously, if the work is for school, students’ voices have to be appropriate for their audience.
108 MHR Custom Selection Support: Social Statement Stencils 6. Metacognition Do you fi nd the stencils easy or hard to understand? What features make them easy or hard to understand? • Students may fi nd the stencils easy to understand for any of the following reasons: −Th ey don’t have to read a lot of words. −Th ey found the pictures easy to interpret. −Th ey were familiar with the connotations of the language. −Th ey are used to images and small bits of text because of exposure to advertising and other forms of media. −Th ey are visual learners. • Students may fi nd the stencils hard to understand for the following reasons: − Since the symbolism in the stencils is not universal, some students may not connect with or understand the messages the images are trying to convey. −Th ey may not be familiar with certain colloquial expressions. −Th ey may have trouble connecting the explanation with the stencil. For example, the wife-beater stencil may seem to be more about stereotyping and unfair class distinctions than it is about domestic abuse. It seems to be saying “not all wife-beaters are poor or engaged in manual labour.” It could be more direct about the issue of violence towards women. • Encourage students to appreciate that the ease with which they understand these Assessment as Learning stencils can tell them something about the type of learner they are (such as a visual learner). Encourage students to think about the types of texts they usually fi nd easiest to understand and how this knowledge might help them as they approach other texts. • Help students to realize that their diffi culty in understanding may point to lack of clarity on the part of the author/artist. Th is can be a good opportunity for students to critically evaluate the stencils to consider what they may have done diff erently if they were to create similar stencils.
Beyond
1. Reading for Meaning Research one of the issues explored in the stencils. What causes, solutions, and data can you fi nd about this issue? Present or display your fi ndings in one of the following formats: an oral presentation, a magazine article, a matrix, or another graphical display. • Students should be able to identify the key issue in each stencil: drinking and driving; objectifi cation of women; sexual and gender minority rights; domestic abuse or violence against women. • Help students narrow their focus to research eff ectively. For example, students could choose to research underage drinking and driving in their province or city or fi nd information from Mothers Against Drunk Driving (MADD) or a school police liaison offi cer. • Teacher librarians and public librarians can off er research support for both teachers and students with respect to each of the topics. • Refer students to the defi nition of a matrix in the Tips box. You can also fi nd an example of a matrix, called “GrAfrica? Th e Lost Boys and Girls of Sudan,” in the online Digital Bank.
Selection Support: Social Statement Stencils MHR Custom 109 • Whichever format students choose to present the results of their research, the Assessment of Learning work can be evaluated on the basis of the following criteria: −Th e research topic should be specifi ed at the beginning, either in the form of a research question or a statement, and should be focused enough to allow for clear and detailed information. −Th e information should be relevant, accurate, detailed, and clear. It should include causes, solutions, and data where available. − Research sources should be listed with complete bibliographic information. − At least three research sources should be included.
2. Viewing and Representing If you could say one thing to everyone in your school, what would that statement be? Create a social statement stencil about an issue that is important to you. • Have students reread “Th e Class Assignment” at the beginning of the selection to remind them how the students in this selection approached the stencil project. • Th is assignment can be evaluated according to the following criteria: Assessment of Learning − Stencil content is a clear statement about a social issue. − Images are original to some extent, but still familiar to the audience (fellow students) and present a clear meaning. − Content is sensitive to people’s feelings and respectful of diversity. −Th e stencil is engaging and fulfi lls its purpose in presenting the message. • Students could write a short paragraph explaining their stencils and why they chose their particular message. Th ey can model their paragraphs on the paragraphs written by the student artists in this selection.
110 MHR Custom Selection Support: Social Statement Stencils Selection Support: No Refunds and Vancouver, 1942
Author Curriculum Connections Dale Lee Kwong, Glen Sorestad *This selection is most suitable for these courses: • AB (*ELA 20-1 & 20-2) • BC (*ELA 11 & 12) Type of Selection • MB (*English—Senior 3 & 4) Poetry • ON (*ENG 3U & 4U) • SK (see iLit.ca)
Themes and Topics AB • Discrimination/bias/prejudice • 2 Comprehend literature and other texts in oral, • Identity print, visual and multimedia forms, and respond • Citizenship/ethnicity personally, critically and creatively: 2.1.2, 2.2.2, 2.3.1 • Social issues/social justice • 3 Manage ideas and information: 3.1.2, 3.2.1, 3.2.3 • War/confl ict • 4 Create oral, print, visual and multimedia texts, and enhance the clarity and artistry of communication: • Morals/values 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.4
Summary BC Both poets comment on the injustices done to early • Reading and Viewing: B1, B5, B6, B9, B10, B12 Canadian immigrants from China and Japan. Th e • Writing and Representing: C2, C6, C13, C14 poem “No Refunds” is written from the perspective of a third-generation Chinese Canadian, while MB “Vancouver, 1942” is written from the perspective • 2 Comprehend and respond personally and critically of a Vancouverite of European descent. to oral, print, and other media texts: 2.2.1, 2.2.2, 2.2.3, 2.3.2, 2.3.5 Readability • 3 Manage ideas and information: 3.1.2, 3.2.4, 3.3.1, 3.3.2 Average selection for most students to read • 4 Enhance the clarity and artistry of communication: 4.1.3, 4.2.3, 4.4.2 Interdisciplinary Link Canadian History ON • Reading and Literature Studies − Reading for Meaning: 1.1, 1.2, 1.3, 1.4, 1.6, 1.8 • Writing − Developing and Organizing Content: 1.1, 1.3, 1.4 • Media Studies − Creating Media Texts: 3.3, 3.4
SK Will be included when the ELA curriculum is fi nal. See iLit.ca for more details.
Selection Support: No Refunds / Vancouver MHR Custom 111 Background Support
• Head tax was a tax the Canadian government imposed upon individual Chinese immigrants aft er the Canadian Pacifi c Railway was completed in 1885. Th e tax was high in order to discourage Chinese immigration. Th e Chinese Head Tax was replaced by the Chinese Immigration Act in 1923, which entirely banned immigrants from China. It was repealed in 1947. • In 1941, while fi ghting World War II, Japan bombed an American naval base at Pearl Harbor, Hawaii. Th e incident inspired widespread suspicion of and discrimination against people of Japanese descent. Fearing espionage, the Canadian government confi scated the property of thousands of Japanese Canadians and confi ned them in internment camps. Th e government had no evidence against the prisoners of collusion with the enemy.
Before
What do you know about the challenges faced by early Chinese and Japanese immigrants to Canada? Students’ prior knowledge of this topic will likely vary greatly. One activity that may promote student participation is Th ink-Pair-Share. Have each student silently jot down ideas. Aft er that, have each student select a partner and share their thinking, adding to their notes. At this point, pairs can share their ideas with the class, creating one large list. Students may also pose any questions that they have.
During
As you read each poem, note words that you consider to have more than one meaning. Ask yourself how the multiple meanings contribute to your understanding of each word. • Challenge students to see if they can fi nd at least two answers per poem. It may be helpful for students to jot down their ideas as they read. • Students may indicate some of the following multiple meanings: −“No Refunds” ■ “paid” may suggest that the family paid fi nancially, but “paid” can also refer to serving a punishment for something, in this case for being Chinese; the family “paid” by being subjected to racism on many levels. ■ Students who identifi ed the fi rst point may see a multiple meaning in the title “No Refunds.” No one can or will refund them what they have had to pay for being Chinese. “No refunds” is also a reference to retail transactions. For Chinese immigrants, satisfaction in Canada is not guaranteed. − “Vancouver, 1942” ■Th e words in this poem may not have “more than one meaning” in the same sense that they do in “No Refunds,” but they do provide good examples of connotation and denotation. Denotation is the term given to the dictionary defi nition of a word, while connotation brings further implied associations to the word. For example, “man” can mean a male human; however, if someone says, “Be a man,” we attach extra meaning to that word. ■ “front door” can literally mean the front of the house, but it also has an added connotation implying those who enter through the front door are more privileged.
112 MHR Custom Selection Support: No Refunds / Vancouver ■ Similarly, “back door” and “back alley” can literally mean the door and lane at the back of the house, or they can carry the connotation of pertaining to those who are less welcome or of lesser status.
After
1. Reading for Meaning Kwong’s and Sorestad’s poems imply rather than directly state specifi c aspects of Canadian history. Choose two phrases from each text to support this viewpoint. What meaning can you infer from theses phrases? Many students will be able to readily identify the aspects of Canadian history and supporting examples from the text. Similarly, students will quickly be able to draw inferences, but some will be less obvious than others: • “No Refunds” −Th e title refers to the government’s compensation for the head tax. Th e title has more than one implication. Since the family can fi nd no evidence of having paid a head tax, they are not entitled to a refund; the family will not be refunded for any injustice to which they have been subjected. − “…never paid head tax” is a direct reference to the head tax. Th e line could imply that Kwong’s grandfather immigrated before the head tax was imposed, he was exempted from paying it, or he otherwise avoided paying it. − “…paid in other ways” is a reference to the many ways in which Chinese immigrants were discriminated against. Th e implication is that the head tax was not the only discrimination Kwong’s family faced. • “Vancouver, 1942” −Th e title refers to an event in Canadian history: 1942 is the year Japanese Canadians were forced into internment camps. Th is event is not directly mentioned, but rather implied through the subtle reference to requiring Japanese Canadians to deliver the fi sh by the back door. −Th e delivery of fi sh to the back door may also be a reference to the loss of many Japanese Canadians’ fi shing licenses, which were revoked by the government. “Back alley” implies “black market,” so the implication may be that although Japanese Canadians were scorned, their services were still valuable and necessary, albeit outside mainstream society.
2. Understanding Form and Style Although these writers focused on similar topics, their poems display two very diff erent styles. Compare and contrast the poets’ use of imagery and voice, citing examples from each poem. • Students will likely be familiar with identifying imagery; however, describing voice will be more challenging for many. Voice is the speaker’s “personality.” For classes who struggle with this concept, create a web map of the many ways a writer can establish voice in poetry, such as − diction: formal, informal, colloquial, slang, concrete, abstract, etc. − organization within the poem: line breaks, stanzas, indentation, etc. − conventions: punctuation, capitalization, sentence fragments, etc. • A simple graphic organizer such as BLM 1: Compare and Contrast Voice and Imagery will help ensure students compare and contrast voice and imagery rather than simply discussing them.
Selection Support: No Refunds / Vancouver MHR Custom 113 Sample BLM 1: Compare and Contrast Voice and Imagery
How are the poems diff erent? “No Refund” “Vancouver, 1942” • no imagery present • rich in imagery (e.g., “rattling streetcars/ • short and to the point with no details and growling autos”) • direct; the issue is stated explicitly (e.g., • longer, with more detail “my Grandfather/ never paid head tax.”) • only indirectly addresses discrimination • personal tone (e.g., “the family,” “my (e.g., “These were silent Japanese/ Grandfather,” “we, ” “but I know”) fi shermen…”) • abstract diction (e.g., “we paid in other • not a personal tone (e.g., “his childhood/ ways.”) he remembers”) • concrete diction (e.g., “The people that knocked/ on the backdoor/ never came into the house.”) How are they alike? • Both poems create separate stanzas to emphasize the contrasts within them (i.e., in “Vancouver, 1942,” the warm, raucous front door versus the silent oppression of the back door, and in “No Refunds,” a simple observation versus its lingering implications). • Both hint at the aftermath of discriminatory events, without specifi cally stating them (e.g., “we paid in other ways./ And still do.” “One part of his childhood/ he remembers by doors.”). • Both are quiet, subtle depictions of racism (e.g., “my Grandfather/ never paid head tax” and “These were silent Japanese”) even though they are associated with huge, offi cial, discriminatory policies. Synthesis “No Refunds” and “Vancouver, 1942” both subtly explore lingering impacts of past Canadian federal governments’ discriminatory policies; however, in “No Refunds,” Kwong suggests she is a victim of discrimination and thus is more pointed and direct in her approach. Sorestad’s more discreet and indirect references can be linked to a simple childhood awareness of witnessed discrimination and the haunting impact it has left.
3. Speaking and Listening Read one of the poems quietly to yourself. Listen for the tone and the rhythm of the poem, and identify how they reinforce the meaning of the poem. • It may be necessary for the class to consider what determines tone and rhythm in a poem. Students may conclude that these elements are largely infl uenced by diction, line breaks, stanzas, punctuation, and sentence length. • Students who select “No Refunds” may comment that − the poem is infl uenced by two major pauses: at the end of the fi rst stanza and at the end of “ways.” Th e fi rst pause emphasizes the impact of the discriminatory practices. Th e second reminds us that discrimination still exists. − the shorter sentences create a quick, abrupt rhythm that suggests directness, anger, and resentment. − the words too are short and direct (most are monosyllabic) which also contributes to the short, angry rhythm. • Students who select “Vancouver, 1942” may note that − the poem varies in pace and rhythm, jumping between the front and back door; the rhythm of the front door is energetic and quick, while the back door is slow and careful. − the signifi cant pauses occur between the depictions of the boisterous front door and silently oppressed back door, which helps to establish the transition between rhythms.
114 MHR Custom Selection Support: No Refunds / Vancouver − the tone of the poem switches from lively to quiet, indicative of the young boy’s experience and memories. He had enjoyed warm, friendly memories from the front door, but was haunted by the observed quietness of the back door.
4. Student Voice What message do you think each poem conveys? Focus on one poem and write a journal response that reveals whether you agree or disagree with the message. • Students may suggest diff erent messages and have diff ering opinions about them. While students may agree or disagree with a message, they will ideally extend their reasoning beyond the texts and support their perspectives with examples that connect the text to themselves or to the world. • Possible messages for “No Refunds”: − widespread acts of racism can impact future generations − racism and its eff ects cannot be resolved through monetary means − racism continues to thrive. • Possible messages for “Vancouver, 1942”: − racism isn’t always overt − children sense injustices even if they do not overtly understand them − discrimination, even when one isn’t the victim, leaves a lasting impact.
5. Critical Literacy A poet’s voice is often infl uenced by ethnic background and family origins. How does Kwong’s point of view as an Asian Canadian and Sorestad’s point of view as a non-Asian Canadian aff ect the message of each poem? Student responses may include some of the following the points: • “No Refunds”: − the event is linked directly to her family; the poem is more personal − the poem is written in fi rst person − the speaker attacks the issue more directly, with a tone of anger and resentment − the poem expands the issue from the past to current day. Because the poem is personal, the messages within are personal and deal largely with the idea that the consequences of racism are carried through generations. • “Vancouver, 1942”: − even though the poem is based on a past memory, it is less personal − the poem is written in the third person − the poem explores the issue in its historical context only − the poem is written more as an observation, leaving the poet’s attitude to be inferred − the speaker is a witness, not a victim. Because the speaker of this poem is not directly implicated in or aff ected by the racism, this poem isn’t as personal in its messages; rather it is a haunting snapshot of past realities.
6. Metacognition What additional information about the racial discrimination against Chinese and Japanese Canadians would you need to learn in order to better appreciate these two poems? Where would you go to fi nd this information? • Students will need to consider what questions the two poems have inspired. Th ey could brainstorm a list of questions in small groups. Likely, questions will be raised about some of the following issues: − impact of the head tax − treatment of Japanese people in Canada before and aft er World War II
Selection Support: No Refunds / Vancouver MHR Custom 115 − Japanese internment camps and their impacts − compensations for Japanese internment − other minority groups in Canada who have been subjected to discriminatory policies. • Some students may know people who have been directly impacted by either the head tax or internment, or whose family members have been impacted. Similarly, they may know someone who is an expert in either of these areas. • Many students will fi nd the Internet to be a good source of information on these topics as well. Apart from text-based Web sites, students may fi nd rich images and documentary clips that are also relevant sources of information.
Beyond
Creating Media Texts These poems make the reader aware of the racial discrimination faced by Chinese and Japanese Canadians. How has the Canadian government attempted to atone for its treatment of these two groups? Give a sampling of reaction to this atonement from diff erent people or organizations. Present your fi ndings in the form of a news magazine article or documentary- style video. • Before students research varying reactions, a class discussion could be used to pique some interest. Questions such as the following could help spark the discussion: − Why would a government wait so long before formally apologizing? − If most agree the policies were discriminatory, why would some people oppose an apology? − Should a government apologize for a previous government’s actions? − Should there be time limits on compensation for past injustices? − Is a country accountable for misdeeds, or are people responsible for them? • Media texts can be evaluated according to the following criteria: Assessment of Learning − presents clear, specifi c and complete information, based on research, about the Canadian government’s attempts to atone for the discrimination faced by early Chinese and Japanese immigrants − presents specifi c reactions from at least three diff erent perspectives (e.g., directly aff ected individuals, lawyers, community leaders, etc.) regarding the government’s eff orts − organizes information in a logical way to engage and inform a reading or viewing audience − all content is relevant and clear − sources are cited or quoted − spelling and grammar are accurate − conventions of chosen format are applied.
116 MHR Custom Selection Support: No Refunds / Vancouver BLM 1: Compare and Contrast Voice and Imagery
Name: ______
How are the poems diff erent? “No Refund” “Vancouver, 1942”
How are they alike?
Synthesis
Selection Support: No Refunds / Vancouver MHR Custom 117 Selection Support: from Virgil
Author Curriculum Connections
Paula Wing *This selection is most suitable for these courses: • AB (*Drama 10, 20, 30) • BC (*Drama 9, 10TP, TP11 Acting, TP11 Directing, TP12 Acting, Type of Selection TP12 Directing) • MB (*English—Grades 9–12) Play excerpt • ON (*ADA 10, ADA 20, ADA 3M, ADA 30, ADA 4M, ADA 40/E) • SK (*Drama 10, 20, 30) Themes and Topics AB • Relationships/love/family/friendship • Coming-of-age • Movement: 22–24 • War/confl ict • Speech: 11, 14 • Death/birth/life • Improvisation: 9–15, 24–26, 29, 31, 32 BC Summary • Drama Skills (Body and Voice) In a small farming town during the First World War, • Drama Skills (Role) a teenage girl and boy talk about the loss of the girl’s • Drama Skills (Elements and Structures) brother, killed in action. When her friend reveals that • Context (Social and Cultural Context) he plans to enlist in the army, she tries to dissuade him. MB • 1 Explore thoughts, ideas, feelings, and experiences: Readability 1.1.1, 1.2.1, 1.2.2, 1.2.3 • Average selection for most students to read • 2 Comprehend and respond to oral, print, and other • Moderate level of inferencing required media texts: 2.1.3, 2.2.2, 2.3.3, 2.3.5 • 4 Enhance the clarity and artistry of communication: 4.2.4, 4.2.5, 4.3.2, 4.4.2 Potentially Controversial and Sensitive • 5 Celebrate and build community: 5.2.2 Issues • A reference is made to the fact that the female ON character’s brother was killed by poison gas in the • Th e Creative Process: A1.1 First World War. • Presentation Techniques and Technologies: A3.2 • Th e male character plans to enlist for military service • Contexts and Infl uences: C2.1 underage. • Th e male character’s father is losing touch with SK reality and it is implied that he has set fi re to the • Understand the processes and elements involved in family farm. creating drama works • Th e female character refers to a time when she beat • Develop acting skills up her brother, and her father physically punished • Understand the role of drama in various cultures her for it. • Th e female character physically restrains the male character to prevent him from leaving.
Interdisciplinary Link History
118 MHR Custom Selection Support: From Virgil Background Support
• Question of the Day: If Canada were to go to war again, would you volunteer to join the military?
Warm-Up
In this scene, the playwright suggests that the decision to put one’s life in peril (going off to war) is less risky than revealing how one truly feels about another person. How is that possible? Some students may respond with the following points: • Emotional pain can be greater than physical pain. • Falling in love can be painful, especially if one doesn’t know if one’s love is returned. Th e fear of rejection can be overwhelming, especially for young people who have no previous experience in the aff airs of the heart. • Some adolescents have a sense of immortality. Th ey can’t fully comprehend that they can be mortally wounded or severely hurt.
Exploration
1. As you read, list words and phrases that are used to establish the time period of the scene. Th e list might include • “General Store” • “Fannie Jane” and “Virgil” • “What the Sam Hill…?” • “My Dad nearly whupped me…” • “I’m a dead shot too.” • “Coke-cola” • “hedge school” • “Leave it alone now.”
2. How does the time of day (4:00 a.m.) inform the actor on how to play each of these roles? • Students should recognize that the actors would play these characters as being tired and perhaps feeling nervous and edgy as neither could sleep. • Th ere is a sense of quiet and isolation at this time of day, the “wee hours.” Everyone else is asleep, which would provide the two characters with a feeling of intimacy. Th e characters might speak in hushed tones.
Refl ection
1. Reading for Meaning Plays and stories with plots like this are often called coming-of-age stories. How do the characters come of age in this scene? • Coming of age is a sequence of events when a child becomes an adult. It is the loss of innocence. • Have students suggest events in the scene from Virgil that represent a loss of innocence for the characters or a move towards adulthood. Th ese events include the following: − Virgil has realized his father’s mental state is out of control. It’s a turning point when a child recognizes that his or her parents aren’t omnipotent. − Virgil’s childhood home is burning down.
Selection Support: From Virgil MHR Custom 119 − Fannie Jane is feeling guilty for the way she treated her brother and realizes she can’t change the past. − Both are realizing they are not immortal and death is a possibility. Th ere is recognition of powerlessness.
2. Analyzing, Interpreting, and Responding The playwright references The Aeneid, and names her protagonist “Virgil.” How do these choices infl uence the direction this scene takes? • Th e Aeneid is a famous epic poem written by the Latin poet Virgil about a Trojan hero who journeys far into what is today known as Italy. He fi ghts great battles. Th is foreshadows the epic adventures in war that await the protagonist. • In Th e Aeneid, fi re is a symbol of uncontrolled energy—for good or evil. Th e fi re in this scene symbolizes a new beginning, and it also represents the death and destruction Virgil will face when he enters the battlefi elds of Europe.
3. Student Voice How do you feel about the idea of sacrifi cing your own life or the lives of others to settle a global confl ict? Write a speech in which you try to convince a group of teens to either go to war and fi ght for a cause or abstain from violence. • Writing a persuasive speech is a good introduction to the concept of the “thesis.” At the start of the exercise, distribute BML 1: Persuasive Speech Checklist to students as a reference for the elements and structure of a persuasive speech. • Speeches should be one to three minutes in length. • Depending on the performance level of the class, teachers can collect all of the speeches and read them, have students deliver their own speeches, or redistribute the speeches and have students perform each other’s work. • Students can use BLM 1 as a worksheet when writing their speech and/or as a Assessment for Learning tool to assess their speeches. Review students’ completed BLMs to check their skill level in speech writing and where students may need further guidance.
4. Creating and Presenting Virgil gives Fannie Jane a letter, but tells her not to read it until he is gone. Assuming the character of Virgil, write and perform what you believe he would have said in that letter. • Th is question asks for students (male and female) to take the role of Virgil and to infer from the scene what he has to say to Fannie Jane, and how he would say it. • Possible topics are − Virgil confesses his aff ection for Fannie Jane. − Virgil asks Fannie Jane to take care of his father and tells her about his father’s delusions and how they’ve aff ected him. − Virgil tells her about his demons, which are referred to in the synopsis. − Virgil tells her something about her brother, George.
5. Critical Literacy What issues can you identify surrounding gender and power relations in this excerpt? How would this infl uence your performance of it? • In theatre terminology, characters that have power in a scene are said to have “high status” and those without power have “low status.” Th is can change from beat to beat and determining who has status helps the director and the actors with their choices in blocking, how to deliver lines, and how to play the relationship and chemistry between the characters.
120 MHR Custom Selection Support: From Virgil • Th e following are examples of how the power or status of the characters shift s: − Fannie Jane talks about her physical strength and her skill in shooting. Virgil tells her she should have gone to war instead of her brother. Th is gives Fannie Jane status. − Fannie Jane also has status because she’s inside the General Store and Virgil is initially on the outside looking in. He comes in at her invitation. She questions Virgil’s motives, he is put on the spot, and, thus, she is empowered. − Virgil takes the status when he hands Fannie Jane his letter. She realizes that he is going to war, and though she tries to physically stop him, she is powerless. − At the end of the scene, we see that Fannie Jane actually has no power or status. She can’t bring her brother back, she can’t go to war, she can’t stop Virgil, and she can’t even read his letter.
6. Metacognition How much did you know about the First World War and that era before you read this play excerpt? How did this prior knowledge or lack of knowledge aff ect your understanding of the piece? • Students might have some knowledge of the First World War from − social science or history classes −fi lm and television − historical novels and history books − family stories. • Prior knowledge would help students understand the awkwardness and tension between the characters.
The Next Stage
Foundations Often, playwrights succeed at “writing between the lines.” Practise staging this scene with a partner, but say the dialogue only in your heads, not aloud. Make notes about how you communicated your feelings through physical interaction, body language, and eye contact. • Pair students who are experienced and confi dent drama students. Put less experienced students into groups of four or fi ve: two actors to play the parts of Virgil and Fannie Jane, one or two readers, and one observer to take notes. It’s important the actors playing Virgil and Fannie Jane don’t actually speak in this exercise so that they can focus all of their attention on the information being communicated physically. • Students should note whether they are addressing the following: Assessment as Learning − How much space is there between the characters? − When do they move towards or away from each other? What triggers and motivates those movements? − When do they look at each other? When do they look away? Do they ever make direct eye contact? Why or why not? − How physically comfortable are they with each other? Is their body language open and relaxed or closed and tight? Are arms crossed or muscles tense? Do they ever touch each other? Does their body language change?
Selection Support: From Virgil MHR Custom 121 BLM 1: Persuasive Speech Checklist
Name: ______
Element Yes No Comments/Notes Content and Tone Credibility: In order to support your point of view and have your audience believe in what you’re saying, present – facts – statistics – quotes – personal experiences. Passion: Appeal to your audience’s emotions by conveying – enthusiasm – passion – conviction. Structure Opener: Begin your speech with an attention-getter or icebreaker that is related to your topic. Introduction: Factually state your point of view. Avoid weakening your statement by saying, “I think…,” “In my opinion…,” etc. Then, summarize what your main points will be. Body: Present the three main points that support your thesis. For each one, – state your point – state a reason for the point – give an example – restate the point. Conclusion: Wrap up all of your ideas. – Restate your point of view. – Confi rm and repeat your main points. – Make a call to action (urge your audience to take up your cause through a specifi c action). – Conclude with a strong, positive closing line. Presentation Speak Up!: Be audible, authentic, and expressive. Do not rush. Avoid fi llers such as “um” or “like.” Body Language: Stand with good posture but also be relaxed. Avoid swaying or shifting from foot to foot. Use gestures but avoid nervous habits. Move once in a while for eff ect and emphasis. Connect With Your Audience: Connect and involve everyone in the room by scanning. Adjust and adapt in response to audience reactions.
122 MHR Custom Selection Support: From Virgil Selection Support: from Acquiesce
Author Curriculum Connections
David Yee *This selection is most suitable for these courses: • AB (*Drama 10, 20, 30) • BC (*Drama 9, 10TP, TP11 Acting, TP11 Directing, TP12 Acting, Type of Selection TP12 Directing) • MB (*English—Grades 9–12) Play excerpt • ON (*ADA 10, ADA 20, ADA 3M, ADA 30, ADA 4M, ADA 40/E) • SK (*Drama 10, 20, 30)
Themes and Topics AB • Character development • Orientation • Identity • Movement: 18, 22–24 • Customs/tradition • Speech: 13 • Citizenship/ethnicity • Improvisation: 7, 9–15, 20, 24, 26, 27, 32
Summary BC While visiting Hong Kong, a young man, half-Chinese • Exploration and Imagination (Critical Analysis) and half-Canadian, goes to see a fortune teller but ends • Drama Skills (Body and Voice) up getting a lesson on not judging things by the way • Drama Skills (Role) they appear. • Drama Skills (Drama as Metaphor) • Drama Skills (Technique) • Context (Social and Cultural Context) Readability MB • Average selection for most students to read • Dialogue is written to refl ect a Chinese accent • 1 Explore thoughts, feelings, and experiences: 1.2.2 • Th e character of the old Chinese man speaks • 2 Comprehend and respond to oral, print, and other metaphorically at times media texts: 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.2, 2.3.3 • Moderate level of inferencing required • 4 Enhance the clarity and artistry of communication: 4.2.5, 4.4.2 • 5 Celebrate and build community: 5.1.1–5.1.4, 5.2.2 Potentially Controversial and Sensitive Issues ON • Th e main character travels to Hong Kong to attend • Th e Creative Process: A1.1, A1.3 his estranged father’s funeral. • Elements and Conventions: A2.1, A2.2 • Th e main character visits a fortune teller. • Presentation Techniques and Technologies: A3.2 • Th e character of the old Chinese man intentionally • Th e Critical Analysis Process: B1.1 speaks with a parody of a Chinese accent and makes • Concepts and Terminology: C1.1 himself seem ignorant of the West. SK • References are made to derogatory terms for Caucasians (gwai-lo), for Chinese (Yellow Peril), • Develop self-confi dence, self-discipline and self- and for Canadian-born or westernized Chinese motivation (jook-sing). • Acquire understandings and abilities in group processes • Understand the processes and elements involved in creating drama works • Develop acting skills • Understand the role of drama in various cultures
Selection Support: From Acquiesce MHR Custom 123 Background Support
• Introduce the selection by discussing some traditional Chinese gestures and body language: −Th e thumbs-up sign and tugging on the earlobe indicate excellence. −An outward pointing and raised pinky is a sign that you are nothing, poor quality, or not very good at something. −Some Chinese point with their middle fi nger since, for them, it does not have a vulgar meaning. −It is rude to point or use your fi nger to beckon. An informal way to beckon someone is to place your hand palm down and move your fi ngers towards you. Th e most polite way to get someone’s attention is to make eye contact and bow slightly. −People in southern China say thank you by tapping two fi ngers on a table. However, many people in the north are not familiar with this gesture. • Question of the Day: Do you believe some people have the gift to predict the future?
Warm-Up
“Ethnicity does not replace Canadian identity: it is Canadian identity.” – Harold Troper, sociologist, “Multiculturalism,” Encyclopedia of Canada’s Peoples, 1999 Conduct a survey among your classmates about their ethnic background. How many diff erent cultures are represented? Discuss how the results of your survey support or contradict Troper’s statement. • Survey results will vary demographically from neighborhood to neighborhood and region to region. In general, Canada is composed of a population that has originated from many diff erent countries and continents. • Th e survey should lead to an interesting class discussion and refl ection on ethnicity and Canadian identity.
Exploration
As you read this scene aloud, experiment with the expressions and gestures you imagine the characters would use. • Th roughout the play, Sin may look curious, confused, annoyed, apologetic, embarrassed, doubtful, frustrated, irritated, and fi nally amused. When there are diffi culties communicating, Sin may use charade-like gestures to indicate meaning, or speak in a louder, slower voice. He may lean closer to Ancient in order to better understand, or move away when he’s annoyed. • At fi rst, Ancient seems to be the racial stereotype of the wise and traditional Asian elder, so in the opening beats, he may use exaggerated expressions and formal Asian cultural gestures in a deadpan way. Aft er his “reveal,” Ancient can alternately show bemusement, annoyance, hilarity, and seriousness.
124 MHR Custom Selection Support: From Acquiesce Refl ection
1. Reading for Meaning In what ways does the author use satire? Refer to and explain three aspects of the play that are amusing but also have deeper meaning. • Refer students to the defi nition of satire found in the Tips box at the beginning of the selection. • Students may respond with three specifi c quotes or they may describe three general examples of satire. Either type of response is acceptable. Th e following sample answer off ers three general examples of satire:
Sample answer: • Ancient parodies Western culture’s perception of how Chinese people speak English. He also pretends to be ignorant about the world. These tricks he plays create humour but also point to prejudgments and impressions that people make based on the race and/or appearance of others. • Ancient plays with Sin by telling him that the water in the tea cup is “white tea.” Ancient assumes that because Sin is from the West, he lacks perception and can believe only what he sees. • There is humour in the fact that Sin perceives Ancient to be a fortune teller when he is a dry cleaner. This misunderstanding again indicates that assumptions about outward appearances may not be valid.
2. Speaking and Listening With a partner, read the scene aloud. Did the actor reading the role of Ancient have any diffi culty with the parodied Chinese accent? Experiment with pronunciation and rhythm as written by the playwright. • Note: Th e playwright purposely uses the accent as a form of parody and satire in order to criticize cultural stereotypes. Ensure that students do not turn this exercise into a forum to mock individuals with accents. Explain to them how to approach the work respectfully. • Allow partners ten to fi ft een minutes to experiment with the pronunciation. Expect there to be lots of laughter as students experiment out loud. • Aft er the allotted rehearsal time, ask for groups to volunteer reading the opening scene using the parodied accent. • Discuss with the class which of the accents were most eff ective, keeping in mind the playwright’s intention of a parodied accent as opposed to a realistic accent. What techniques did the actors use to create the exaggerated eff ects? How did the audience respond? Why did the audience respond that way?
3. Viewing and Representing Study the image of the teapot and cup that accompanies the script. The steam from the cup forms the Chinese character for “believe.” a) Explain how this detail in the image connects to the script. Students should note that the play examines the concept of perception and belief (i.e., what is real and what is not). If we perceive something to be real, such as the “white tea,” we will believe it is. Ancient asks Sin to see the world diff erently and to have faith that what he cannot see might really be. b) What do you think “believe” means in this script? “Believe” in this script means to be open to what is beyond our perception. Some things that we see may not be true, and some things that we don’t see may be true.
Selection Support: From Acquiesce MHR Custom 125 When Ancient was in Canada, he looked at water and saw water. When in Hong Kong, he sees white tea. Th ere is a suggestion here that people in the West believe only what they see and cannot perceive what may lie beyond that.
4. Foundations While rehearsing this scene, experiment with some of the following comic acting techniques: pace, delivery of the punch line, reactions (particularly of Sin), physical humour, double take, and other techniques of your choice. • Allow students up to two full periods to work on this exercise. Depending on their skill set, you may want to guide them step by step through the process. If so, use the following steps: −Ask students to read their lines as quickly as they can without losing character or meaning. Aft erward, ask them the eff ect of using a fast pace. −Tell students that punch lines need to be delivered in a way diff erent from the rest of the dialogue. For example, the actor may ■ pause just before the punch line ■use a slightly diff erent volume or tone (usually a “harder” tone) ■take a step forward when delivering the punch line. −Ask students to experiment with these techniques using two diff erent punch lines in the script. −Ask students to play with some physical humour in the scene. Some suggestions are bowing, tripping, and exaggerated facial expressions and gestures. −Tell students that in comedy duos a “straight man” reacts to the punch lines of the “funny man.” Have the actors playing Sin experiment with reactions of bewilderment, embarrassment, and irritation to Ancient’s lines. −Have students experiment with Sin reacting to Ancient with double takes whenever he realizes that Ancient is toying with him. • Aft er the rehearsals, ask students to write a journal entry in which they assess Assessment as Learning how the various comic devices added to their skill set for performing comedy and they refl ect on what else they need to do to further develop those skills.
5. Student Voice In this play, Sin prejudges Ancient based on how the elder man appears. What are the dangers of making assumptions about others based on physical appearance? Write a journal entry to express your views on this topic. Students will have varying thoughts about judgment based on physical appearance. Some will write about racial profi ling, ageism, or sexism, whereas others will write about how people are oft en judged by their choice of clothing or hairstyle.
6. Critical Literacy Describe the character of Ancient. What is the playwright’s intent in creating this character? What is the playwright trying to get the audience to think about or understand? Student responses should include the following general ideas:
Sample answer: The initial impression of Ancient is that of a buff oon, a silly man with a silly accent. However, we soon realize that our fi rst perception is untrue and that there is depth and nuance to the character. Just as he teaches Sin a valuable lesson about perception, so he teaches the audience.
126 MHR Custom Selection Support: From Acquiesce 7. Metacognition How did reading this scene aloud aff ect your understanding of the characters and their interactions? How might experimenting with the characters’ expressions and gestures as you read infl uence your performance of the scene later? • Advise students that all theatre has been written with the intention of being spoken and seen, not just read and discussed. • Most students will likely respond that by reading aloud and experimenting with gestures and expressions −the actor gets a more realistic perspective of the author’s intentions −the characters are brought to life and greater substance is brought to their relationship − the actor understands what works and doesn’t work for the characters and the scene.
8. Analyzing, Interpreting, and Responding Why do you think the character of Sin went to see a psychic? Do you think the visit ultimately fulfi lled his needs? Explain. • Students will have varying ideas about why Sin went to see a psychic. Th e Synopsis states that Sin must deliver a eulogy for his father, a man he didn’t know. Students may believe that Sin wanted to know −what his father was like − what is in store for him during his stay in Hong Kong.
Sample answer: Sin may have wished to get some inspiration for what to say in the eulogy or to get insight into his father’s personality and culture. It may appear at fi rst that Ancient did not provide him with any insight. However, Ancient conveyed information about the Chinese culture (and therefore some knowledge about his father) and how Eastern perceptions vary from Western. This would not only provide Sin with ideas for the eulogy but also deepen his understanding of his own feelings towards his family and background.
• Teachers should look for student responses that are based on evidence from the Synopsis and the play excerpt.
The Next Stage
Creating and Presenting Create, rehearse, and present a short scene, mime, or series of tableaux with a partner about the theme of false assumption in relation to age, gender, income, or education. • Allow students to choose what form of dramatic presentation to use, or delegate presentation forms according to students’ individual and collective needs and skills. • Groups can be made up of two to fi ve students. • Tell students to ensure their presentations contain the following elements: − a beginning, middle, and end −a clear confl ict regarding the false assumption −character relationships and status. • Teachers may wish to provide students with BLM 1: Self-Assessment of Group Assessment for Learning Work for a Production to evaluate their group work. Use students’ responses on BLM 1 to help gauge their strengths and weaknesses when presenting the production.
Selection Support: From Acquiesce MHR Custom 127 BLM 1: Self-Assessment of Group Work for a Production
Name: ______Date: ______
Our production was about
We used the following forms and techniques (e.g., improvisation, script, mime, tableaux):
We were very good with
We were satisfactory with
We needed to improve
Other comments:
128 MHR Custom Selection Support: From Acquiesce
Selection Support: Of Farmers and Hunters
Author • 4 Create oral, print, visual and multimedia Paul Chartrand texts, and enhance the clarity and artistry of communication: 4.1.2, 4.1.3 • 5 Respect, support and collaborate with others: Type of Selection 5.1.1, 5.1.2, 5.2.1 Persuasive essay BC Themes and Topics • Oral Language: A1, A4, A8 • First Nations/Inuit/Métis • Reading and Viewing: B2, B5, B6, B7, B9, • Discrimination/bias/prejudice B11, B12, B13 • Social issues/social justice • Writing and Representing: C4, C5, C6, C10, • Education/learning C13
Summary MB Through this thoughtful examination of the • 1 Explore thoughts, ideas, feelings, and power of language, the author explains the experiences: 1.2.2 contrasting views of hunting cultures versus • 2 Comprehend and respond personally and farming cultures. critically to oral, literary, and media texts: 2.1.1, 2.1.2, 2.1.4, 2.2.1, 2.2.2, 2.3.2, 2.3.3, 2.3.5 Readability • 4 Enhance the clarity and artistry of Challenging selection for most students to read communication: 4.2.4
• 5 Celebrate and build community: 5.1.1, 5.1.3, Interdisciplinary Links 5.2.3 • Aboriginal Studies • Canadian History ON • Oral Communication Curriculum Connections - Speaking to Communicate: 2.2 • Reading and Literature Studies *This selection is most suitable for these courses: - Reading for Meaning: 1.1, 1.3, 1.6, 1.8 • AB (*ELA 9, 10-1, 20-2 & 30-2) - Understanding Form and Style: 2.1, 2.3 • BC (*ELA 9 & 10, Comm 11 & 12) - Reading with Fluency: 3.2 • MB (*English–Grade 9 & 10) - Reflecting on Skills and Strategies: 4.1 • NB (*English 9, 10, 11-3, 12-3) • Writing • NL (*ENG 9, English 1201, 2202, 3202) - Developing and Organizing Content: 1.2 • NS (*ENG 9, 10, ENG COM 11, ENG COM 12) - Using Knowledge of Form and Style: 2.1 • ON (*ENG 1D, 2D, 3C & 4C) • SK (*ELA 9, A10, B10 & 20) SK • Comprehend and Respond: 9.1, 9.2, 9.3, 9.7, AB A10.1, A10.4, B10.1, B10.4, 20.1, 20.4 • 2 Comprehend literature and other texts in oral, • Compose and Create: 9.1, 9.4, 9.5, 9.9, A10.1, print, visual and multimedia forms, and A10.2, B10.1, B10.2, 20.1 respond personally, critically and creatively: • Assess and Reflect: 9.1, 9.2, A10.1, 20.1 2.1.2, 2.1.3, 2.1.4, 2.2.2, 2.3.1
Selection Support: Of Farmers and Hunters • MHR
Selection Support: Of Farmers and Hunters MHR Custom 129 NB NS • Speaking and Listening • Speaking and Listening - 3 Interact with sensitivity and respect, - 3 Interact with sensitivity and respect, considering the situation, audience, and considering the situation, audience, and purpose: 3.1, 3.2, 3.3 purpose: 3.1, 3.2, 3.3 • Reading and Viewing • Reading and Viewing - 4 Select, read, and view with - 4 Select, read, and view with understanding: 4.3, 4.4, 4.5 understanding: 4.3, 4.4, 4.5 - 7 respond critically to a range of texts, - 7 Respond critically to a range of texts, applying their understanding of language, applying their understanding of form, and genre: 7.4, 7.7, 7.8 language, form, and genre: 7.4, 7.7, 7.8
NL • Speaking and Listening - 3 Interact with sensitivity and respect, considering the situation, audience, and purpose: 3.1, 3.2, 3.3 • Reading and Viewing - 4 Select, read, and view with understanding: 4.3, 4.4, 4.5 - 7 Respond critically to a range of texts, applying their understanding of language, form, and genre: 7.4, 7.7, 7.8
Selection Support: Of Farmers and Hunters • MHR
130 MHR Custom Selection Support: Of Farmers and Hunters Before a) Brainstorm ideas related to the words hunter and farmer. Write as many words or sentences that you can think of that describe each word.
• Students may share the following ideas about hunters: - track and kill animals for food - use specific skills and tactics - move from one region or area to another (i.e., with the animal) - use as much of the animal as they can (e.g., meat, hide, bones) - are knowledgeable about the land that the animals live on. • Students may share the following ideas about farmers: - stay in one area of land to grow crops - can feed their families and other families as well - must perform a lot of physical labour - plan around the seasons - use animals to help plant and harvest crops. b) If you had to choose between the role of hunter or farmer, which one would it be? Why?
Some students may prefer to be a hunter because of the excitement involved in hunting and the skill they would need to acquire to be a good hunter. Some students may prefer to be farmers because they like the idea of being settled in one location (instead of moving from place to place), or they like growing things and working with the land. Students may have experiences with hunting or farming (or at least visiting a farm), and that may affect their choices.
During
As you read, make note of any words that you do not understand. Try to use clues based on the context of the essay to understand the meaning of the word. Then look up the definition online or in a dictionary.
• This activity can help students monitor their understanding as they read. Ask students to consider whether the context was enough to properly understand the words. Ask them if they could still understand the meaning of the sentence, even if they didn’t fully understand what the word meant. • Students may note the following words: - anthropologist - mandate - incidental - conventional - rhetorical.
Selection Support: Of Farmers and Hunters • MHR
Selection Support: Of Farmers and Hunters MHR Custom 131 After
1. Reading for Meaning This essay ends with the line, “Such is the power and magic of the idea and, of its servant, language.” Reread the essay and explain how the author sees ideas (or ideology) and language having an impact on the rights of First Nations, Inuit, and Métis people.
• Rereading this essay with the goal of understanding the author’s statement about the power of the idea should help students to more fully understand the essay. • Explain to students that ideology is a system of ideas, common to a group of people. • Students should note that the author argues that the idea of farmer superiority was ingrained in European thought when settlers come to North America. The decision- makers, such as people in government, universities, and courts of law, had this ideology. Therefore, decisions were made that limited the rights of First Nations, Inuit, and Métis people because, as hunters, they were seen as inferior.
2. Student Voice In this essay, the author expresses frustration at Métis people “adopting farmer- superiority language,” such as using the term harvest instead of hunt. Do you think the words used to express something matter as much as the intended meaning? Explain, using examples.
• If students are having trouble answering this question, provide an example that they may be able to connect with: - A student uses a racist expression that they have heard somewhere, but he or she does not realize that the expression had racist roots. Is that student still at fault for being racist? Even if the student isn’t at fault, can that expression still be hurtful? • Some students may say that the words used to express something can have negative or disrespectful connotations that matter as much as the intended meaning. For example, a person may use the word “Indian” to describe a First Nations person, and although they did not mean to offend or show disrespect, the term can still be hurtful and disrespectful. • Some students may say that the intended meaning is what matters most. Misunderstandings can be resolved as long as the intended meaning is clarified.
3. Understanding Form and Style a) This selection is a persuasive essay. Summarize the argument the author is making.
Students should note that the author is trying to show that European settlers brought over an idea of farmer superiority, which meant that Aboriginal hunters did not have the same rights as European farmers. This caused Aboriginal people’s lands to be taken from them and it continues to have influence today in court cases and government policies concerning Aboriginal rights.
Selection Support: Of Farmers and Hunters • MHR
132 MHR Custom Selection Support: Of Farmers and Hunters b) How do the author’s tone, choice of words, organization of ideas, and types of evidence used contribute to how convincing the author’s argument is for you?
Students may explain the effect of the various elements of the essay as follows:
Sample answer:
The tone the author uses is measured, informed, and authoritative
sounding, so it helps to make the argument convincing for me.
The choice of words such as “morally superior” and “morally inferior” gave
his arguments weight because they do a good job of naming the attitudes
behind the situation. However, I did not understand some of the language,
so it made it difficult for me to follow the argument sometimes.
The organization of ideas is logical, which helped me to follow the
author’s arguments.
The types of evidence the author uses from court cases and history (such
as use of the term terra nullius) seem to have a lot of authority behind
them.
4. Speaking and Listening The author uses and defines the term terra nullius. In small groups, discuss why the term terra nullius was used incorrectly when Europeans settled in Canada.
• Students should note the definition of terra nullius as “land belonging to no one.” They should discuss how European settlers called the land terra nullius because they saw the land as empty since First Nations, Inuit, and Métis hunters moved from place to place throughout the land to hunt. However, the land did truly belong to the First Nations, Inuit, and Métis people, even though they did not farm it, or stay very long in one place. They relied on the land and the animals that inhabited it for their survival. • To encourage discussion, ask students the connotations of calling land that someone lives in “empty” or “belonging to no one.” What does that say about the people who live there?
5. Critical Literacy According to the author of this essay, what groups of people hold power in Canadian society? Why do they hold this power? Do you agree with the author?
• Students should note that the author believes that people of European descent, with inherently racist views, hold power in Canadian society because they are usually the ones in high positions in government, universities, and courts of law. People in these positions are making decisions for the rest of the country.
Selection Support: Of Farmers and Hunters • MHR
Selection Support: Of Farmers and Hunters MHR Custom 133 • Some students may say that they agree that these people hold power because government policies and court decisions often still do not properly value Aboriginal rights, particularly land rights. • Other students may say that, although the majority of people in government are still non-Aboriginal, most of these people no longer hold racist views about Aboriginal people. • Some students may also argue that an entirely different group of people truly hold power in Canadian society. For example, celebrities have considerable power to influence people.
6. Metacognition Identify strategies you used to help you understand unfamiliar words or content. Which strategy helped you the most?
• Students may identify strategies such as using context clues, asking a classmate or the teacher about the meaning of a term, checking a dictionary, or looking for definitions online. • Students may say that certain strategies, such as using context clues or asking a classmate, were most helpful because it allowed them to quickly get an understanding and return to reading. Some students may say that looking up the definition of words was most helpful because they were able to get clear and accurate definitions this way.
Beyond
Viewing and Representing Create an editorial cartoon or a collage that shows the inequities between farmers and hunters, as presented in this essay. Include dialogue and/or a caption in your cartoon or a short paragraph explaining your collage.
• Refer students to the definition of the term “editorial cartoon” in the Tips box. • Show students examples of editorial cartoons to help them understand the format and typical style and tone of editorial cartoons. • Assessment of Learning As a class, work to establish criteria that both products can be evaluated on. Criteria may include the following: - displays an understanding of the inequities between farmers and hunters, as presented in this essay - demonstrates creativity in presenting these ideas - dialogue, caption, or paragraph is free of grammatical and spelling errors.
Selection Support: Of Farmers and Hunters • MHR
134 MHR Custom Selection Support: Of Farmers and Hunters
Selection Support: Allen Sapp, Keeper of Stories
Author • 5 Respect, support and collaborate with others: Robin Dyck 5.1.1, 5.1.2, 5.2.1 BC Type of Selection • Oral Language: A2, A5, A6, A10, A12 Profiles and paintings • Reading and Viewing: B2, B3, B5, B6, B7, B8, B9, B10, B12 Themes and Topics • Writing and Representing: C3, C5, C10, C11, • First Nations/Inuit/Métis C12 • The arts (music/literature/dance/film) • Customs/traditions MB • 1 Explore thoughts, ideas, feelings, and experiences: 1.1.3 Summary • 2 Comprehend and respond personally and The life of Cree painter Allen Sapp is critically to oral, literary, and media texts: documented from his humble beginnings selling 2.2.1, 2.2.2, 2.2.3, 2.3.2 his paintings door to door, to his present status as • 4 Enhance the clarity and artistry of one of Canada's most distinguished artists. The communication: 4.2.1, 4.2.4, 4.3.1, 4.4.1, selection includes a sampling of Sapp's paintings 4.4.2, 4.4.3 showing life on Cree reserves in Saskatchewan. • 5 Celebrate and build community: 5.2.2
Readability ON Average selection for most students to read • Oral Communication - Listening to Understand: 1.2, 1.9 Interdisciplinary Links - Speaking to Understand: 2.1, 2.3, 2.4, 2.5, • Aboriginal Studies 2.6 • Fine Arts • Reading and Literature Studies - Reading for Meaning: 1.1, 1.2, 1.4, 1.6, 1.8 - Understanding Form and Style: 2.3 Curriculum Connections - Reflecting on Skills and Strategies: 4.1 • Writing *This selection is most suitable for these courses: - Developing and Organizing Content: 1.2 • AB (*ELA 20-1, 20-2 & 30-1) - Using Knowledge of Form and Style: 2.1, • BC (*ELA 11 & 12) • MB (*English–Grade 11 & 12) 2.2, 2.3, 2.4 • NB (*English 11-1, 11-2, 12-1, 12-2) SK • NL (*English 2201, English 3201) • Comprehend and Respond: 20.1, 20.2, 20.4 • NS (*ENG 11, 12, ADV ENG 11, ADV ENG 12) • Compose and Create: 20.1, 20.3, 20.4 • ON (*ENG 3U & 4U) • SK (*ELA 20, A30 & B30) • Assess and Reflect: 20.1 • Outcomes for A30 and B30 will be included AB when the ELA curriculum is final. See iLit.ca • 1 Explore thoughts, ideas, feelings and for more details. experiences: 1.2.1 • 2 Comprehend literature and other texts in oral, NB print, visual and multimedia forms, and • Speaking and Listening respond personally, critically and creatively: - 2 Communicate information and ideas 2.1.2, 2.3.1, 2.3.3 effectively and respond: 2.1, 2.3, 2.4 • 4 Create oral, print, visual and multimedia - 3 interact with sensitivity and respect: 3.3 texts, and enhance the clarity and artistry of • Reading and Viewing communication: 4.1.2, 4.1.3, 4.2.3, 4.2.4 - 4 Select, read, and view with Selection Support: Allen Sapp, Keeper of Stories • MHR
Selection Support: Allen Sapp, Keeper of Stories MHR Custom 135 understanding: 4.2, 4.5 NS - 6 Respond personally to a range of • Speaking and Listening texts: 6.1, 6.2 - 2 Communicate information and ideas - 7 Respond critically to a range of texts, effectively and respond: 2.1, 2.3, 2.4 applying their understanding of language, - 3 interact with sensitivity and respect: 3.3 form, and genre: 7.1, 7.2 • Reading and Viewing • Writing and Representing - 4 Select, read, and view with - 8 explore, clarify, and reflect on their understanding: 4.2, 4.5 thoughts; and to use their imaginations: - 6 Respond personally to a range of 8.1, 8.3 texts: 6.1, 6.2 - 7 Respond critically to a range of texts, NL applying their understanding of language, • Speaking and Listening form, and genre: 7.1, 7.2 - 2 Communicate information and ideas • Writing and Representing effectively and respond: 2.1, 2.3, 2.4 - 8 explore, clarify, and reflect on their - 3 interact with sensitivity and respect: 3.3 thoughts; and to use their imaginations: • Reading and Viewing 8.1, 8.3 - 4 Select, read, and view with Understanding: 4.2, 4.5 - 6 Respond personally to a range of texts: 6.1, 6.2 - 7 Respond critically to a range of texts, applying their understanding of language,
form, and genre: 7.1, 7.2 • Writing and Representing - 8 explore, clarify, and reflect on their thoughts; and to use their imaginations: 8.1, 8.3
Selection Support: Allen Sapp, Keeper of Stories • MHR
136 MHR Custom Selection Support: Allen Sapp, Keeper of Stories Before
Describe at least four ways that someone can tell a story about his or her culture and past.
• This question would work well as a class discussion. Ask students the benefits of and differences between different modes of storytelling. • Students may describe the following modes of storytelling: - oral storytelling - novels - short stories - newspaper or magazine articles - blogs - graphic novels - artwork - movies - theatrical productions - songs.
During
As you read the profile of Allen Sapp and view his paintings, record at least two connections you made between the information in the profile and the artwork.
• Encourage students to look closely at the paintings, and see if they can make any connections regarding the style, content, and perspective of the paintings, as explained in the profile. • Students may make the following connections: - His paintings appear to show life on a reserve in rural Saskatchewan, which is what Dr. Gonor encouraged him to paint. - The paintings seem to be a window into a story, so it makes sense that Allen Sapp was called a “keeper of stories through images.” - The paintings seem to be from a child’s perspective, which suggests that he painted memories from his childhood.
After
1. Reading for Meaning Infer why the artist chose the title for each of his paintings.
• Refer students to the definition of the term “infer” in the Tips box. • Most students will see that the title simply describes what is in the painting. Encourage students to look at details in the paintings and try to go a little deeper with their inferences.
Selection Support: Allen Sapp, Keeper of Stories • MHR
Selection Support: Allen Sapp, Keeper of Stories MHR Custom 137 Sample answers:
• Taking Water Home: There must be water in the barrel on the sled, and the man must be taking it to his home. The barrel is covered and there is a bucket hanging on it, so this makes sense. There must not be a source of water very close to his home if he has to do this. • Kid Has Two Dogs: You can see two dogs in the far distance, which must belong to the kid in the foreground. Even though there are other people and two horses in this painting, the artist saw the kid and the dogs as the most important things in this scene, maybe because it was a memory from his childhood. • Picking Roots: The women in the field must be picking roots. They have tools and a horse-drawn wagon, so they have likely planned to harvest these roots.
2. Understanding Form and Style Analyze the way Allen Sapp portrays people in his paintings. How does he make them seem like living, breathing people? What effect does this have on you, the viewer?
• Students may answer that even though you can’t really see the people’s faces, their postures and body language make them seem very realistic, for example: - The man in Taking Water Home looks relaxed, like he’s done this many times. - The adults in Kid Has Two Dogs both look a bit cold; there appears to be a bit of tension in their shoulders, like they are tensing up in the cold. The man in blue looks to be waiting patiently as the other person ties up some wood. - The women in Picking Roots look a bit hunched. Maybe they are tired, or maybe they are simply used to doing this manual labour and they naturally hunch over a bit. They also look like they are working hard. • Students may note that the sensitive realism of the people in these paintings has the effect of making you feel like you are truly looking in on a scene in their lives.
3. Viewing and Representing Identify clues in the paintings that indicate that they are images from Allen Sapp’s childhood.
• Students may note that the horse-drawn wagons and sleds show that these scenes are from many years ago, since even in very remote places in Saskatchewan, most people use cars or other motorized vehicles. • Students may also note that the clothing worn by the people in the paintings looks like it is from many years ago. • Some students may note that the perspective of Picking Roots is quite low, and could be from the perspective of a child. Taking Water Home could be from the perspective of a child who has climbed a tree. Kid Has Two Dogs doesn’t appear to be from a child’s perspective, but the title of the painting makes it seem like the things in the painting are viewed through the eyes of a child, since the kid and the dogs are worthy of being mentioned in the title.
Selection Support: Allen Sapp, Keeper of Stories • MHR
138 MHR Custom Selection Support: Allen Sapp, Keeper of Stories 4. Reading for Meaning Explain why Allen Sapp is referred to as a “keeper of stories through images.” How is that evident in these paintings?
Students may note that he is called a “keeper of stories through images” because his paintings show snapshots of Cree life in northern Saskatchewan when he was a child.
5. Speaking and Listening Choose a painting and write a short dialogue or monologue for the character(s) in the painting. Use the title of the painting to create appropriate and respectful content and tone. Perform the dialogue or monologue for the class.
• Refer students to the definitions of the terms “dialogue” and “monologue” in the Tips box. • Students may choose to write a monologue from the point of view of – the man in Taking Water Home. He could be thinking about seeing his family when he arrives home, other things that happened to him that day, how he needs to make sure his water stays on the sled, or the beautiful winter scenery. – the little boy in Kid Has Two Dogs. He may be thinking about playing with his dogs, sliding on his sled, whether he can ride on the horse-drawn sleigh, or what the adults are talking about. • Students may choose to write a dialogue for – the two adults in Kid Has Two Dogs. They may be talking about the cold weather, where they are taking the wood, or who else needs wood delivered. – the women in Picking Roots. They could be talking about when they might take a break for lunch, telling about their children or grandchildren, or sharing some kind of wisdom. • Have students perform their dialogues or monologues for the whole class, small groups, or the teacher. Students can assess one another’s work using BLM 1: Monologue or Dialogue Assessment.
6. Student Voice Allen Sapp was encouraged to “paint what he knew.” Do you think it’s a good idea for people to paint or write what they know about? Explain why or why not.
• Some students may say it’s always good to paint or write what you know about, because your experiences will allow you to effectively paint or describe settings, atmospheres, and emotions, and to write convincing dialogue. Writing or painting what you know doesn’t have to be limited to writing about or painting events that happened to you, but you can draw on experiences and feelings you have had to create imaginative stories or artwork. • Other students may say that it is far more interesting for them to write about things they have no experience of, such as science fiction or murder mysteries. They may feel that things that happen in their own lives do not make for very interesting stories.
Selection Support: Allen Sapp, Keeper of Stories • MHR
Selection Support: Allen Sapp, Keeper of Stories MHR Custom 139
7. Critical Literacy The author had to select only some pieces of information to include about the life and work of Allen Sapp. a) Why do you think she selected this information? What message was she trying to convey about Allen Sapp?
• Students may answer that the author started off with how highly honoured Allen Sapp is and closed with how he has “helped rewrite history ‘through the eyes of the Cree.’” This shows that the author must have wanted her audience to understand what an important artist he is. • The author also talks about Sapp’s humble beginnings, the tragedy of his mother dying, his childhood illness, and his closeness to his grandmother. This likely evokes sympathy for Sapp, and might explain why his paintings tend to display tenderness for the people in them. • The author also explains Sapp’s incredible memory, and how he uses it to create his paintings. This fact might foster appreciation for his art.
b) What information about his life do you feel might be missing?
Some students may note that the author doesn’t say anything about whether the artist got married or whether he has any children. They may note that the author didn’t include any information about Sapp’s father or whether he had any siblings. Students may also wonder how Sapp met Dr. Allan Gonor.
8. Metacognition Did trying to make connections between the text and artwork as you read help you to understand this selection? Explain why or why not.
Students may answer that looking carefully at the artwork helped them to appreciate what the author was trying to convey about the artist. Other students may say they had trouble understanding how the text connected to the artwork, and that they found this frustrating.
Beyond
Reading for Meaning Select one of the paintings. Write a short story using the scene in the painting as a prompt. You may build your story around the dialogue or monologue you wrote in question 5 or choose another painting or story line.
• Review the elements of short stories with students: - Characters: The protagonist is the main character. Sometimes there is an antagonist who creates conflict for the protagonist. There may also be minor characters who are not as developed as the main character. - Point of view: The story may be told by a character in the story using a first- person point of view, or by a character who is not in the story using a third-person point of view. The third-person narrator may or may not have an omniscient, or all-knowing, point of view.
Selection Support: Allen Sapp, Keeper of Stories • MHR
140 MHR Custom Selection Support: Allen Sapp, Keeper of Stories - Plot: The plot is the action or events in a story. Usually plots contain an initial incident that begins the action of the story and introduces the conflict the main character will encounter. During the rising action, the conflict intensifies, and at the climax or turning point of the story, the conflict is at its most intense. Some short stories may end at the climax with no clear resolution, but others have a falling action to explain how the climax was resolved. - Setting: The time, place, and atmosphere (or mood) of the short story. Stories may be set in modern day, the future, or the past. - Theme: The theme is the central idea of the story. Students may think the theme is the topic, what the story is about, but the theme is the big idea or deeper message of the story. • Give students a word count or page range to aim for in their short stories. • Assessment of Learning As a class, determine appropriate criteria for assessing the short stories. Criteria may include the following: - Story is a plausible extension of the scene shown in the painting. - Story demonstrates understanding of typical plot structure. - The actual setting of the painting is considered and expanded upon. - Main character is somewhat developed (i.e., the reader should gain some insight into the main character’s personality, thoughts, and feelings). - Story is imaginative and well crafted. - Writing is free of grammar and spelling errors.
Selection Support: Allen Sapp, Keeper of Stories • MHR
Selection Support: Allen Sapp, Keeper of Stories MHR Custom 141 BLM 1: Monologue or Dialogue Assessment
Listener’s Name: ______
Speaker’s Name: ______
Criteria Yes No Somewhat 1. The content and tone of the monologue/dialogue are appropriate for the painting chosen.
2. Monologue/dialogue is interesting and imaginative.
3. Speaker has a clear, loud voice & enunciates well.
4. Speaker has appropriate inflection/emotion, depending on content and punctuation cues.
5. Speaker uses appropriate facial expressions, posture, and gestures.
Make one positive statement about the monologue or dialogue and one positive statement about the speaker’s delivery.
Make one positive and constructive suggestion to help the speaker improve his or her delivery and/or the monologue or dialogue.
Selection Support: Allen Sapp, Keeper of Stories • MHR
142 MHR Custom Selection Support: Allen Sapp, Keeper of Stories
Selection Support: Wake-Up Call
Author • 4 Create oral, print, visual and multimedia Adam Martin texts, and enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.2.2, 4.2.4 Type of Selection • 5 Respect, support and collaborate with others: Editorial cartoon 5.1.1, 5.1.2
Themes and Topics BC • Social issues/social justice • Oral Language: A1, A4 • First Nations/Inuit/Métis • Reading and Viewing: B3, B5, B6, B7, B8, B9, • Discrimination/bias/prejudice B11, B12 • Education/learning • Writing and Representing: C2, C5, C6, C10, C13 Summary Because many Canadians are unaware of our MB colonial past, according to this cartoonist, we are • 1 Explore thoughts, ideas, feelings, and prone to misunderstanding or ignoring the issues experiences: 1.1.2, 1.2.4 facing Aboriginal people. Martin's editorial • 2 Comprehend and respond personally and cartoon illustrates the need for Canadians to critically to oral, literary, and media texts: become informed. 2.1.1, 2.1.3, 2.2.1, 2.2.2, 2.3.1, 2.3.2, 2.3.5 • 4 Enhance the clarity and artistry of Readability communication: 4.1.1, 4.1.3 Easy selection for most students to read • 5 Celebrate and build community: 5.1.1, 5.2.1, 5.2.2
Interdisciplinary Links ON • Aboriginal Studies • Oral Communication • Political Science - Speaking to Understand: 2.2 • Canadian History • Reading and Literature Studies - Reading for Meaning: 1.1, 1.3, 1.6, 1.7, 1.8 Curriculum Connections - Understanding Form and Style: 2.1, 2.3
- Reflecting on Skills and Strategies: 4.1 *This selection is most suitable for these courses: • Writing • AB (*ELA 9 &10) - Developing and Organizing Content: 1.1, 1.2, • BC (*ELA 9) • MB (*English–Grade 9) 1.4 • NB (*English grade 9) - Using Knowledge of Form and Style: 2.1 • NL (*ENG 9, English 1202) • NS (*ENG 9, ENG 10+) SK • ON (*ENG 1D & 2P) • Comprehend and Respond: 9.1, 9.2, 9.3, 9.4 • SK (*ELA 9) • Compose and Create: 9.1, 9.3, 9.8, 9.9 • Assess and Reflect: 9.1 AB • 1 Explore thoughts, ideas, feelings and NB experiences: 1.1.1, 1.2.1 • Reading and Viewing • 2 Comprehend literature and other texts in oral, - 4 Select, read, and view with print, visual and multimedia forms, understanding: 4.1, 4.2, 4.3, 4.4, 4.5 and respond personally, critically and - 6 Respond personally to a range of texts: creatively: 2.1.1, 2.1.2, 2.1.3, 2.2.1, 2.3.1, 6.1, 6.2 2.3.3 - 7 Respond critically to a range of texts, Selection Support: Wake-Up Call • MHR
Selection Support: Wake-up Call MHR Custom 143 applying their understanding of NS language, form, and genre: 7.3 • Reading and Viewing • Writing and Representing - 4 Select, read, and view with - 9 Create texts collaboratively and understanding: 4.1, 4.2, 4.3, 4.4, 4.5 independently, using a variety of forms - 6 Respond personally to a range of texts: for a range of audiences: 9.1, 9.2 6.1, 6.2 - 7 Respond critically to a range of texts, NL applying their understanding of • Reading and Viewing language, form, and genre: 7.3 - 4 Select, read, and view with • Writing and Representing understanding: 4.1, 4.2, 4.3, 4.4, 4.5 - 9 Create texts collaboratively and - 6 Respond personally to a range of texts: independently, using a variety of forms 6.1, 6.2 for a range of audiences: 9.1, 9.2 - 7 Respond critically to a range of texts, applying their understanding of language, form, and genre: 7.3 • Writing and Representing - 9 Create texts collaboratively and independently, using a variety of forms for a range of audiences: 9.1, 9.2
Selection Support: Wake-Up Call • MHR
144 MHR Custom Selection Support: Wake-up Call Before
This cartoon refers to Canadian ideals. In your opinion, what ideals are common to most Canadians?
• This question will work well as a class discussion. Some students may have trouble answering this question and would benefit from other students’ insights. • Explain to students that ideals are values or principles that people deem to be honourable and standards that people should strive for in a society. • Students may answer that Canadian ideals include equality, respect for cultural differences, freedom of speech, freedom of religion, peace, and social justice.
During
As you view this cartoon, jot down two or three questions that you have about the content.
• This editorial cartoon is fairly simple; however, ask students to think about the message carefully and whether or not they think they understand what the artist is saying. • Students may ask questions such as - What Canadian ideals is the artist referring to? Are they the same ideals that I’m thinking of? - Why do First Nations issues smash Canadian ideals? - What does the artist mean by First Nations issues?
After
1. Reading for Meaning Analyze the images and text in this selection, and explain the artist’s message. How do the images symbolize this message?
• Students will note that the message of the editorial cartoon is written at the bottom: “First Nations Issues Are Canadian Issues.” Ask students to analyze the images as well as the Inspiration note to help them fully unpack the message. They will need to bring in prior knowledge of Canadian ideals and First Nations issues to help them understand the message. For this reason, this question may be answered most effectively in pairs or small groups. • Students should note that the artist represented Canadian ideals with a map of Canada. He represented First Nations issues with a gavel, which represents justice. The gavel highlights the injustice of the situation wherein the majority of Canadians ignores First Nations issues and thinks these issues don’t apply to them. • The image suggests that the values and ideals that Canadians hold dear, such as equality, social justice, and a tolerant multicultural society, are shattered by bringing to light First Nations issues. For one thing, First Nations issues, such as the legacy of residential schools, show that Canadian culture did not hold these values historically. The artist makes this clear when he says, “a vast majority of Canadians are uneducated about their country’s colonial past.” Also, the fact that Canadians don’t pay attention to or try to resolve First Nations issues shows that they don’t really care Selection Support: Wake-Up Call • MHR
Selection Support: Wake-up Call MHR Custom 145 about social justice and equality, and this “allows bigotry and ignorance to fester.” The artist wants to make a statement that all Canadians should care about and seek to resolve First Nations issues because these issues do indeed apply to them.
2. Understanding Form and Style Given the definition of editorial cartoons, do you think this editorial cartoon is effective? Why or why not?
• Refer students to the definitions of the terms “editorial cartoon” and “hyperbole” in the Tips box. • Students may note that the editorial cartoon does comment on a current event because First Nations issues are current events. Students may also say that the artist used hyperbole by choosing to show a gavel representing First Nations issues shattering a map of Canada. This visual metaphor could be considered an exaggeration that emphasizes how serious it is to ignore First Nations issues. • Some students may point to the fact that the editorial cartoon does not make any use of humour; however, students may realize that the content does not suit humour and editorial cartoons do not necessarily have to use humour to be effective. • Some students may argue that the editorial cartoon is not effective because people who require the wake-up call may not understand the cartoon because they don’t even understand what First Nations issues are.
3. Viewing and Representing Think of another image that could represent the same idea illustrated in this editorial cartoon. Sketch your image.
Encourage students to think of symbols of Canada, such as the Canadian flag, and symbols of injustice, such as imbalanced scales of justice. Students may also choose to sketch people and include dialogue to represent the idea that all Canadians must pay attention to First Nations issues.
4. Student Voice From your experiences in school, do you agree with the artist that Canadians aren’t properly educated about First Nations issues and history? Explain your thinking.
• Some students may point to special classes that explore First Nations, Inuit, and Métis issues and history, though not all schools necessarily offer these courses. • Some students may feel that they do not learn enough about First Nations issues and history in other classes, such as history classes, art classes, or social studies classes, in which First Nations issues and perspectives could easily be covered. Students have to take special courses, which not all students take, to truly learn about these things.
5. Critical Literacy What assumptions is the author making about his audience?
• Ask students to consider who this artist’s target audience might be and what they may need to know or believe in order for this editorial cartoon to be effective.
Selection Support: Wake-Up Call • MHR
146 MHR Custom Selection Support: Wake-up Call • Students may note that the artist assumes that his audience knows what he means by Canadian ideals and First Nations issues. • Students may also say that since he calls his cartoon a “Wake-Up Call” that his audience will at least partly be made up of people who need to “wake up” to the First Nations issues that surround them.
6. Metacognition Which of your questions from the During reading activity were you able to answer? What strategies did you use to answer them?
Students may say that they used prior knowledge, discussion with classmates and their teacher, and analysis of the images and text to answer the questions they raised in the During reading activity.
Beyond
Reading for Meaning This artist states that “a vast majority of Canadians are uneducated about their country’s colonial past.” Create a proposal for ways to educate Canadians about First Nations, Inuit, and Métis issues and history. Be sure to argue for the importance of this education. You can choose to direct your proposal to the education system, the media, the arts community, etc.
• Explain to students that a proposal is generally a formal piece of writing that puts forward a plan or suggestion for consideration by others. • Remind students that they must first decide to whom they will direct their proposals. Have students consider the following questions to help get them started: - What is a good way to reach many Canadians? - What are effective ways of teaching people? - Do I want to focus on teaching children, teenagers, or adults? - How might my experience and areas of interest (such as visual arts, drama, film, music, sports, etc.) help me come up with good ideas for reaching people and educating people about First Nations issues and history? • Assessment as Learning Students’ proposals could be evaluated based on the following criteria: - Target audience is clearly identified and appropriately addressed. - Proposal is logically organized. - Ideas are clearly stated. - Ideas are somewhat original and creative. - The importance of educating people about First Nations issues and history is effectively argued. - Writing is free of grammar and spelling errors.
Selection Support: Wake-Up Call • MHR
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Selection Support: Making the Ordinary Feel Extraordinary
Author • 4 Create oral, print, visual and multimedia texts Chad Pelley and enhance the clarity and artistry of communication: 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, 4.2.4 Type of Selection • 5 Respect, support and collaborate with others: Interview 5.1.1, 5.2.1
Themes and Topics BC • Writing as a career • Critical and personal response to literature • Canadian literature - demonstrate an awareness of why literature is valued Summary - demonstrate respect for ideas and values According to the author of this interview, expressed in literary works Newfoundland author Michael Winter is a - identify and interpret issues and themes in ―writer for writers.‖ After telling readers what literary works makes Winter‘s fiction so engaging and awe- - create personal responses to literature through inspiring for him, the interviewer asks Winter writing, speech, or visual representation about his start in writing, what he continues to • Literary analysis enjoy about his career, and what he looks for in a - support a position by providing evidence good book. from literary works - identify the distinguishing characteristics of
literary genres Readability - identify distinguishing characteristics of a Average selection for most students to read writer‘s style, such as diction, syntax, rhythm, and imagery Curriculum Connections MB • Explore thoughts, ideas, feelings, and *This selection is most suitable for these courses: experiences: 1.1.1, 1.1.2, 1.1.3, 1.1.4, 1.1.5, • AB (*ELA 30-1) 1.2.1, 1.2.2 • BC (*English Literature 12) • Comprehend and respond personally and • MB (*English–Grade 12) critically to oral, print, and other media texts: • NB (*English 12-1 & 12-2) • NL (*English 3201) 2.1.1, 2.1.2, 2.1.3, 2.2.3, 2.3.1 • NS (*ENG 12 & ADV ENG 12) • Manage ideas and information: 3.2.4 • ON (*ENG 4U) • Enhance the clarity and artistry of • SK (*ELA A-30 & B-30) communication: 4.2.1, 4.2.2, 4.2.3, 4.2.5, 4.3.1, 4.3.2, 4.3.3, 4.4.1 AB • Celebrate and build community: 5.1.1, 5.1.2, 5.1.3, 5.2.1 • 1 Explore thoughts, ideas, feelings and
experiences: 1.1.1, 1.1.2, 1.2.1, 1.2.2, 1.2.3 NB • 2 Comprehend literature and other texts in oral, • Speaking and Listening print, visual and multimedia forms, and - 1 Speak and listen to explore, extend, clarify, respond personally, critically and creatively: and reflect: 1.1, 1.2, 1.3, 1.4 2.1.1, 2.1.2, 2.1.3, 2.1.4, 2.2.1, 2.2.2, 2.3.1, - 2 Communicate information and ideas 2.3.3 effectively and respond: 2.1, 2.2, 2.3 Selection Support: Making the Ordinary • MHR
148 MHR Custom Selection Support: Making the Ordinary Feel... - 3 Interact with sensitivity and respect: 3.1, 3.3 NS • Reading and Viewing • Speaking and Listening - 4 Select, read, and view with understanding: - 1 Speak and listen to explore, extend, clarify, 4.2, 4.3, 4.5 and reflect: 12:1.1, 12:1.2, 12:1.3, 12:1.4 - 5 Interpret, select, and combine information, - 2 Communicate information and ideas using a variety of strategies, resources, and effectively and respond: 12:2.1, 12:2.2, technologies: 5.1 12:2.3 - 6 Respond personally to a range of texts: 6.1, - 3 Interact with sensitivity and respect: 12:3.1, 6.2 12:3.3 - 7 Respond critically to a range of texts, • Reading and Viewing applying their understanding of language, - 4 Select, read, and view with understanding: form, and genre: 7.1 12:4.2, 12:4.3, 12:4.5 • Writing and Other Ways of Representing - 5 Interpret, select, and combine information, - 8 Explore, clarify, and reflect on their using a variety of strategies, resources, and thoughts, feelings, experiences, and technologies: 12:5.1 learnings: 8.1, 8.2 - 6 Respond personally to a range of texts: - 9 Create texts using a variety of forms for a 12:6.1, 12:6.2 range of audiences and purposes: 9.1, 9.3 - 7 Respond critically to a range of texts, - 10 Use a range of strategies to develop applying their understanding of language, effective writing: 10.1, 10.2, 10.3, 10.4 form, and genre: 12:7.1 • Writing and Other Ways of Representing NL - 8 Explore, clarify, and reflect on their • Speaking and Listening thoughts, feelings, experiences, and learning: - 1 Speak and listen to explore, extend, clarify, 12:8.1, 12:8.2 and reflect: 1.1, 1.2, 1.3, 1.4 - 9 Create texts using a variety of forms for a - 2 Communicate information and ideas range of audiences and purposes: 12:9.1, effectively and respond: 2.1, 2.2, 2.3 12:9.3 - 3 Interact with sensitivity and respect: 3.1, 3.3 - 10 Use a range of strategies to develop • Reading and Viewing effective writing: 12:10.1, 12:10.2, 12:10.3, - 4 Select, read, and view with understanding: 12:10.4 4.2, 4.3, 4.5 - 5 Interpret, select, and combine information, ON using a variety of strategies, resources, and • Oral Communication technologies: 5.1 - Listening to Understand: 1.2 - 6 Respond personally to a range of texts: 6.1, - Speaking to Communicate: 2.1, 2.2, 2.3, 2.4 6.2 • Reading and Literature Studies - 7 Respond critically to a range of texts, - Reading for Meaning: 1.1, 1.2, 1.3, 1.4, 1.5, applying their understanding of language, 1.6, 1.7, 1.8 form, and genre: 7.1 - Understanding Form and Style: 2.1, 2.3 • Writing and Other Ways of Representing • Writing - 8 Explore, clarify, and reflect on their - Developing and Organizing Content: 1.5 thoughts, feelings, experiences, and learning: - Using Knowledge of Form and Style: 2.1, 8.1, 8.2 2.4, 2.6, 2.7 - 9 Create texts using a variety of forms for a - Applying Knowledge of Conventions: 3.1, range of audiences and purposes: 9.1, 9.3 3.2, 3.3, 3.4, 3.5, 3.6 - 10 Use a range of strategies to develop - Reflecting on Skills and Strategies: 4.1 effective writing: 10.1, 10.2, 10.3, 10.4 SK • Comprehend and Respond: A30.4 • Compose and Create: A30.3, A30.4 • Assess and Reflect: A30.2
Selection Support: Making the Ordinary • MHR
Selection Support: Making the Ordinary Feel... MHR Custom 149
Background Support
About Michael Winter (Chad Pelley’s Interviewee) • Michael Winter was born in England in 1965. • From the age of three, he was raised in Corner Brook, Newfoundland, though he now lives in Toronto, Ontario, and spends summers in Newfoundland. • After getting a degree in economic geography, he started writing and editing. • In 2006, he had a life-altering experience, falling into a garbage incinerator. As a result, he began thinking about his mortality and decided to have a baby with his partner, Canadian novelist Christine Pountney. • He often writes about the life of a fictional alter-ego, Gabriel English. • His novels include This All Happened (2000), The Big Why (2004), The Architects Are Here (2007), and The Death of Donna Whalen (2010). • He was published by Quarry Press, The Porcupine‘s Quill, and House of Anansi Press, before switching to Penguin, which signed him on with a large advance for a pair of books. • The Burning Rock Collective, to which Winter belongs, is a group of writers who help each other in the writing process. The original group met while taking a creative writing course at Memorial University of Newfoundland. • Winter has been awarded multiple prizes, including the Writers‘ Trust Notable Author Award, and has been called a ―fearlessly original writer.‖ • Michael‘s sister Kathleen is also an accomplished author.
Before
Using the Internet or library, research a few basic biographical facts about Canadian writer Michael Winter. If available, read a few lines from any of his books to get a sense of his writing style.
• Encourage students to draw their information from reliable Web sites or library resources. You may wish to provide students with the bibliographical information provided in the Background Support. • Invite students to share the fruits of their research in a class discussion, so that all students will have an inkling of this writer‘s accomplishments and life story. • You may wish to read all or part of ―The Incinerator Incident,‖ a Michael Winter short story, to students. It is available at the Web site of The Walrus magazine.
During
As you read, use sticky notes to jot down questions, comments, or your own ideas as if you were part of the conversation.
• To encourage students to think of their comments as part of a three-way conversation, direct them to put their questions, comments, and ideas in quotation marks, to speak in the first person, and to direct all comments to one of the other two participants. • Provide students with a few comment/question starters, such as - ―Chad,I disagree that…‖ - ―Something I always wondered about…‖ Selection Support: Making the Ordinary • MHR
150 MHR Custom Selection Support: Making the Ordinary Feel... - ―Michael, what do you mean by…‖ • Students will come up with a wide variety of comments and questions, for example: - ―Michael, what do you mean by answering a question ‗in a slightly angled way‘?‖ - ―I love the idea that writing becomes good when the details create intimacy.‖ - ―I know exactly what you mean by ‗the mystique of creating text and story.‘ I find it mysterious and intimidating, too. What other tricks do you have to inspire yourself to write?‖
After
1. Reading for Meaning Michael Winter has been referred to as a “writer for writers.” Explain what this phrase means. To develop your response, combine information from the interview, your own experiences with writing, and anything you have learned about writing from other sources.
• Students should begin tackling this question by rereading the opening to this selection to determine the context of the quotation. The context can help them formulate a suitable explanation for the phrase. They will find that, in Pelley‘s opinion, it is Winter‘s ―distinctive, ultra-fresh writing, and his critically acclaimed eye for detail‖ that have made him a ―writer for writers.‖ In other words, Winter is so good at creating original writing overflowing with evocative detail that other writers look to his writing as a model. They delight in how he excels at what they work every day to accomplish. In their view, he is the master. • To test this explanation, students can examine - the preamble to the interview: . Pelley opens his preamble with ―Michael Winter can capture life in a way that makes even the ordinary feel explosive.‖ . In conversations among writers, Winter‘s name comes up ―more frequently and with more enthusiasm than most others.‖ . Pelley claims he has ―clear influence on a new generation of writers.‖ . Pelley says that winter is ―redefining‖ Canadian literature. . Pelley says that Winter‘s ―work pushes the new generation of Canadian writers to try to word things in a way no other writer ever has.‖ - the interview: . Winter does like to be original, as we can see in his comment that he most enjoys answering a question ―in a slightly angled way.‖ . Further, he says that intimate detail ―betrays character, it tells me a lot about what it is to be alive.‖ . Winter is himself inspired by another ―writer‘s writer‖: American novelist Charles Portis. - their own experiences with writing: . Students may have been inspired by another ―master‖ writer. . They might also have been inspired by hearing and studying the lyrics created by songwriters such as Amy Winehouse, Bob Dylan, Gordon Lightfoot, Alanis Morissette, Serena Ryder, Carly Rae Jepsen, Leonard Cohen, Lana Del Rey, Patrick Watson, Andrew Bird, or Florence Welch of the band Florence and the Machine. - anything they have learned about writing from other sources. Students may draw on what they have learned from . their teachers Selection Support: Making the Ordinary • MHR
Selection Support: Making the Ordinary Feel... MHR Custom 151 . their classmates . a book club . books about writers or writing (such as Stephen King‘s On Writing, Anne Lamott‘s Bird By Bird: Some Instructions on the Writing Life, and Bill Bryson‘s The Mother Tongue) . movies about writers or writing (such as Stranger Than Fiction, Misery, My Left Foot, Adaptation, or The Hours) • Encourage learners to think of how writers motivate and inspire other writers. For example, students may note that Winter feels motivated by his community of fellow writers all struggling along ―doing the same lonely thing.‖ It is highly possible that his fellow writers are similarly motivated by seeing Winter write.
2. Understanding Form and Style Pelley describes Michael Winter’s writing style as making the “ordinary feel extraordinary.” What evidence of this ability do you see in Winter’s responses? Find at least one example, and explain why you chose it.
• Point out to students that the phrase cited in the question is Pelley‘s title for the selection, but that he uses an even stronger phrasing in the text itself: ―Winter can capture life in a way that makes even the ordinary feel explosive.‖ Pelley feels that Winter is particularly accomplished in using vivid language to create an experience for the reader that is more than just picturing a scene. • Students should be reminded that the interviewee‘s response is simply a verbal response—it is not therefore indicative of Winter‘s best writing. Nonetheless, he describes several scenes, effectively recreating for the reader an experience. These scenes can give us a taste of what Winter can create through writing. • Students will likely suggest one of the following two passages, in which Winter describes - riding in the back seat of a Plymouth Valiant: Draw students‘ attention to the underlined details that bring the scene to life: ―I remember crinkling up the paper maps and opening the back window a little to let the rain get on the paper to smudge the pencil lines, and the crinkling made the maps look old.‖ - a moment in a Charles Portis novel: ―our protagonist enters a bar where all the seats are taken. He waits for an empty stool. He sees a man get up. But he has to wait to let the heat dissipate off the seat of the stool before he can sit on it. And while he waits, another man takes the seat.‖ The key here is not particular descriptive words, but the intimate detail of the heat dissipating off the seat and the implied disappointment or frustration that the protagonist probably felt when the seat was taken. The author thereby recreates a very real, very human experience that is instantly familiar to virtually any reader and yet probably never written about before. • Assessment as Learning Encourage students to look at samples of their own writing to see if the words are sufficient to put a reader in the moment, as if he or she could see and feel and be in the experience.
Selection Support: Making the Ordinary • MHR
152 MHR Custom Selection Support: Making the Ordinary Feel... 3. Student Voice Write your own response to the question “For you, what makes for a good book?” Join with a partner and compare notes.
• Students will generate a lot of good ideas for this, and their preferences may vary according to their tastes, what books they have been exposed to, and their levels of proficiency as readers. • Ask students to note the qualities of a ―good book‖ as well as some examples of good books they have read to illustrate their preferences. Students may cite qualities such as the following: - a strong plot - teaches or reveals something new - lots of action to the reader - not too long - has strong writing that allows - set in an exotic location readers to ―get lost‖ in the - set in the future author‘s world - set in an historical event - is about teenagers - includes illustrations or - has a mystery photographs - interesting characters. • Assessment as Learning At the sharing stage, encourage students to learn from their partners. If a student agrees with his or her partner‘s suggestions, the student should use those suggestions to improve their own written response. • As an extension, invite students to write a recommendation for a book of their choice that indicates what qualities make it a good book. Each student can accomplish this by completing BLM 1: Recommending a Good Book. Together, the class can then create a bulletin board called ―Have We Got a Book for You‖ by posting the many book recommendations. Alternatively, ask students to post their book recommendations at a class or school Web site.
4. Critical Literacy Given the nature of the questions, who do you think is the intended audience for this interview? What makes you think so?
• Begin by asking volunteers to read the questions aloud and to think of who might be interested in hearing a response from a highly successful published author. • Given that the questions all pertain to the craft of writing, it is highly likely that Pelley pictured his audience as writers like himself who have not yet achieved the fame that Michael Winter has. Pelley would know that other writers want to learn about new sources of inspiration they could use themselves. They might also be interested in how Winter navigates the writing process and deals with challenges such as writer‘s block. • Students may also identify readers as a secondary audience. People who read books are often intrigued by the creative process of writing and wish to know more about it. • Finally, students may also identify fans of Michael Winter as a possible audience. Fans would be interested in gaining new insight into the work of their favourite author.
Selection Support: Making the Ordinary • MHR
Selection Support: Making the Ordinary Feel... MHR Custom 153 5. Metacognition What did you learn from this interview that you can apply to your own writing or writing process?
Sample answers:
• Winter benefits by the company and support of other writers. He says “Having friends around who keep notebooks and have computers and printers in the corners of their apartments, that drives out the mystique of creating text and story.” Maybe I should seek out or start my own writing club. It could be a generic writing club, or it could be composed of specialists—people who like to write mysteries, like me.
• This is a telling line: “[Winter] is good for Canadian literature: if he isn’t reinvigorating a genre, he’s making one up.” In other words, he doesn’t follow the rules and conventions of the usual genres. Maybe I should write in new and interesting forms.
• This interview gave me lots of examples of vivid language that will make me more confident about using such language in my own writing.
• I’m determined to follow Winter’s example by trying to answer a question in a “slightly angled way.”
• Pelley reads Winter for inspiration, and Winter reads Charles Portis for inspiration. Maybe I should read more widely to find an author to inspire me, too.
• Conducting interviews might be a wonderful way to get paid for honing my writing skills while meeting celebrities.
Beyond
Speaking and Listening Take turns interviewing a partner to find out his or her thoughts on a topic related to writing, such as personal experiences with writing or favourite genres of writing. Before the interview, plan five questions to ask your partner. During the interview, watch for opportunities to ask additional questions to follow up on something your partner has said.
• Make clear that the partners should not work together on developing questions. • Provide students with a few pointers for developing good interview questions. For example, good interviewers avoid asking questions that - can be answered with a yes or a no - can be answered in just a few words (e.g., ―Who is your favourite writer?‖) - require research - are too personal. Students should plan to ask
Selection Support: Making the Ordinary • MHR
154 MHR Custom Selection Support: Making the Ordinary Feel... - open-ended questions, which invite an extended response (e.g., ―How can a writer get over writer‘s block?‖) - about something the interviewee knows well (e.g., ―What can you tell me about the lyrics of Andrew Bird‘s songs?‖) - broad topic questions, which give the interviewee free range to reply (e.g., ―What else would you like to share about science fiction?‖) • To expand this activity, challenge students to record their interviews, transcribe the recordings, write a brief introduction as Chad Pelley did for his interview with Michael Winter, and then polish their work by proofreading it and addressing matters of presentation.
Selection Support: Making the Ordinary • MHR
Selection Support: Making the Ordinary Feel... MHR Custom 155 BLM 1: Recommending a Good Book
Student name: ______
Book Title
Author
What Makes this a Good Book Author
Why You Should Read This Book Author
Selection Support: Making the Ordinary • MHR
156 MHR Custom Selection Support: Making the Ordinary Feel...
Selection Support: Ten Favourite Places to Visit in Newfoundland and Labrador
Author respond personally, critically and creatively: Mack Furlong 2.1.1, 2.1.2, 2.1.3, 2.1.4, 2.2.1, 2.2.2, 2.3.2 • 4 Create oral, print, visual and multimedia texts and enhance the clarity and artistry of Type of Selection communication: 4.1.1, 4.1.2, 4.1.3, 4.1.4, 4.2.1, List 4.2.2, 4.2.3, 4.2.4 • 5 Respect, support and collaborate with others: Themes and Topics 5.1.1, 5.2.1, 5.2.2 • Travel • Identity BC • Newfoundland and Labrador • Oral Language: A1, A2, A3, A4, A5, A6, A7, • Customs/traditions A8, A9, A10, A12 • Nature/the environment/stewardship • Reading and Viewing: B1, B5, B6, B7, B8, B9, B10, B11, B12 Summary • Writing and Representing: C2, C3, C5, C6. C7, In this tongue-in-cheek travel piece, author C8, C9, C12, C13, C14 Mack Furlong unfurls a hilarious list of top ten must-see places in Newfoundland and Labrador. MB • Explore thoughts, ideas, feelings, and Readability experiences: 1.1.1, 1.1.2, 1.1.3, 1.1.5, 1.2.2, 1.2.3, 1.2.4 • Average selection for most students to read • Comprehend and respond personally and • Some knowledge of Newfoundland and critically to oral, print, and other media texts: Labrador is helpful to understand the humour. 2.1.1, 2.1.2, 2.1.3, 2.2.1, 2.2.2, 2.3.3, 2.3.4, 2.3.5 Interdisciplinary Links • Enhance the clarity and artistry of • Geography communication: 4.1.1, 4.1.3, 4.2.1, 4.2.2, • Drama 4.3.1, 4.3.2, 4.3.3, 4.4.2, 4.4.3 • Celebrate and build community: 5.1.1, 5.1.2, Curriculum Connections 5.1.3, 5.1.4, 5.2.2
*This selection is most suitable for these courses: NB • AB (*ELA 20-1) • Speaking and Listening • BC (*ELA 11) - 1 Speak and listen to explore, extend, clarify, • MB (*English–Grade 11) and reflect: 1.1, 1.2, 1.3, 1.4 • NB (*English 11-1 & 11-2) - 2 Communicate information and ideas • NL (*ENG 2201) effectively and respond: 2.2, 2.3 • NS (*ENG 11 & ADV ENG 11) - 3 Interact with sensitivity and respect: 3.1, 3.3 • ON (*ENG 3U) • Reading and Viewing • SK (*ELA 20) - 4 Select, read, and view with understanding:
4.1, 4.2, 4.3, 4.4, 4.5 AB - 5 Interpret, select, and combine information, • 1 Explore thoughts, ideas, feelings and using a variety of strategies, resources, and experiences: 1.1.1, 1.1.2, 1.2.1, 1.2.3 technologies: 5.1 • 2 Comprehend literature and other texts in oral, - 6 Respond personally to a range of texts: 6.3, print, visual and multimedia forms, and 6.4, 6.5, 6.6 Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 157 - 7 Respond critically to a range of texts, - 4 Select, read, and view with understanding: applying their understanding of language, 11:4.1, 11:4.2, 11:4.3, 11:4.4, 11:4.5 form, and genre: 7.1, 7.2, 7.3, 7.4, 7.5, 7.6, - 5 Interpret, select, and combine information, 7.7 using a variety of strategies, resources, and • Writing and Other Ways of Representing technologies: 11:5.1 - 8 Write or represent to explore, clarify, and - 6 Respond personally to a range of texts: reflect on their thoughts, feelings, 11:6.3, 11:6.4, 11:6.5, 11:6.6 experiences, and learnings: 8.1, 8.2, 8.3 - 7 Respond critically to a range of texts, - 9 Create texts collaboratively and applying their understanding of language, independently: 9.1, 9.2 form, and genre: 11:7.1, 11:7.2, 11:7.3, - 10 Use a range of strategies to develop 11:7.4, 11:7.5, 11:7.6, 11:7.7 effective writing: 10.1, 10.2, 10.3, 10.4, 10.5 • Writing and Other Ways of Representing - 8 Write or represent to explore, clarify, and NL reflect on their thoughts, feelings, • Speaking and Listening experiences, and learning: 11:8.1, 11:8.2, - 1 Speak and listen to explore, extend, clarify, 11:8.3 and reflect: 1.1, 1.2, 1.3, 1.4 - 9 Create texts collaboratively and - 2 Communicate information and ideas independently: 11:9.1, 11:9.2 effectively and respond: 2.2, 2.3 - 10 Use a range of strategies to develop - 3 Interact with sensitivity and respect: 3.1, 3.3 effective writing: 11:10.1, 11:10.2, 11:10.3, • Reading and Viewing 11:10.4, 11:10.5 - 4 Select, read, and view with understanding: 4.1, 4.2, 4.3, 4.4, 4.5 ON - 5 Interpret, select, and combine information, • Oral Communication using a variety of strategies, resources, and - Listening to Understand: 1.2 technologies: 5.1, 5.4 - Speaking to Communicate: 2.1, 2.3, 2.4, 2.5, - 6 Respond personally to a range of texts: 6.1, 2.6 6.2, 6.3, 6.4 • Reading and Literature Studies - 7 Respond critically to a range of texts, - Reading for Meaning: 1.2, 1.3, 1.4, 1.5, 1.6, applying their understanding of language, 1.7, 1.8 form, and genre: 7.1, 7.2, 7.3, 7.4, 7.5, 7.6, - Understanding Form and Style: 2.1, 2.2, 2.3 7.7 - Reading with Fluency: 3.1 • Writing and Other Ways of Representing - Reflecting on Skills and Strategies: 4.1 - 8 Write or represent to explore, clarify, and • Writing reflect on their thoughts, feelings, - Developing and Organizing Content: 1.1, 1.2, experiences, and learning: 8.1, 8.2, 8.3 1.3, 1.4, 1.5 - 9 Create texts collaboratively and - Using Knowledge of Form and Style: 2.1, independently: 9.1, 9.2 2.2, 2.3, 2.4, 2.7 - 10 Use a range of strategies to develop - Applying Knowledge of Conventions: 3.1, effective writing: 10.1, 10.2, 10.3, 10.4, 10.5 3.2, 3.3, 3.4, 3.7 • Media Studies NS - Understanding Media Texts: 1.1, 1.2, 1.5 • Speaking and Listening - Understanding Media Forms, Conventions, - 1 Speak and listen to explore, extend, clarify, and Techniques: 2.1, 2.2 and reflect: 11:1.1, 11:1.2, 11:1.3, 11:1.4 - Creating Media Texts: 3.1, 3.2, 3.4 - 2 Communicate information and ideas effectively and respond: 11:2.2, 11:2.3 SK - 3 Interact with sensitivity and respect: 11:3.1, • Comprehend and Respond: 20.4 11:3.3 • Compose and Create: 20.2, 20.3, 20.4 • Reading and Viewing • Assess and Reflect: 20.2
Selection Support: Ten Favourite Places • MHR
158 MHR Custom Selection Support: Ten Favourite Places to Visit in Newfoundland and...
Before
Predict what sorts of places will be on this top ten list.
• You may wish to refrain from passing out the selection until after completion of this activity. Any inkling students might get that the piece is humorous will spoil the surprise factor. They can complete their predictions based on the title alone. • Students predictions will depend wholly on their prior knowledge of Newfoundland and Labrador. They may suggest some of the following places: - the provincial capital, St. John’s - a fishing outport - l’Anse aux Meadows - Bonavista, where John Cabot first landed - the Avalon Peninsula - the beach - a national park. • Ask students if they predict that the selection will be boring, interesting, or hilarious. Take a show of hands for each of the three, and mark the results on the board. After students have analyzed the piece, you can take another show of hands to see how their opinions have changed. This should prove the (slightly adjusted) maxim ―Don’t judge a book by its title.‖
During
As you read, evaluate whether or not you’d like to visit each place described.
• Provide students with BLM 1: Would I like to visit? to help them stay organized. You can limit student use of the chart depending on your students, as follows: - Complete only the second column, Would I visit?, to get students’ quick reaction. - Complete the third column, Why or why not?, as well, to encourage students to think through the reasons for their initial reactions. - Complete the fourth column, My Suspicions, as well, to encourage students to evaluate the messages of each place description with a critical eye. • Advise students that you are interested in getting their first impressions, not a thorough analysis, so they should quickly jot down their thoughts, and then move on to the next location in the list.
Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 159 Sample answer:
Place Would I visit? Why or why not? My Suspicions
Lotteree Yes Wonderful weather! Hmm. Maybe this is not an honest portrayal of Newfoundland weather.
Felonee No Sounds too risky. I think the fireworks referred to might be gunpowder—maybe they don’t like tourists from other parts of Canada.
I think this might be making fun of Newfoundland Joe Batt’s Arm Yes Seems nice enough. place names, which are pretty funny, e.g., Joe Batt’s Arm, Nick’s Nose, Cow Head, and Heart’s Delight.
Bostoon No Suburbs are boring. I knew the trick was up when the capital was called Omadhaun, because I know the capital city is St. John’s. (I looked up Omadhaun—it’s Irish for fool!)
Maudlin Brook Yes A town with a river running The term “maudlin” is sometimes used to describe through it sounds pretty. people who are drunk.
Old Grump No A curfew? Fish and This place seems to give travellers something to potatoes? I’m not visiting complain about. Maybe it’s making fun of grumpy that place! tourists who always complain.
Clinch Yes I like the sound of the This place couldn’t just cater to married couples. If beaches, but I think I’d they did, there would be low rates of STDs, not high keep to myself! ones!
Mauzy Bight No Sounds cold and I believe the weather is probably as described, but I miserable! doubt it’s the envy of any Riviera resort!
Pickle’s Peak No What on earth would be Somehow, I don’t think I’d be lucky. the point if you couldn’t see anything?
Lac à Daisical Yes Sounds nice and laid- It couldn’t be real. The place name alone sounds like back—just what I need “lackadaisical,” which means lazy, of course. after school is out.
Selection Support: Ten Favourite Places • MHR
160 MHR Custom Selection Support: Ten Favourite Places to Visit in Newfoundland and...
• Students may have difficulty with a handful of words, for example: - headland: a narrow piece of land that juts out into the ocean - denizen: an inhabitant - panoply: a splendid display - causeway: a raised road over wetlands or water - maudlin: self-pityingly sentimental - mauzy: describing damp, foggy, misty weather, sometimes with very light rain - bight: a recess in a coastline - mordant (adjective): having a biting criticism - balming: calming.
After
1. Reading for Meaning What were the most appealing aspects of visiting Newfoundland and Labrador based on this list?
• Students who take the list at face value may like - the weather in Lotteree - the pretty town of Maudlin Brook - the beach in Clinch - the laid-back lifestyle of Lac à Daisical. • Ask students to take a step back and think about what the selection as a whole communicates about the author in particular and, by extension, Newfoundland and Labradorian people in general. Students may identify - a wonderful self-deprecating sense of humour - a great love of life - a fondness for their home, faults and all - a colourful culture.
2. Understanding Form and Style In the sentence “The only negative attribute of this gorgeous cleft in the cliffs is that it hosts Newfoundland’s highest rate of STDs” the author uses alliteration. Find other examples of alliteration in this work. What effect does it have on the descriptions the author offers?
• Hold a small-group BINGO-like game to find examples of alliteration (repetition of consonant sounds). - Form small mixed-ability groups. - Each group appoints a representative. - Ask, Who has an example of alliteration for the consonant sound ―s‖? - Groups consult amongst themselves. If they find an appropriate alliteration, the group representative jumps up and says ALLITERATION! - The group representative reads out the alliteration, and you approve it or not. - If the alliteration is approved, the group gets a point. - Ask for alliterations of the letters ―t‖ (2) ―m‖ ―s‖ (2) ―p‖ (2) ―f‖ ―r‖ ―c‖ (3) Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 161 - The group with the most correct examples of alliteration wins. • Students may find any of the following examples of alliteration: - ―a panoply of picturesque ocean-side attractions‖ - ―as connected as two towns can be‖ - ―still offer full service‖ - ―Clinch caters‖ - ―cleft in the cliffs‖ - ―hosts Newfoundland’s highest rate of STDs‖ - ―Let Mauzy Bight work its magic.‖ - ―accounting for the legendary Newfoundland complexion. It cleanses pores‖ - ―Riviera resort‖ - ―Pickle’s Peak‖ - ―no small debt to the significant French presence on our soil dating back to the sixteenth century, and that influence‖ - ―to the tempo.‖ • Students’ reactions to the alliteration may vary. - The alliteration makes the selection seem more like a poem—it sounds nice. - The alliteration sounds like the author is just having fun, which reinforces that this is a tongue-in-cheek tour of the province. - I didn’t really notice the alliteration. - The alliteration makes the places sound more fun, but not very real.
3. Understanding Form and Style The author creates humour in this piece using techniques such as puns, exaggeration, and surprise. Identify one amusing section and explain which technique the author used to create humour.
• Encourage students to conduct a bit of research if they think it will help them ferret out all the humorous connections. • You may wish to model thinking through your analysis of one entry.
Sample answer:
What Makes the Lotteree Entry Funny 1. Pun: The name is Lotteree, which is a pun for the word “lottery,” which aligns in meaning to the name of the bay where it is located: Chance Bay. A real town on the Avalon Peninsula has a similar and even funnier name: Come By Chance. 3. Exaggeration: The weather on a headland in Newfoundland would probably not be so nice. In fact, it might be awful, with lots of foggy, drizzly days. 4. Empty boast: The entry boasts that winds dry clothes on a line in “mere hours,” but isn’t that normal? 5. Hyperbole spoken as a mild description: The people are beautiful and “do not age”? Who would believe this? 6. Irony: You could conclude that this entry is nonsense, and the people of Lotteree are not lucky. But it turns out that the people in Lotteree’s real-world counterpart, Come By Chance, probably do feel lucky not for the reasons listed but because they have Newfoundland’s only oil refinery, which likely employs a lot of people.
Selection Support: Ten Favourite Places • MHR
162 MHR Custom Selection Support: Ten Favourite Places to Visit in Newfoundland and...
4. Student Voice Create your own top ten list of real or fictitious places to visit. Be sure to include interesting trivia, descriptions of the physical landscape, and details about the denizens of your top ten places.
• Before students create their own top ten list, ask them to find and read to the class a few samples of tourism writing from Web sites or brochures to better grasp how Furlong has matched the tone, style, jargon, and diction of typical tourism marketing writing. For example, read to students the following excerpt from the Tourism Web site for Newfoundland and Labrador, which describes Battle Harbour, Labrador.
Sample of Tourism Language “Here, houses, stores, fishery buildings and churches have been restored and filled with historical original items. During your stay, you’ll sleep in a merchant’s home or doctor’s charming period cottage, or maybe a policeman's house. In Battle Harbour, you’ll soak up the atmosphere and fully experience the sounds of the ocean and the simple pleasures of times past.” - “Top Destinations.” Newfoundland and Labrador Canada, Newfoundland & Labrador Tourism. Accessed 2 April 2013. Available at http://www.newfoundlandlabrador.com/PlacesToGo/BattleHarbour.
• Discuss with students the likely intended audience and purpose of the marketing information they find. • Ask students why matching the tone and style of a typical tourist information brochure to write about imaginary places can create an amusing effect. Suggest that students model their writing on a typical travel description. • Assessment as Learning Work with students to develop a set of criteria for their top ten lists. You may come up with criteria such as the following: - matches the tone and style of typical tourist marketing writing - describes the physical geography of places well enough that you can picture them - adheres to the conventions of spelling, grammar, punctuation, and capitalization - includes a photograph or illustration (optional) - describes the following (each in at least one entry) . typical weather . historic sites . the people who live there . tourism facilities (e.g., motels, restaurants) . things to do (e.g., hiking, bike rentals, whale watching) . unusual experiences a traveller might have . the mythology of the place. Note that not every entry has to contain all of the above, but it would be good if each was included in at least one entry. This matches what Furlong did, focusing on weather in one entry, for example, and things to do in another. • To extend this activity, ask students to create an appealing brochure of their top ten list, using appropriate computer technology.
Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 163 5. Critical Literacy In describing Bostoon, the author says “It offers all the attractions of world-class cities: restaurants of the franchise variety, gas stations that still offer full service, and shopping opportunities in name-brand stores that make you feel like you haven’t left home at all!” Where does he assume that the reader lives? What other assumptions does he make about the reader?
The author assumes that the reader lives in a suburb. He also assumes that the reader • is a Canadian but not a Newfoundlander (e.g., ―proclaim your Canadian heritage, and feel the fireworks!‖) • knows at least a little about Newfoundland geography (e.g., knows the province has some odd place names) • knows at least a little about Newfoundland weather (e.g., knows it’s not nice and sunny most of the time) • may be gullible (e.g., might, for a moment, believe that fog is good for the skin, making Mauzy Bight a spa town) • knows a few Newfoundland words (e.g., mauzy, meaning wet and drizzly) • likes a good joke!
6. Metacognition What strategies do you use to figure out whether a text has reliable information or not? How did you assess the reliability of this text?
• Students will have used a variety of techniques to assess the reliability of the selection, for example: - checking out the author (e.g., Mack Furlong says in his Inspiration note that he has ―an inability to take much too seriously‖ so the selection is not likely a serious piece.) - identifying clues about the author’s purpose (e.g., Omadhaun is an Irish word meaning fool, so the author is writing a comedic piece.) - using common sense (e.g., no people on earth ―never age‖) - identifying falsehoods (e.g., Omadhaun is not the capital of Newfoundland and Labrador.) - identifying inconsistencies (e.g., If Clinch catered only to newlyweds and anniversarians, there would be no STDs in Clinch, but it has the highest rate in the province.) - spotting ambiguous statements (e.g., ―a ten- to twenty-year sentence of excitement‖ might mean plentiful good times, but it might also mean a jail sentence.) - corroborating the evidence (e.g., a quick check on the Internet proves there is no such place as Maudlin Brook.) • These are the same techniques that students can use to assess the reliability of any information. • Assessment as Learning Encourage students to set themselves a goal to use one or more of these strategies for checking the reliability of the next Web site they use as an information source.
Selection Support: Ten Favourite Places • MHR
164 MHR Custom Selection Support: Ten Favourite Places to Visit in Newfoundland and...
Beyond
Speaking and Listening Create a performance piece of a trip to a few of the places on this list. What kind of experiences are the travellers in your performance piece having during their journey? What reaction did your audience have to the performance?
• Discuss with students the following steps they should take to create their performance pieces: - Form a group of three students. - Decide on the general tone of your performance piece. - Select three entries to perform. - Decide what kind of experiences you want to show. - Describe your visitor or visitors. - Describe other characters. - Write your script (about 30 seconds per visit, for a total of 1.5 minutes). - Collect any props you need. - Practise your performance. - Assess one another’s performances. - Use feedback to fine-tune tone and delivery. - Adjust your script if necessary. - Perform your piece for the class. • Distribute BLM 2: Creating a Performance Piece, which students can use to complete the initial steps outlined above. • Assessment as Learning After students have presented their performances, ask them to reflect on how they worked in a group. What efforts could they make in how they worked together that would result in a better working experience and an even better performance?
Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 165
BLM 1: Would I like to visit?
Student Name: ______
Place Would I Why or why not? My Suspicions visit?
Lotteree
Felonee
Joe Batt’s Arm
Bostoon
Maudlin Brook
Old Grump
Clinch
Mauzy Bight
Pickle’s Peak
Lac à Daisical
Selection Support: Ten Favourite Places • MHR
166 MHR Custom Selection Support: Ten Favourite Places to Visit in Newfoundland and...
BLM 2: Creating a Performance Piece
Student Name: ______
Student Name: ______
Student Name: ______
What will be the general tone of our performance piece? ______
Who will be our visitor/s? ______
Place:
Who are the characters?
What will happen?
Dialogue
Selection Support: Ten Favourite Places • MHR
Selection Support: Ten Favourite Places to Visit in Newfoundland and... MHR Custom 167