Lesson Plan Indian Life Readers: Indian Stories for Boarding School Students
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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
Audio Book My People the Sioux by Standing Bear Download Online Qbfzrwpd
Audio Book My People The Sioux by Standing Bear Download Online Audio Book My People The Sioux by Standing Bear Download Online My People The Sioux Download Here Formats: djvu | pdf | epub | kindle My People The Sioux audiobook for kindle | My People The Sioux audiobook download | download My People The Sioux audiobook online free 1 / 2 Audio Book My People The Sioux by Standing Bear Download Online “one of the most engaging and veracious accounts we have ever had.” - Van Wyck BrooksBorn in the 1860s, the son of a Lakota chief, Standing Bear was in the first class at Carlisle Indian School, witnessed the Ghost Dance uprising from the Pine Ridge Reservation, toured Europe with Buffalo Bill's Wild West show, and devoted his later years to the Indian rights movement of the 1920s and 1930s.My People The Sioux remains a landmark in Native American literature, among the first books about Native Americans written from the Native American point of view.Luther Standing Bear (December 1868 – February 20, 1939) (Óta Kté or "Plenty Kill" also known as Mat?ó Náži? or "Standing Bear") was an Oglala Lakota chief notable in American history as a Native American author, educator, philosopher, and actor of the twentieth century. Standing Bear fought to preserve Lakota heritage and sovereignty and was at the forefront of a Progressive movement to change government policy toward Native Americans.Standing Bear was one of a small group of Lakota leaders of his generation, such as Gertrude Bonnin, and Charles Eastman, who were born and raised in the oral traditions of their culture, educated in white culture, and wrote significant historical accounts of their people and history in English. -
Download Curriculum Unit
NIZHÓNÍGO NA’ACH’AAH BAHANE’ 20th Century and Contemporary Native Art Nizhónígo Na’ach’aah bahane’ Comparing and Contrasting the Art and Literature of Two Diné artists Tiffany L. Tracy Diné Institute for Navajo Nation Educators (DINÉ) 2019 Author Note: Tiffany L. Tracy, DINÉ Institute Fellow, is a 2nd grade teacher at Ganado Primary School within the Ganado Unified School District which is located in Ganado, Arizona on the Diné Nation. Acknowledgements must be given to the teachers from all over the Diné Institute who supported one another with sharing of cultural and topical knowledge. To Dr. Jennifer McLerran for providing rich knowledge about Contemporary Native American Art and uninterrupted ally-ship to Native Arts and artisans. To Dr. Angelina Castagno for devoting time to get the Institute off the ground. To Jolene Smith for including me on her journey of growth as an educator and continuing the work of the late Marilyn Dempsey. Lastly to my students, the community, my family, and to our elders and ancestors who made our presence possible with the power of their prayers. Correspondence in regard to this curriculum unit can be addressed to Tiffany L. Tracy, P.O. Box 2851, Fort Defiance, AZ, 86504. Email contact: [email protected]. NIZHÓNÍGO NA’ACH’AAH BAHANE’ Tiffany Tracy Nizhónígo Na’ach’aah bahane’: Comparing and Contrasting the Art and Literature of Two Diné Artists Tiffany Tracy Introduction This is my second unit for the Diné Institute for Navajo Nation Educators, and my third unit overall through the Yale National Initiative’s model of curricular development for students in diverse classrooms. -
FJJMA-Bialac Native Art Collection
NEWS RELEASE March 26, 2010 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH IMAGE OU Receives Major Gift of Native American Art NORMAN, OKLA. – University of Oklahoma President David L. Boren announced Thursday that the university has received one of the most important private collections of Native American art in the country. The gift comes to OU from the private collection of James T. Bialac of Arizona. The multimillion-dollar collection of more than 3,500 works represents indigenous cultures across North America, especially the Pueblos of the Southwest, the Navajo, the Hopi, many of the tribes of the Northern and Southern Plains and the Southeastern tribes. Included in the James T. Bialac Native American Art Collection are approximately 2,600 paintings and works on paper, 1,000 kachinas and 100 pieces of jewelry representing major Native artists such as Fred Kabotie, Awa Tsireh, Fritz Scholder, Joe Herrera, Allan Houser, Jerome Tiger, Tonita Pena, Helen Hardin, Pablita Velarde, George Morrison, Richard “Dick” West, Patrick DesJarlait and Pop Chalee. “The university community is deeply grateful to Jim Bialac for this important and generous gift,” said OU President David L. Boren. “This collection will expose our students and people all across the country to some of the most important works of Native American art ever created. It will provide new insight into Native American culture. In addition, the collection will be an important source for art history students, including graduate students in OU’s Ph.D. -
Finding Aid Formatting
Title: Museum of Northern Arizona Photo Archives – Crafts and Arts Prints Dates: 1930s-1990s Extent: 2802 images Name of Creator(s): Museum of Northern Arizona staff including Leland Abel, John Adair, E. Capps, Harold S. Colton, S. Cooper, Robert Fronske, Marc Gaede, Parker Hamilton, Lyndon L. Hargrave, Neil Judd, A.J. "Lex" Lindsay, P. Long, M. Middleton, T. Nichols, L. W. Smith, C. Turner, W.M. Wells, and Barton Wright. Organizational History: In 1959, the Photography Department and position of Photographer created by director Dr. E. B. Danson, with Parker Hamilton as MNA’s first Assistant in Photography, later that year promoted to Photographer. Prior to 1959, the photo archives were a part of the Publications Department but not under the management of a photographer. In 1960, a large-scale cataloging initiative of new and old prints, negatives, and slides was undertaken. A photography studio and cataloging room was established in Fleischman Hall (now Schaeffer) in 1965. An inventory was made of negatives in June 1969 which noted missing negatives. By the early 1980s the Photography Department became the Photo Archives, reflecting a shift in focus from active photography to preservation of and access to existing materials. An inventory of negatives was done again in February 1988 with notes made of missing negatives. The Photo Archives moved to the Library in 1995. In 2005, the Photo Archives ceased operation as a department, and staff photography became the responsibility of the Marketing Department while the care of materials and use requests were the responsibility of the Library staff. The Photo Archives were made the responsibility of the Archivist in 2008. -
The Carlisle Indian Boarding School and Its Literary Legacy: the War with the Pen
DOCUMENT RESUME ED 476 009 RC 024 041 AUTHOR Harding, Letitia TITLE The Carlisle Indian Boarding School and Its Literary Legacy: The War with the Pen. PUB DATE 2001-02-00 NOTE 41p.; In: 2001 Monograph Series, Proceedings of the Annual Meeting of the National Association of African American Studies, the National Association of Hispanic and Latino Studies, the National Association of Native American Studies, and the International Association of Asian Studies (Houston, TX, February 12-17, 2001). PUB TYPE Historical Materials (060) Opinion Papers (120) Speeches /Meeting Papers (150) EDRS PRICE EDRS Price MF01/PCO2 Plus Postage. DESCRIPTORS *Acculturation; *American Indian Education; American Indian History; *American Indian Literature; American Indians; Authors; Boarding Schools; Cultural Maintenance; Educational History; Elementary Education; English (Second Language); Federal Indian Relationship; *Resistance (Psychology); *School Newspapers; Vocational Education IDENTIFIERS *Carlisle Indian School PA; *Pratt (Richard Henry) ABSTRACT When Richard Henry Pratt founded the Carlisle Indian Boarding School, he felt that assimilation of American Indians was the only alternative to annihilation. Much of the training at Carlisle was intended to break all connections between students and their families. However, the students did have opportunities to record their stories, ideas, and opinions in their school newspapers, even as they were controlled by white staff members. For Pratt's system to flourish, he intended that some graduates from Carlisle and other off-reservation boarding schools would either work at the schools as teachers or return to their reservations to continue his mission. Pratt's objectives required that the students learn both English and a marketable trade. However, some graduates used their newly-developed skills to decry assimilation policies and to denounce the methods practiced at the schools. -
Charles Eastman, Standing Bear, and Zitkala Sa
Dakota/Lakota Progressive Writers: Charles Eastman, Standing Bear, and Zitkala Sa Gretchen Eick Friends University a cold bare pole I seemed to be, planted in a strange earth1 This paper focuses on three Dakota/Lakota progressive writers: Charles Alexander Eastman (Ohiyesa) of the Santee/Dakota; Luther Standing Bear (Ota Kte) of the Brulé; and Gertrude Simmons Bonnin (Zitkala Sa) of the Yankton. All three were widely read and popular “Indian writers,” who wrote about their traumatic childhoods, about being caught between two ways of living and perceiving, and about being coerced to leave the familiar for immersion in the ways of the whites. Eastman wrote dozens of magazine articles and eleven books, two of them auto- biographies, Indian Boyhood (1902) and From the Deep Woods to Civilization (1916).2 Standing Bear wrote four books, two of them autobiographies, My People, the Sioux (1928) and My Indian Boyhood (1931).3 Zitkala Sa wrote more than a dozen articles, several auto-biographical, and nine books, one autobiographical, American Indian Stories (1921), and the others Dakota stories, such as Old Indian Legends (1901). She also co- wrote an opera The Sun Dance. 4 1 Zitkala Sa, “An Indian Teacher Among the Indians,” American Indian Stories, Legends, and Other Writings, Cathy N. Davidson and Ada Norris, eds., ( New York: Penguin Books, 2003), 112. 2The other titles are Red Hunters and the Animal People (1904), Old Indian Days (1907), Wigwam Evenings: Sioux Folk Tales Retold (1909), Smoky Day’s Wigwam Evenings: Indian Stories Retold (1910), The Soul of an Indian: An Interpretation (1911), Indian Child Life (1913), The Indian Today: The Past and Future of the First Americans (1915), Indian Heroes and Great Chieftains (1918), Indian Scout Talks: A Guide for Boy Scouts and Campfire Girls (1914), and his two autobiographies, Indian Boyhood (1902) and From the Deep Woods to Civilization (1916). -
Hopi Crop Diversity and Change
J. Ethtlobiol. 13(2);203-231 Winter 1993 HOPI CROP DIVERSITY AND CHANGE DANIELA SOLER I and DAVID A. CLEVELAND Center for People, Food, and Environment 344 South Third Ave. Thcson, AZ 85701 ABSTRACT.-There is increasing interest in conserving indigenous crop genetic diversity ex situ as a vital resource for industrial agriculture. However, crop diver sity is also important for conserving indigenously based, small-scale agriculture and the farm communities which practice it. Conservation of these resources may best be accomplished, therefore, by ensuring their survival in situ as part of local farming communities like the Hopi. The Hopi are foremost among Native Ameri can farmers in the United States in retaining their indigenous agriculture and folk crop varieties (FVs), yet little is known about the dynamics of change and persis tence in their crop repertoires. The purpose of our research was to investigate agricultural crop diversity in the form of individual Hopi farmers' crop reper toires, to establish the relative importance of Hopi FVs and non·Hopi crop vari eties in those repertoires, and to explore the reasons for change or persistence in these repertoires. We report data from a 1989 survey of a small (n "" 50), oppor tunistic sample of Hopi farmers and discuss the dynamics of change based on cross·sectional comparisons of the data on crop variety distribution, on farmers' answers to questions about change in their crop repertoires, and on the limited comparisons possible with a 1935 survey of Hopi seed sources. Because ours is a small, nonprobabilistic sample it is not possible to make valid extrapolations to Hopi farmers in general. -
Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies
THE UNIVERSITY OF OKLAHOMA COLLEGE OF LIBERAL STUDIES CLS Journal of Museum Studies, Volume 8, Number 1 Journal of Museum Studies e-Journal of the Museum Studies Program VOL 8 | NO 1 | DEC 2014 Foreword The Breadth of Natural History Research by Michael A. Mares Talking God and Father Peyote: Preliminary Quantification of Curator Religious Pluralism and Contemporary Diné Success in Life Science Natural History (Navajo) Art Collections by Daniel C. Swan and Dakota H. Stevens by Jessa L. Watters and Cameron D. Siler Edited by Michael A. Mares CLS Journal of Museum Studies, Volume 8, Number 1 CLS Journal of Museum Studies, Volume 8 Number 1 (Dec. 2014) http://jms.ou.edu CLS Journal of Museum Studies is currently published online by the College of Liberal Studies, MALS Museum Studies Program, the University of Oklahoma. Your use of the CLS Journal of Museum Studies archives indicates your acceptance of the Terms and Conditions of Use, available at http://jms.ou.edu. Museum professionals, students, and other readers are encouraged to distribute the articles published in this journal as widely as possible, to use them in classes, and to reprint them as needed. For commercial use of any of these articles Cover Photograph: Mother Earth, Father Sky and the Yeis (e.g., charging for articles, republishing figures, tables, text, etc.), Dancers, 2006. Jackie Black, Diné (Navajo), Red Valley, New permission must be obtained from the Editor. All questions Mexico. Acrylic on canvas. Sam Noble Museum. relating to the journal should be directed to the Editor. Journal Editor Publisher contact information available at http://jms.ou.edu. -
The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission. -
Illinois Vegetable Farmers' Letter
Digitized by the Internet Archive in 2011 with funding from University of Illinois Urbana-Champaign http://www.archive.org/details/illinoisvegetabl515univ NOTICE: Return or renew ail Library Materials! The Minimum Fee for each Lost Book is $50.00. The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN L161—O-I096 JUN 6 2000 AGRICULTURE LIBRARY /o<z EXTENSION SERVICE Acx c - w COOPERATIVE 'C V3<P 5i COLLEGE OF AGRICULTURE J2 UNIVERSITY OF ILLINOIS flj AT URBANA — CHAMPAIGN b^ March 1985 \°$> \^^ NEWSLETTER SUPPORTERS The 1985 issue of the Illinois Vegetable Farmer's Letter is cur- rently being supported by the following companies: J.R. Kelly Co. Paarlberg Chemicals Cole Chemical Co. FMC - Agriculture Chemicals Group Harris Moran Seed Co. Potash Producers, Inc. We greatly appreciate the support from these companies. In the past, however, we have had almost 30 sponsors. If we do not re- ceive additional assistance, the newsletter will have to be dis- continued. please give us your support so that we may continue to be a primary source of information on commercial vegetable production. Other companies and organizations that would like to help sponsor the Illinois Vegetable Farmer's Letter, should contact John M. Gerber (217)333-1969. - U OF I ACTIVITIES ON COMMERCIAL VEGETABLE PRODUCTION 1984 This issue of the newsletter highlights some of the activities of the vegetable research and Extension staff during 1984. -
Interactive Model of Santa Fe Indian School Campus for Community Planning and Education
Interactive Model of Santa Fe Indian School Campus for Community Planning and Education An Interactive Qualifying Project Submitted to the Faculty of Worcester Polytechnic Institute In Partial Fulfillment of the Requirements for the Degree of Bachelor of Science Submitted by: Mikayla Filippone Zachary Rahl Joseluis Velez Eric Zandrow Project Advisors: Sponsoring Agency: On Site Liaisons: Fabio Carrera Santa Fe Indian School Kimball Sekaquaptewa Scott Barton Matt Pecos Website: https://sites.google.com/site/sf2015sfis Email: [email protected] [email protected] This report represents the work of WPI undergraduate students submitted to the faculty as evidence of completion of a degree requirement. WPI routinely publishes these reports on its website without editorial or peer review. For more information about the projects program at WPI, please see http://www.wpi.edu/academics/ugradstudies/project-learning.html Abstract The Santa Fe Indian School is looking for new means to remember the past and imagine the future. We developed a framework for a 3D model and digital archive for the past campus of SFIS and a 3D model for planning purposes. We recommend giving the students the opportunity to further their education in technologies and methods used to continue these projects. 1 Executive Summary With plans for expansion after consequences due to demolition of the old campus, the Santa Fe Indian School (SFIS) has plans for expanding education within the curriculum for the purpose of developing ways of presenting future plans to the community. In addition, information regarding the old campus was not collected, and later lost with the demolition. SFIS needs a system of gathering information for this issue to not occur in the future.