Wisdom of the Elders » Umatilla

Grades 9 – 12 Storytelling: Honoring the Umatilla Nations

admin — Tue, 18 May 2010 19:46:58 +0000

WISDOM OF THE ELDERS RADIO: SERIES 3, PROGRAM 5

HONORING THE UMATILLA NATIONS

Lesson plan written by Esther Stutzman.

SUBJECT AREAS

Listening Interpretation

Speaking Analysis

Writing Literature (oral and written)

SKILLS

Communication Writing

Oral skills Language arts

LEARNING OBJECTIVES

Students who complete the lessons will:

Understand several forms of oral literature
Understand importance of storytelling
Be able to tell a story
Critique a story

INTRODUCTION

Overview

This lesson plan is comprised of five lessons which include activities to enhance the standards and common curriculum goals of literature, writing, speaking, listening and reading.

Lesson 1: Introducing Stories

Lesson 2: Using Experiences to Shape Stories

Lesson 3: How Stories are Remembered

Lesson 4: Contemporary Stories

Lesson 5: Telling Your Own Stories

GUIDING QUESTIONS

Why are stories told?
How are stories preserved?
What constitutes a contemporary story?
How can we tell our family stories?

PREPARING TO TEACH THIS LESSON

At least a week prior to the study of the unit, have the students check out library books that contain traditional stories. The stories need not be from the Umatilla area. Reading the stories will give the students a feel for a variety of oral literature types.

SUGGESTED ACTIVITIES

Lesson 1: Introducing Stories

Standards

ENGLISH LANGUAGE ARTS

EL.CM.RE.02—Listen to, read, and understand a wide variety of informational and narrative text.
EL.CM.SL.05—Analyze the occasion and the interests of the audience, and choose effective verbal techniques and language.
EL.CM.WR.02—Discuss ideas for writing with classmates, teachers, and other writers, and develop drafts alone and collaboratively.
EL.CM.WR.04—Choose the form of writing that best suits the intended purpose.
EL.CM.WR.21—Write biographical or autobiographical narratives or short stories.

CD Segments to Play

For this lesson, go to Elder Wisdom.

Background

American Indian people have told traditional stories for thousands of years. Many stories are about Creation or tell of how certain landmarks came to be. Other stories are of the animals and how they helped (or sometimes hindered) people’s lives. These oral traditions are often teaching tools that storytellers used to reinforce customs, tradition and behavior. Many stories contain a moral lesson that the elders require to be repeated frequently.

Many stories contain close connections to philosophy or “religion” that is ingrained into the lives of traditional Native people.

But storytelling isn’t always a tale of long ago in a time when the world looked different. Many storytellers tell stories of their lives or their family’s adventures. Personal recollections often reinforce a family’s history and serve as a tool to remember a chain of events that happened to a certain person or group of people. These stories are also classified as oral literature to serve as remembrances of past generations.

Suggested Strategies

Activities

1. Listen

Listen to Wisdom of the Elders Radio Series 3, Program 5, Track 4. This track is a reminiscence of Kathleen Gordon, a Umatilla elder. Listen carefully to the portion of the story in which Kathleen Gordon talks of her birth.

2. Storytelling

Ask the class to tell family stories of their birth. It will not be unusual that each student has a certain story to tell that has been told to them by someone in the family. Discuss how these stories might be an important part of each person’s identity and how these stories have been passed on to other relatives or friends. This activity demonstrates a personal side of stories and how those stories can become a part of family history. These stories, if humorous, adventuresome, or serious, may be repeated and told for generations.

3. Share

Ask the class to be thinking about a family story to write and to share during the next lesson. This will allow time for students to ask their families to refresh their memory about a certain story.

Lesson 2: Using Experiences to Shape Stories

Standards

ENGLISH LANGUAGE ARTS

EL.CM.RE.02—Listen to, read, and understand a wide variety of informational and narrative text.
EL.CM.RE.35—Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.
EL.CM.SL.10—Formulate judgments about ideas under discussion, and support those judgments with convincing evidence.
EL.CM.WR.21—Write biographical or autobiographical narratives or short stories.

CD Segments to Play

Background

Traditional stories are often based on values that have been established within tribes and families. Often these stories and values are applied to an “adventure” involving an animal figure or human-animal interaction. In this way, stories are shaped to share the guidelines of how people should behave.

But many stories come from a personal experience, either the storyteller’s own or that of an observation of other events. Based on this an event becomes a story that is retold because of its interest, excitement or humor. We can all recall “Grandpa’s fishing adventure” because as children we may have heard it over and over. This, then, becomes a family story that is shared through generations.

Within Indian communities, stories are fashioned in the same way. Often, stories are told based on a certain person’s life that is used as a good example for children and future generations.

Suggested Strategies

Activities

1. Discuss

Kathleen Gordon, a Umatilla elder remembers:

“In our old days, they would always try to teach us to always have a good heart, to always treat people in a good way and to always feed people when they came to your presence. You offer them food or you offer them drink. You offer them whatever you have, even if it’s your last piece of bread, you share it with them. And so we were taught to share and care for others.”

How could this simple statement become a “story?”
How would this story be told?
Who would the story be told to?
How would the story “change” to make it relevant to children, older youth and elders?

2. Writing exercise

Ask each student to write a few paragraphs about a story that they have heard from their family. In the conclusion of the writing, each student should write why the story is important to the family. Have several of the students read their stories to the class.

3. Reflect

Ask the students to be thinking about an event that happened to them. Encourage them to use a story that teaches a lesson or teaches them something that is useful to them (for example, “How I lost my dog or cat” or “The day I got a speeding ticket”). The story should not be just a statement of fact, but rather a narrative, with events leading up to the finale and, of course, a conclusion. These stories will be told in front of the class during Lesson 5.

Lesson 3: How Stories are Remembered

Standards

ENGLISH LANGUAGE ARTS

EL.CM.RE.02—Listen to, read, and understand a wide variety of informational and narrative text.
EL.CM.SL.05—Analyze the occasion and the interests of the audience, and choose effective verbal techniques and language.

CD Segments to Play

Background

We are all storytellers, but some have the exceptional gift to engage and entrance the audience. Traditional Indian storytellers practice their art by repetition, with many stories requiring exact words be used in the same sequence. For many tribes, it is believed that the sequence of words and phrases give the story “power.”

Many storytellers work with an “apprentice” who will learn the stories and are shown the proper way to have presence before an audience. The storyteller guides the apprentice for as long as is necessary.

ASK THE UMATILLA REVIEW GROUP IF THERE ARE SPECIFIC GUIDELINES FOR TELLING UMATILLA STORIES.

Suggested Strategies

Activities

1. Play a game

The following exercise is a good example of how much concentration it takes to remember the sequence of events in a story.

Line up at least ten students in the front of the room.
Select one person to start the game by saying “This is my story” and at the same time, clapping hands once.
The second person says the same thing, clapping hands once and then adding another motion such as crossing their arms.
The next person says the same thing and repeats the two previous motions—clapping, crossing the arms—and then adds another simple motion.
See how far the students progress before someone forgets all the previous motions.
If the ten students remember everything, add four or five more to see if everyone remembers.

This illustrates the repetition and concentration required to make a good storyteller.

2. Remembering

ASK THE UMATILLA REVIEW GROUP TO RECOMMEND A TRADITIONAL STORY THAT MAY BE USED.

ACTIVITY #2 (SEQUENCING AND REMEMBERING) WILL BE BASED UPON THAT STORY

Lesson 4: Contemporary Stories

Standards

ENGLISH LANGUAGE ARTS

EL.CM.RE.02—Listen to, read, and understand a wide variety of informational and narrative text.
EL.CM.RE.04—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.
EL.CM.WR.21—Write biographical or autobiographical narratives or short stories.

CD Segments to Play

For this lesson, go to Tribal Rhythms.

Background

Contemporary stories eventually become “historic” stories. Events that have happened at a certain time in history are often retold for generations to become a standard story of a culture. For example, stories of the Revolutionary War (Paul Revere) or Civil War (the battle of Gettysburg) have all become stories told in literature or history books.

Stories of the battles during the era of the Indian Wars have also become narratives of the time. For many years, the only story of “Custer’s Last Stand” was from the viewpoint of the soldiers. Now, we have the reminiscences of the tribal warriors and other Indian witnesses to the event that shed a new light on the events.

And so, family stories do become historic stories with the passing of time. We can all remember stories we heard about how our ancestors farmed a certain piece of land or traveled from one state to the other during the Depression.

These contemporary stories are told and retold to reflect important events in a family’s life. The same holds true of Indian stories. And those stories may not just be adventures, but stories of how some things came to be, such as music and dance…and most tribal stories teach a lesson or moral.

Suggested Strategies

Activities

1. Listen

Listen to Wisdom of the Elders Radio Series 3, Program 5, Track 8. Pay special attention to the portion of the track in which Fred Hill talks about the War Dance.

“We used to go to war with other tribes around here; that they were always tormenting our people. There are some areas here, where the stories go, where they would really fight and kill them all off except one and they would send that one back.

“You tell your people this is what is going to happen if you keep doing this; keep coming here trying to steal our women and our children.

“But as time went on and the fighting ceased, when the railroad came through, that these people wanted to come back and have a truce. And as they did come back they also shared their dancing and singing. And so from just a little bit I learned the Shoshone people are the ones that showed us the dance. The wars have ceased, the tribal wars, but yet the war still remains in the dance arena.”

2. Discuss

Discuss how this bit of history might be important to the people of the Umatilla.

What is the lesson in this story?
Why is this story worth repeating?

3. Writing exercise

Have the class write a few paragraphs about an event they have heard about (not experienced) and how that event taught them a lesson or cautioned them about something. At the end of the essay, students should answer these questions:

Why was this event important to you?
Would you tell this story to others? Why?

Lesson 5: Telling Your Own Stories

Standards

ENGLISH LANGUAGE ARTS

EL.CM.RE.02—Listen to, read, and understand a wide variety of informational and narrative text.
EL.CM.RE.04—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.
EL.CM.SL.05—Analyze the occasion and the interests of the audience, and choose effective verbal techniques and language.
EL.CM.WR.21—Write biographical or autobiographical narratives or short stories.
EL.CM.WR.02—Discuss ideas for writing with classmates, teachers, and other writers, and develop drafts alone and collaboratively.

CD Segments to Play

Background

To be a storyteller, a person has to do just that: tell a story.

But a storyteller who engages an audience works with many techniques to keep the audience interested. Many tellers have distinctive voices or gestures; others use sounds or alter their voices to emphasize characters or events.

It is important that storytellers use movement so that the audience’s attention will be drawn to one place.

In the following activity, encourage the students to use some of these methods when they tell their story. Also, encourage each student to attempt to memorize what they will be telling.

Suggested Strategies

Activities

1. Share

Before this activity students might play the memorizing game described in Lesson 3.

Allow enough time for each student to tell their story to the class. This activity might take place over several days.

Before the students begin, remind them of how stories are told and how gestures, inflection and countenance are important to telling an engaging story.

2. Discuss

Was there a lesson in the story?
Did it teach YOU a lesson?
Will you tell the story to others? Why?
Will you tell the stories when you become a parent?

EXTENDING THE LESSON/REFERENCES

1. Any and all parts of the storytelling/arts lessons can be used in other class activities such as reading, writing, oral literature, drama.

2. Books containing stories of American Indians are useful in understanding many aspects of the culture: how lessons are learned, how history is passed down, etc.

3. During regular reading periods, choose a book that contains Indian stories and reference previous learning about storytelling.

4. In writing segments, consider repeating the exercise of students collecting a family story.

Grades K – 4 Traditional Arts: Honoring the Umatilla Nations

admin — Tue, 18 May 2010 19:38:48 +0000

WISDOM OF THE ELDERS RADIO: SERIES 3, PROGRAM 5

HONORING THE UMATILLA NATIONS

Lesson plan written by Wren Christopher, Eastern-Band Cherokee Heritage.

SUBJECT AREAS

Arts and culture

Petroglyphs

Rock art

SKILLS

National Standards for Arts Education – Visual Arts Standards

Choosing and evaluating a range of subject matter, symbols and ideas

Understanding the visual arts in relation to history and culture

Oregon Common Curriculum Goals – Benchmark 2 for the Arts

Aesthetics and art criticism

Historical and cultural perspectives

Student will create, present and/or perform

LEARNING OBJECTIVES

After completing the lessons in this unit, students will be able to:

Younger students will correctly label by tracing the names of the Confederated Tribes of the Umatilla on a map. Teacher note: download a map of the tribal homeland of the Confederated Tribes of the Umatilla and write in the names for the students to trace correctly. Make sure to add other important information such as the Columbia River. Have students use the maps to draw in their favorite petroglyph designs and write/draw important information as the lesson progresses.
Older students will be able to identify the different names and locations of the original homeland of the Confederated Tribes of the Umatilla and what reservation they live on today (go to “Our History” at http://www.umatilla.nsn.us for maps and tribal history of the three tribes)
Describe the difference between a petroglyph and a pictograph

INTRODUCTION

“It is characteristic of Native people to artfully embellish the mundane, transforming everyday items into objects of beauty. Today, some Native people are given to learning an array of tribal skills, to help sustain their living culture.”

Arlie Neskahi (Dine)

Overview

This lesson provides information about the three peoples that make up the Confederated Tribes of the Umatilla Reservation of Oregon: The Walla Walla, The Cayuse and The Umatilla. (http://www.umatilla.nsn.us)

By listening to Umatilla artist, Thomas Morning Owl, students will be introduced to what is a traditional artist and a contemporary artist, and will learn about petroglyphs and rock art.

Students will also be introduced to the history and the geographic areas of the Confederated Tribes of the Umatilla and the importance of ancient rock art along the Columbia River areas of Oregon and Washington.

The lesson will provide students k to 4^th grades with art activities, such as painting a rock, printing either a card, a shirt or book bag with petroglyph designs reminiscent of the rock art created long ago in the Columbia River Region.

Lesson 1: Introduction to the Cultural History of the Confederated Tribes of the Umatilla

Lesson 2: Identify Petroglyphs and Pictographs in the Columbia River Region

Lesson 3: Print a Card with a Petroglyph Design

Lesson 4: Explore Key Questions

GUIDING QUESTIONS

Before presenting the lessons the teacher will create a KWL learning poster (K is for what we know, W is for what we want to learn and L is for what we have learned) for the classroom:

· K—What does homeland mean? Where were the Walla Walla, the Cayuse, and the Umatilla Nations original homeland?

· K—What is a reservation? Where do these three tribes live today?

· K—What do we know about rock art called petroglyphs? What is a pictograph?

KWL questions and answers are generated daily by students and are written by an older student and/or teacher.

Younger students can use their map to add information, also.

More questions to ask after listening to the radio segment:

W—is for what the students want to learn about the petroglyphs of the Columbia River Region. How old are they? How were they made? What was used use for paint? What do the petroglyphs represent?
W—why do the petroglyphs inspire contemporary and traditional Umatilla artist, Thomas Morning Owl? Would ancient drawings from your ancestors inspire you to create something of beauty?
L is for what the students have learned about ancient rock art and about traditional and contemporary Native artist, Thomas Morning Owl.

Revisit these questions after the lessons using a different colored pen to answer the original questions. Allow students to write down second go-around answers to the questions asked in class.

PREPARING TO TEACH THIS LESSON

Writing and drawing paper, pencils, erasers, paint brushes, tempera paints and permanent markers in brown, red, white and black, cookie sheets, colored pencils, brayers (art roller with a handle for rolling paints), pencils, popsicle sticks, tooth picks, scissors, fabric crayons, iron and everyday items made of synthetic materials such as book bags and shirts; also, card-size tan or white art paper, newspaper, small smooth rocks, poster board and materials for KWL board, card-sized art paper, CD player, CD of traditional flute music, dictionary.
If time permits, conclude each lesson with a “Talking Circle” (see glossary for definition).

SUGGESTED ACTIVITIES

Lesson 1: Introduction to the Cultural History of the Confederated Tribes of the Umatilla

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.03—Listen to, read, and understand a wide variety of informational and narrative text.

CD Segments to Play

For this topic, go to Wisdom of the Elders Radio Series 3, Program 5, Track 11 (with traditional artist Thomas Morning Owl).

Background

Suggested Strategies

Obtain and display pictures of petroglyphs along the Columbia River from the websites listed in the references at the end of this lesson.

Activities

1. Read

Have a variety of books on Native rock art for students to look at and use. Create a comfortable working library for the students to quietly sit and draw ideas and to use as a reference station for KWL questions.

2. Listen

Have a CD player with head-phones and the Thomas Morning Owl segment available as well as a computer with internet and the websites listed for older students.

Lesson 2: Identify Petroglyphs and Pictographs in the Columbia River Region

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.
EL.04.RE.18—Find information in specialized materials.
EL.04.SL.07—Ask thoughtful questions and respond orally to questions with appropriate discussion.

CD Segments to Play

For this topic, go to Sacred Landscape (features Judy BlueHorse-Skelton, who shares a story about the Columbia River petroglyph known as “She Who Watches”).

Background

Suggested Strategies

The teacher could play some traditional flute music for the students during their research time. Music is a nice way to open and close class time and during the studio time, also.

Activities

1. Discuss

After listening to this segment, ask students to find out if “She Who Watches” was a petroglyph or a pictograph, could it have been both?

2. Research

Older students can use internet access, if available, to do research either working independently or in teams. Use the websites listed in the references, students will need to access the teacher created resource library and audio center for the Thomas Morning Owl radio segment and the Yakama Program.

Younger students: need printed materials on petroglyphs and pictographs already downloaded from the websites listed in the references. The students could choose an easy- to- read articles and picture cards to share with a partner and in the Talking Circle.

3. Talking Circle

At the end of the student research period, allow time to go to the Talking Circle to share their findings. Have students sitting in a circle with a student or teacher scribe recording the students’ findings on what is a petroglyph and pictograph on the KWL board.

Lesson 3: Print a Card with a Petroglyph Design

Standards

THE ARTS

AR.03.CP.02—Explore aspects of the creative process and the effect of different choices on one’s work.
AR.03.CP.03—Create, present, and/or perform a work of art that demonstrates an idea, mood, or feeling.

CD Segments to Play

Background

Research what is a mono print technique at http://www.kinderart.com/printmaking/mono.shtml.

Suggested Strategies

Have on hand tempera paints, brayers, cookies sheets, white drawing paper cut to fit a cookie sheet, tools to draw in the wet paint—pencils, toothpicks, popsicle sticks

Activities

1. Art project

Students will use lesson number two and pictures of rock art to design and print a card. The teacher will prep the student studio and demonstrate a mono print card.

Squeeze a small amount of tempera paint onto the cookie sheet.
Quickly, roll the brayer through the paint creating a smooth even layer of paint across the cookie sheet.
Using different “tools” such as the toothpick, pencil, and/or popsicle stick, scratch away a petroglyph design. Remind the students that their artwork will print reversed from what they are drawing.
Wash and dry hands! Carefully place a piece of art paper over the wet drawing on the cookie sheet. Do not wiggle the paper! Firmly, yet gently, rub with the flat of the hand across the entire paper.
Lift the paper up and peel carefully away from the cookie tray. The design has transferred to the paper. Place the paper in a safe place to dry. Repeat the process.

Lesson 4: Explore Key Questions

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.
EL.04.SL.07—Ask thoughtful questions and respond orally to questions with appropriate discussion.

CD Segments to Play

Background

Suggested Strategies

Activities

1. Discuss

What did the radio announcer mean in his introduction by stating that, “It is characteristic of Native people to artfully embellish the mundane, transforming everyday items into objects of beauty?”

The teacher should ask the question, What does “mundane and transforming” mean?

For older students, the teacher should ask two students to use the dictionary and read aloud the definitions to the class.

For younger students, the teacher should read aloud the definitions.

Make a list of what everyday items that traditional Native artists embellished and transformed into an item of beauty.

Next, have the students make a list of everyday items that could be artistically embellished, such as school notebooks, sneakers, a cloth bookbag, etc.

Students will paint and/or draw with a permanent marker on a rock a traditional rock art design using brown, red, white and/or black colors.

The student will use the same design and fabric crayons on a cloth item such as a shirt, book bag, a piece of fabric that can be made into a banner, etc.

For information, adaptive ideas and lesson plans with Crayola Fabric Crayons go to http://www.crayola.com/art_education.

EXTENDING THE LESSON/REFERENCES

Books

Buan, Carolyn M. and Lewis, Richard, Editors. The First Oregonians. Portland, Oregon: Oregon Council for the Humanities,; 1991

Guilliford, Andrew

Sacred Objects and Sacred Places: Preserving Tribal Traditions. University Press Colorado; 2000.

La Pierre, Yvette

Native American Rock Art, Messages from the Past. Thomasson-Grant; 1994.

Loendorf, Lawrence, Chippindale, Christopher, Whitley,David

Discovering North American Rock Art. University of Arizona Press; 2005.

Moore, Sabra

Petroglyphs, Ancient Language/Sacred Art. Clear Light Publishers; 2003.

CDs

Wisdom of the Elders Radio Shows:

Honoring the Umatilla Nation, Series 3, Program 5, Track 11: Artists Circle with Thomas Morning Owl.

Honoring the Yakama Nation, Series 3, Program 4, Track 7: Sacred Landscape with Judy BlueHorse-Skelton.

Websites

For contemporary artists:

Contemporary, Wasco Indian, Lillian Pitt, website with Art Based on Columbia Gorge Petroglyphs at: http://www.lillianpitt.com then go to art based on petroglyphs

Contemporary photograph of and information on a petroglyph of a “River Devil,” Columbia River Gorge, Washington at:

http://www.dmcphoto.com/PetroglyphCRG.html

Crayola fabric ideas on printing techniques and other related lesson plans can be found at: http://www.crayola.com/art_education

Cultural history and map of the Confederated Tribes of the Umatilla Indians of Oregon:

http://www.umatilla.nsn.us

Dictionary of Native American Art Symbols (Replicas of Native American, Hawaiian and Indian Rock Art) at: http://www.rarepetroglyphs.com

Mono printing techniques can be found at: http://www.kinderart.com/printmaking/mono.shtml

For petroglyph photograph:

http://www.trailtribes.org/umatilla/content/umaancientstoneuosaylor.jpg

Rock art of the Columbia River Gorge site explains the differences between petroglyphs and pictographs with additional resources at:

http://co.essortment.com/rockartcolumbi_rouf.htm

Traditional and Contemporary Native Culture and artist of the Umatilla, Walla Walla, and Cayuse can be found at:

http://www.trailtribes.org

Note, click on tribes and continue to cultural and artist menu.

Information on Thomas Morning Owl for the older student and teacher can be found at the Oral History Archive, Umatilla, Oregon. This site has written transcripts of interviews for the Umatilla Community History Project, including Thomas Morning Owl’s: http://www.ccrh.org/comm/umatilla/oralarc.htm

Attachment

Glossary

Glossary

Ancestor A deceased family and/or tribal member from beyond living memory.

Artist A person who creates something using different types of materials called media, such as watercolors or clay, etc. Usually, the item created is not for everyday use, but is valued for its own sake.

Traditional Artist A person who has learned the proper way to gather the materials of the object to be created. An example of the proper way would be to know the correct season, songs and prayers when gathering the materials. Usually, traditional artists make the utilitarian item beautiful as an embellishment rather than as “art for arts sake.”

Petroglyph A carved design and/or picture on a rock, sometimes called rock art.

Pictograph Also, sometimes called rock art, a painted design and/or picture on a rock. The paint was made with minerals, volcanic ashes, plants, animal blood, etc.

Reservation Land upon which Indians were restricted, relocated, or otherwise confined apart from or much reduced from their original homelands. Today, reservations are thought of as pieces of land in the U.S. where Native Peoples established their Nations through treaties with the U.S. government.

Talking Circle Traditionally used as a speaking forum by tribal members seated in a circle. The speaker holds a talking stick or feather when addressing the other members who listen without interrupting until the stick or feather is passed to the next person seated to the left.

Venn Diagram A drawing of two circles that overlap. The student can compare and contrast two subjects using the spaces inside the two circles.

Grades 5 – 8 Traditional Arts: Honoring the Umatilla Nations

admin — Tue, 18 May 2010 19:29:04 +0000

WISDOM OF THE ELDERS RADIO: SERIES 3, PROGRAM 5

HONORING THE UMATILLA NATIONS

Lesson plan written by Wren Christopher, Eastern-Band Cherokee Heritage.

SUBJECT AREAS

Arts and culture

Petroglyphs

Rock art

SKILLS

National Standards for Arts Education – Visual Arts Standards

Choosing and evaluating a range of subject matter, symbols and ideas

Understanding the visual arts in relation to history and culture

Oregon Common Curriculum Goals – Benchmark 2 for the Arts

Aesthetics and art criticism

Historical and cultural perspectives

Student will create, present and/or perform

LEARNING OBJECTIVES

After completing the lessons in this unit, students will be able to:

Identify the different names and locations of the original homeland of the Confederated Tribes of the Umatilla and what reservation they live on today (go to “Our History” at http://www.umatilla.nsn.us for maps, and tribal history of the three tribes)
Research a class poster using a Venn diagram: Define what is a traditional artist and a contemporary artist, what is different about each and what do each share in common (see glossary for definition of a Venn diagram; download a copy of a Venn diagram at http://www.eduplace.com)
Describe the difference between a petroglyph and a pictograph
Name a favorite petroglyph with its location along the Columbia River Area and, if available, the tribal homeland in which it is located

INTRODUCTION

Arlie Neskahi (Dine)

Overview

This lesson provides information about the three peoples that make up the Confederated Tribes of the Umatilla Reservation of Oregon: the Walla Walla, the Cayuse and The Umatilla. http://www.umatilla.nsn.us

By listening to Umatilla artist, Thomas Morning Owl, students will learn to distinguish between a traditional artist and a contemporary artist, and will be introduced to petroglyphs and rock art.

Students with computer internet access will research the history of the geographic areas of the Confederated Tribes of the Umatilla and the history and importance of ancient rock art along the Columbia River areas of Oregon and Washington.

The lesson will provide students 5^th to 9^th grades with art activities, such as designing a banner reminiscent of the rock art created long ago in the Columbia River Region.

Design and print art cards with the location and tribal region of a petroglyph. Create a personal petroglyph and story. Draw a traditional and/or a contemporary petroglyph design on fabric, such as a shirt or book bag.

Lesson 1: Introduction to the Cultural History of the Confederated Tribes of the Umatilla

Lesson 2: Venn Diagram the Definitions of Traditional and Contemporary Artists

Lesson 3: Define Petroglyph and Pictograph

Lesson 4: Print a Card with a Petroglyph Design

Lesson 5: Research Key Questions

GUIDING QUESTIONS

Before presenting the lessons the teacher will create a KWL learning poster (K is for what we know, W is for what we want to learn and L is for what we have learned) for the classroom:

· K—What does homeland mean? Where were the Walla Walla, the Cayuse, and the Umatilla Nations original homeland?

· K—What is a reservation? Where do these three tribes live today?

· K—What is a traditional artist? What is a contemporary artist? Can a person be both?

· K—What do we know about rock art called petroglyphs? What is a pictograph?

KWL questions and answers are generated daily by students and are written by a student and/or teacher.

More questions to ask after listening to the radio segment:

W—is for what the students want to learn about the petroglyphs of the Columbia River Region. How old are they? How were they made? What was used use for paint? What do the petroglyphs represent?
W—is why do the petroglyphs inspire contemporary and traditional Umatilla artist Thomas Morning Owl? Would ancient drawings from your ancestors inspire you to create something of beauty?

L—is for what the students have learned about ancient rock art and about traditional and contemporary Native artist, Thomas Morning Owl.

Revisit these questions after the lessons using a different colored pen to answer the original questions. Allow students to write down second go-around answers to the questions asked in class.

PREPARING TO TEACH THIS LESSON

Have on hand the following supplies: writing and drawing paper, pencils, erasers, paint brushes; tempera paints in brown, red, white and black, cookie sheets, colored pencils, brayers (art roller with a handle for rolling paints), pencils, popsicle sticks, tooth picks, synthetic fabric cut in banner sizes, wooden dowels, scissors, fabric crayons, iron and everyday items made of synthetic materials such as book bags and shirts; also, white art paper, newspaper, small smooth rocks, poster board and materials for KWL board, card-sized art paper, CD player, CD of traditional flute music; dictionary.
If time permits, conclude each lesson with a “Talking Circle” (see glossary for definition).

SUGGESTED ACTIVITIES

Lesson 1: Introduction to the Cultural History of the Confederated Tribes of the Umatilla

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.03—Listen to, read, and understand a wide variety of informational and narrative text.
EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.

CD Segments to Play

For this topic, go to Wisdom of the Elders Radio Series 3, Program 5, Track 11 (with traditional artist Thomas Morning Owl).

Background

Suggested Strategies

Obtain and display pictures of petroglyphs along the Columbia River from the websites listed in the references at the end of this lesson.
Have a variety of books on Native rock art for students to look at and use. Create a comfortable working library for the students to quietly sit and draw ideas and to use as a reference station for KWL questions.
Have a CD player with head-phones and the Thomas Morning Owl segment available as well as a computer with internet and the websites listed.
The teacher should make copies for each student of a tribal map of the Confederated Tribes of the Umatilla Reservation of Oregon at http://www.umatilla.nsn.us. This site also has other related information to support student research and for teacher reference. Older students can continue to research the history and the geographic areas of the three different tribes as extra credit and/or a homework assignment.

Activities

1. Discuss

After listening to the Thomas Morning Owl segment, discuss the following questions:

Who is Thomas Morning Owl?
From what Oregon tribes does he descend?
From what Canadian tribe?
On what reservation was he raised?

Lesson 2: Venn Diagram the Definitions of Traditional and Contemporary Artists

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.
EL.04.SL.07—Ask thoughtful questions and respond orally to questions with appropriate discussion.

THE ARTS

AR.03.CP.02—Explore aspects of the creative process and the effect of different choices on one’s work.

CD Segments to Play

Background

Suggested Strategies

Activities

1. Discuss

Who taught Thomas Morning Owl how to make traditional objects?
What is a traditional artist?
What is a contemporary artist?
What do both of these types of artists have in common?
What makes both of these artists different?

2. Share

Teacher will write the students’ answers in a Venn diagram template for younger students to copy and append answers. Older students can work in teams to create their own group Venn diagram of answers.

3. Talking Circle

The groups can share their answers in a talking circle at the end of the lesson. Remember to add new answers and/or write new questions on the KWL board. Post all student work/group work Venn diagrams in the library research area for students to use as a resource.

4. Research

The teacher will facilitate the class to synthesize the students’ research into a final poster using the Venn diagram format.

Lesson 3: Define Petroglyph and Pictograph

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.03—Listen to, read, and understand a wide variety of informational and narrative text.
EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.

CD Segments to Play

For this topic, go to Sacred Landscape (features Judy BlueHorse-Skelton sharing a story on the Columbia River petroglyph known as “She Who Watches”).

Background

Suggested Strategies

The teacher could play some traditional flute music for the students during their research time. Music is a nice way to open and close class time and during the studio time, also. Students will: use internet access, if available, to do research either working independently or in teams. Use the websites listed in the references, students will need to access the teacher created resource library and audio center for the Thomas Morning Owl radio segment and the Yakama Program.

Activities

1. Read

Teacher will have printed articles and reading materials on petroglyphs already downloaded from the websites listed in the references. The students could choose an article to read and highlight the important points to share with a partner or with the group at the Talking Circle.

2. Talking Circle

Lesson 4: Print a Card with a Petroglyph Design

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.18—Find information in specialized materials.

THE ARTS

AR.03.CP.01—Use experiences, imagination, essential elements, and organizational principles to achieve a desired effect when creating, presenting, and/or performing works of art.
AR.03.CP.02—Explore aspects of the creative process and the effect of different choices on one’s work.
AR.03.CP.03—Create, present, and/or perform a work of art that demonstrates an idea, mood, or feeling.

CD Segments to Play

Background

Research what is a mono print technique at http://www.kinderart.com/printmaking/mono.shtml.

Suggested Strategies

Have on hand tempera paints, brayers, cookies sheets, white drawing paper cut to fit a cookie sheet, tools to draw in the wet paint—pencils, toothpicks, popsicle sticks

Activities

1. Research

The teacher will prep the student studio and demonstrate a mono print card. Students will use lesson number three and the information for this lesson as well as using the resource library and web-sites to continue to research and choose a favorite petroglyph. If the information is available, the student will write on their card the location of the petroglyph and the ancestral tribe that lived at the location of the petroglyph.

2. Art project

Squeeze a small amount of tempera paint onto the cookie sheet.
Quickly, roll the brayer through the paint creating a smooth even layer of paint across the cookie sheet.
Using different “tools” such as the toothpick, pencil, and/or popsicle stick, scratch away a petroglyph design. Remind the students that their artwork will print reversed from what they are drawing.
Wash and dry hands! Carefully place a piece of art paper over the wet drawing on the cookie sheet. Do not wiggle the paper! Firmly, yet gently, rub with the flat of the hand across the entire paper.
Lift the paper up and peel carefully away from the cookie tray. The design has transferred to the paper. Place the paper in a safe place to dry. Repeat the process.

Lesson 5: Research Key Questions

Standards

ENGLISH LANGUAGE ARTS

EL.04.RE.03—Listen to, read, and understand a wide variety of informational and narrative text.
EL.04.RE.05—Demonstrate listening comprehension of more complex text through class and/or small group interpretive discussions across the subject areas.

THE ARTS

AR.03.CP.03—Create, present, and/or perform a work of art that demonstrates an idea, mood, or feeling.

CD Segments to Play

Background

Suggested Strategies

Activities

1. Research

The teacher will allow students to access the websites on traditional and contemporary Native artists. The teacher will download the information from the websites and highlight the important points for the students to read. Students will report back to the class in a talking circle.

The teacher will create a Venn Diagram poster with the student’s findings on the contemporary Native artist and the traditional Native artist, as well as what is different about them and what they both have in common.

2. Discuss

The teacher should ask the question, What does “mundane and transforming” mean?

The teacher should ask two students to use the dictionary and read aloud the definitions to the class.

The class will make a list of what everyday items that traditional Native artists embellished and transformed into an item of beauty. Next, have the students make a list of everyday items that could be artistically embellished, such as school notebooks, sneakers, a cloth book bag, etc.

3. Art project

Print an everyday item with a contemporary rock art design using the Lesson 4 mono print technique. Teacher note: Another technique to create designs on cloth is to use fabric crayons,

For information, adaptive ideas and lesson plans with Crayola Fabric Crayons, go to http://www.crayola.com/art_education.

EXTENDING THE LESSON/REFERENCES

Books

Buan, Carolyn M. and Richard Lewis (eds.). The First Oregonians. Portland, Oregon: Oregon Council for the Humanities, 1991.

Guilliford, Andrew. Sacred Objects and Sacred Places: Preserving Tribal Traditions. University Press Colorado, 2000.

La Pierre, Yvette. Native American Rock Art, Messages from the Past. Thomasson-Grant, 1994.

Loendorf, Lawrence, Christopher Chippindale, and David Whitley. Discovering North American Rock Art. University of Arizona Press, 2005.

Moore, Sabra. Petroglyphs, Ancient Language/Sacred Art. Clear Light Publishers, 2003.

Websites

Contemporary, Wasco Indian, Lillian Pitt, website with Art Based on Columbia Gorge Petroglyphs

http://www.lillianpitt.com (go to art based on petroglyphs)

Contemporary photograph of and information on a petroglyph of a “River Devil,” Columbia River Gorge, Washington

http://www.dmcphoto.com/PetroglyphCRG.html

Crayola fabric ideas on printing techniques and other related lesson plans

http://www.crayola.com/art_education

Cultural history and map of the Confederated Tribes of the Umatilla Indians of Oregon

http://www.umatilla.nsn.us

Dictionary of Native American Art Symbols (Replicas of Native American, Hawaiian and Indian Rock Art)

http://www.rarepetroglyphs.com

Mono printing techniques

http://www.kinderart.com/printmaking/mono.shtml

Petroglyph photograph

http://www.trailtribes.org/umatilla/content/umaancientstoneuosaylor.jpg

Rock art of the Columbia River Gorge site (explains the differences between petroglyphs and pictographs and contains additional resources)

http://co.essortment.com/rockartcolumbi_rouf.htm

Traditional and Contemporary Native culture and artists of the Umatilla, Walla Walla, and Cayuse

http://www.trailtribes.org (click on tribes and continue to cultural and artist menu)

Information on Thomas Morning Owl for older students and teachers can be found at the Oral History Archive, Umatilla, Oregon. This site has written transcripts of interviews for the Umatilla Community History Project, including Thomas Morning Owl’s.

http://www.ccrh.org/comm/umatilla/oralarc.htm

Venn diagrams

http://www.eduplace.com (click on Graphic Organizers, then Venn Diagram)

CDs

Wisdom of the Elders Radio Shows:

Honoring the Umatilla Nation, Series 3, Program 5, Track 11: Artists Circle with Thomas Morning Owl.

Honoring the Yakama Nation, Series 3, Program 4, Track 7: Sacred Landscape with Judy BlueHorse-Skelton.

Attachment

Glossary

Glossary

Ancestor A deceased family and/or tribal member from beyond living memory.

Petroglyph A carved design and/or picture on a rock, sometimes called rock art.

Pictograph Also, sometimes called rock art, a painted design and/or picture on a rock. The paint was made with minerals, volcanic ashes, plants, animal blood, etc.

Venn Diagram A drawing of two circles that overlap. The student can compare and contrast two subjects using the spaces inside the two circles.