Beyond Heroes and Holidays

I thought that the “Final Word” method of discussing Beyond Heroes and Holidays was a very effective way of facilitating respectful and sensitive discussion in each of our groups. It gave everyone a chance to speak freely and uninhibited, and provided a chance for everyone to respond in an open dialogue. This resulted in a space for meaningful conversation.

My group discussed the chapter of Beyond Heroes and Holidays called “Affirmation, Solidarity, and Critique: Moving Beyond Tolerance in Education”. This chapter discussed the process of transforming monocultural schools into multicultural schools and how we can achieve this goal. It defined four levels of progress toward the ideal: 1) tolerance, 2) acceptance, 3) respect, and 4) affirmation, solidarity, and critique. The fourth level is the desired goal, but we must remember as educators that this achievement is not an arrival or a static event. The progress and examination must be ongoing and perpetual. Just as the learning process is lifelong, the process of transformation is lifelong, too. Constant observation, assessment, and re-evaluation must occur and keep occurring.

One of the main topics of discussion in my group was the “how” of moving toward multiculturalism in education. We all became inspired by the idea of teaching critical thinking to our students to help combat the monocultural status quo in the classroom – and by remembering to think critically as teachers about the systems that are in place. Critical thinking is one of the greatest skills we can teach our students; with that knowledge of how to think for oneself comes the ability to question. Through questioning, we can move toward change, as students and teachers together. When students and teachers question the status quo and our social reality, they become informed and mobilized.

Through teaching our students to think critically and to question, we also open the door for a discussion about power dynamics. When students and teachers question the power dynamics in place, the conversation can move toward dismantling those oppressive power structures.

Through critical thinking, we allow ourselves to challenge our assumptions, an idea that is critical to the “affirmation, solidarity, and critique” level of multicultural education support.

When we look at the idea that culture is not static or fixed, we open ourselves up to the ability to critique those systems in place. By critiquing fixed ideas of culture and history, we can move away from the perpetuation of a static, monocultural history of the conqueror and move toward multiculturalism. Multicultural education IS achievable, especially if we think of progress in terms of a continuum in which we can move ever closer to the ideal. Critique and critical thinking are the keys.

Culturally Responsive Teaching

When I think of culturally responsive teaching, I think of the words grounded, rooted, and integrated. Grounded in culture, rooted in culture, and fully integrated culturally. A culturally responsive lesson does not just showcase or highlight an aspect of the regional culture in which students are studying – it digs its roots deep into those ways of knowing. It is reflective, interactive, and responsive (as it says in the name!), not a mere snapshot or a “heroes and holidays” approach.

All of the lessons we observed and participated in this past week allowed us (and the culture camp students) to learn about and actively engage culture. Something I liked about each lesson was that all of them required students to think critically and make meaning. Actively engaging culture, thinking critically about culture, and making meaning from cultural knowledge are three hugely important features of culturally responsive teaching, as was evidenced in each lesson presented in class last week.

Observing the culture camp was an enlightening experience. From observing the students, you could tell that they were engaged and excited about what they were learning; I think that this was due to the hands-on nature of the camp – the fact that they could actively participate in the exploration and acquisition of knowledge. They could make the knowledge their own by doing, not just by listening. I heard several students say that attending camp was a transformative experience for them. Having the chance to be an active learner can be truly empowering. The evidence is in the students’ reactions.

I was so impressed by how immersive, interactive, and interweaved the learning process was at the Goldbelt Heritage Institute culture camp. Whether the students were fluent in Tlingit or only knew a few words, they could all participate on their own level and learn more about their language. When Lyle spoke with his students, he said everything in Tlingit and then in English – an immersive and bilingual approach to learning. This meant that the use and practice of language was prominent in every lesson the students learned, whether that lesson was about dance, native plants, or learning how to process a seal. The students learned about the native plants and animals in the field, in the natural landscape. Learning about the land on the land is much more powerful than learning about it in a textbook or a laboratory. They learned valuable life skills rooted in culture and the environment: how to forage, eat, live, survive, and thrive off the land. They learned how to process, prepare, and smoke seal and salmon. They learned how to de-quill a porcupine and prepare it for cooking. They learned about edible plants like the rice that grows at the roots of the chocolate lily. They learned about dance and storytelling. One of the lessons that really intrigued me was Jasper’s lesson about porcupine bile. Jasper taught the students about the medicinal uses of porcupine bile, and he created a science experiment to test its antibacterial qualities. He had the students place some porcupine bile (collected from the porcupine earlier prepared for food) into petri dishes that contained bacteria samples and then test to see if the introduction of the bile caused a decrease in the number of bacteria in the petri dishes. This was a great example of a culturally responsive lesson that allowed the students to engage with science, nature, and native medicinal techniques.

Back in the classroom, we had the chance to observe and participate in three culturally responsive math and science lessons. These three lessons embraced, engaged, and integrated aspects such as history, the natural environment, and Native Ways of Knowing. In Tina’s math trail, we got to experience place-based learning by engaging our natural environment. The math trail integrated some of the history of the area around UAS by including questions incorporating the raven and eagle totem poles, as well as pieces of native art located on campus. The math trail pushed us to interact with our environment by observing, measuring, and estimating the size of objects located in the place in which we were learning.

In Paula’s science lesson, we learned about a series of data collection projects her elementary science students completed. The students participated in a jellyfish investigation, a mussel investigation, a berry picking investigation, and a historical places investigation. These activities are examples of place-based investigation. In each investigation, the students were given the freedom to design their collection methods and style of analysis. In this manner, they were allowed to research and gather information according to their own learning styles and embrace their creativity rather than be limited to one way of thinking. This lesson demonstrates culturally responsive methods because it allows the students to draw on their prior cultural knowledge and embrace their personal creativity. By not enforcing a specific method of collecting data, Paula allowed the students to explore according to their own learning styles and inspiration. This is a great way to make science accessible to more students! By having the students present their findings from their investigations to the community, Paula made this a community-engaged lesson, connecting the students with the other residents of their locale. By conducting the investigations out in nature, the students were given the chance to interact directly with their environment. I wish that I had had more science lessons like this as a child! Learning would have been much more engaging.

In Angie’s lesson, we engaged our natural environment, local history, and Native Ways of Knowing. We learned about the medicinal properties of sphagnum moss, a type of moss that grows locally in the boggy areas around Juneau. This lesson was particularly engaging because it integrated history, medical techniques, and native plants. We learned about the absorbency and antibacterial qualities of the moss through reading and through experiencing it ourselves. Our task was to test the relative absorbency of sphagnum moss vs. modern diapers using whatever data collection methods inspired us. This opportunity for creativity, exploration, and innovation in the science classroom made the experiment riveting and immediately relevant. We discovered firsthand that the sphagnum moss was significantly more absorbent! This experiment was an excellent example of place-based learning, and it connected us with the natural landscape in a meaningful way because we got to be part of a hands-on experience.

Each of these lessons involved observation, critical thinking, analysis, creativity, and freedom to explore – all important aspects that both engage the student and forge a deeper connection with place.

As a music teacher, I plan on incorporating culturally responsive teaching techniques into the classroom by integrating traditional music selections and place-based learning into the curriculum. I can offer a broader, more diverse, and more inclusive music education by presenting diverse styles and histories of music rather than solely focusing on western classical music (as has been the status quo in American music education for ages). In tandem with teaching classical music, I can teach songs, melodies, and pieces from Tlingit, Yup’ik, Inupiaq, Athabascan, and Aleutian culture, as well as other traditional musics from around the world. I could have my students conduct world musical investigations by researching the music of a specific place and then bringing in recordings and sources to share their new knowledge with the class. This would be a great way to get the students involved in self-guided musical explorations and expose them to the diversity of music in the world. Another way I could have students engage with music in an interactive way would be to have them explore the sounds of their surroundings. I would plan a field trip day where the students could go out into the environment and explore and record the sounds of their local surroundings. Then, they could come back to the classroom with those recorded sounds and use them to weave their own piece of music.

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Updated Thoughts on CRT:

After this week’s presentations on more examples of culturally responsive teaching, I feel like I better understand more approaches to creating culturally responsive lessons.  With the diversity of lessons and ideas presented, we were shown that there are endless ways to create culturally responsive lessons and encourage students to think critically about culture, history, and social dynamics.  I feel like I now have more tools in my toolbox for implementing a wide array of culturally responsive lessons in the classroom.  I learned that culturally responsive teaching can be both a way to preserve and honor culture and a way to challenge the status quo.

Michelle’s lesson allowed students to uncover information and make inferences about Alaskan World War II history on the islands of Attu and Kiska.  Her approach let students take ownership over their learning process by letting them discover the knowledge through exploration.  This approach allowed the students to form their own impressions and uncover answers about the war’s impact in the Aleutian Islands.  I like that Michelle’s lesson gave students the opportunity to learn about an aspect of American history that is rarely covered in the history books.  Her lesson helps to expose students to the injustices that occurred in the Aleutian Islands during the war.

Alberta’s presentation provided great perspective on inviting and integrating Elders into the classroom.  She gave an in-depth look at all of the aspects a teacher needs to consider when reaching out to an Elder.  This was very enlightening for me, as I am a newcomer to Alaska.  After listening to Alberta’s talk, I feel that I have more insight on how to ask an Elder if they would be willing to share their wisdom in the classroom, and this process does not feel as daunting anymore.  I am glad that Alberta was able to share some of these procedures and protocols with us.

Scott presented an interesting take on place-based learning, one which I would be interested in implementing in the classroom.  In Scott’s lesson, he had his students explore their locale by documenting the people and places around them and compiling that information creatively to make a book.  He took the idea of “What do you know about the history of your place?” and let students both explore and draw upon their prior knowledge in order to uncover and synthesize information about place.  I was very inspired by Scott’s innovative project-based learning approach, and I could definitely see myself employing a similar idea in the music classroom.  I would be interested in having my students do a place-based exploration where they document sounds, people, and events to capture a musical landscape and history of a place.

In Kathy’s lesson on multicultural storybooks, we learned how to apply storybooks in the secondary classroom as a way of broaching larger concepts and social justice issues.  We experienced multicultural literature as a vehicle for addressing and challenging power structures.  I was moved to realize that story can be a truly powerful tool to address social inequalities and can help students to gain awareness and take action on those issues.

Of the five culturally responsive experiences we explored, I think that Ernestine’s words were the most impactful for me.  She is such an advocate for students and for radical change in our education system.  Her words hold such incredible power and implore us to be agents of positive change as educators: “You’re not going to save them.  You’re going to believe in them.  And they’re going to save themselves.”  “If you’re not combatting colonialism, you’re continuing to ingrain it.”

Lesson Plan – Music – Arctic Region

In this lesson, I intend to focus on the music and dance of the Inupiaq people and incorporate elements of rhythm, movement, and performance.

Age Level: appropriate for 6th grade music performance class, or 6th through 8th grade music appreciation class

Materials needed: 1 large frame drum, sheet music for traditional Inupiaq song

Duration: 1-5 class periods

Goal: Internalizing rhythm

Objectives:
1. To teach students fundamental musical concepts/skills of inner pulse and eurythmics through guided movement, kinesthetic learning, and performance
2. To teach students how to actively listen to a leader, to each other, and to the pulse of the music
3. To teach students the movements to a traditional Inupiaq dance
4. To teach students how to sing and play a traditional Inupiaq dance
5. To highlight the storytelling aspects of music
6. To show how music reveals the stories and cultural values of a people

Outcomes:
1. Students should be able to move in time with a steady pulse
2. Students should be able to demonstrate a steady pulse while playing simple rhythms on a drum
3. Students should be able to move in time with the rhythm of a traditional Inupiaq song
4. Students should be able to demonstrate the correct movements to a traditional Inupiaq dance
5. Students should be able to sing and play (on a drum or another instrument) a traditional Inupiaq song

Description:
In this lesson, students will participate in a series of 6 sequential activities, which will be either game-based or performance-based. The lesson will meld learning basic music skills, such as inner pulse and eurythmics, with learning an Inupiaq traditional song and dance with the goal of performing it.
For the game elements of this lesson, one person will play a rhythm on a drum while the rest of the class listens and moves in time with the drumbeat. For the performative elements of this lesson, students will learn the notes, rhythms, movements, and cultural context of a traditional Inupiaq song and dance.

The 6 sequential activities are as follows:
1. The class will play a movement game with a drum. The teacher will be the leader for this round of the game. The teacher plays a rhythm on the drum, and the students must take one step per beat they hear on the drum. The leader can change the rhythm, increase the tempo, or decrease the tempo at any time. The students must stay with the drumbeat at all times.
2. The class will play a different version of the movement game with the drum. This time, each student will take a turn being the leader and playing the drum. On his or her turn, each student plays a rhythm on the drum, and the rest of the class must take one step per beat they hear on the drum. The leader can change the rhythm, increase the tempo, or decrease the tempo at any time. The rest of the class must stay with the drumbeat at all times.
3. The class will play a third version of the movement game with the drum, this time using the percussion rhythm of an Inupiaq song as the basis of the activity. The teacher will be the leader again for this round of the game. The teacher plays the rhythm of the percussion part on the drum, and the students must take one step per beat that they hear. The students’ goal is to physically internalize the rhythm of the Inupiaq song.
4. The class will play a fourth version of the movement game with the drum. The teacher will be the leader. In this round, the teacher will play the melodic rhythm of the Inupiaq song on the drum. The students must take one step per beat that they hear. This will help the students to physically internalize the rhythm of the melody part.
5. The students will learn the body movements of the Inupiaq dance, which goes with the Inupiaq song to which they are being introduced.
6. The students will learn to sing, play, and dance the Inupiaq song introduced earlier in the lesson. They will apply what they learned about eurythmics and inner pulse in the earlier movement/rhythm games to the song.

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Artifact: Kaylukaq

Kaylukaq - an Inupiaq wooden box drum
Kaylukaq – an Inupiaq wooden box drum

As we explored the Alaska State Museum on Friday, I found myself drawn to the exhibit on Inupiaq ceremony, music, and dance. The particular artifact that intrigued me was a musical instrument, a type of box drum called the Kaylukaq. This drum is Inupiaq in origin, and its maker is unknown. The kaylukaq came from a village in northern Alaska called Mary’s Igloo, also known as Qawiaramiut in Inupiaq. The drum was found between 1910 and 1921 by Dr. D. S. Neuman, however there are no exact dates for when this piece was made by the artist.

This artifact interests me because of its design and construction. It appears unique with respect to the other percussion instruments used in Inupiaq music. The instrument I have seen most commonly used in recorded performances of Inupiaq songs and dances is a large frame drum. This type of drum differs greatly from the kaylukaq in terms of materials, style, and shape. These particular frame drums used in dance music are circular with a very thin strip of bent wood used for the frame and a large piece of animal hide stretched over the frame for the drum head. This type of drum is held in the hand and struck with a stick or mallet. The kaylukaq, however, is strikingly different and seems unique and noteworthy for the ecological environment in which it is played.

The kaylukaq is a box drum, i.e. a drum made in the shape of a box. It is made from 6 thick pieces of wood, one wooden plank per side of the box. The drum is hung from the ceiling and struck with a mallet by the performer. The kaylukaq is associated with an Inupiaq winter festival called Kiviq, which translates to Messenger Feast. At the feast, an Inupiaq village hosts the leaders of neighboring villages in order to give gifts and engage in trade. It usually takes a full year to prepare for the festival, so the event happens only once a year. One of the main features of Kiviq is a series of dances called the Wolf Dances. These dances depict Inupiaq legends and honor animals hunted for food. The Wolf Dances are accompanied by the kaylukaq.

I find it very interesting that the kaylukaq is made of several large, thick pieces of wood. This is unusual because of the environment in which the Inupiaq live. The arctic far northern region of Alaska has very few trees and is mostly snow, ice, and flat tundra. It seems like it would be very difficult to find enough wood to construct a kaylukaq in an area where there are not many trees. I wonder if this factor makes the kaylukaq a rare and unique instrument? Does this scarcity of materials and challenge to construction give the kaylukaq special significance in ceremony, song, and dance?

The kaylukaq also shares similarities with a Latin American percussion instrument called the cajon. Like the kaylukaq, the cajon is also a box drum made from 6 pieces of wood. The cajon has a round hole on the back of the instrument, where sound resonates. In contrast to the kaylukaq, the cajon is played sitting down, with the performer sitting on top of the instrument and slapping the front panel of the box with his or her hands to make sound.

Some things I would like to know about the kaylukaq are:
1) How prevalent is the kaylukaq in Inupiaq music? Is it common or uncommon?
2) How often is it played?
3) Is it only associated with the festival of Kiviq?

Artifact Information:
Collected by Dr. D. S. Neuman, 1910-21
II-A-3681

Credit:
Kaylukaq Box Drum, courtesy of Alaska State Museum Juneau

Wisdom from the Elders

Resonance:

David presented several ideas centering around the concepts of validation, advocacy, and empowerment, which resonated deeply with me. I find it very moving that David not only teaches how to be a teacher, but also lives and enacts his wisdom as he speaks. The messages he conveys are not just words, but living, breathing advocacy. This is a powerful thing.

I love that David approaches teaching from the perspective of addressing the student as a whole person, as a human being. Words have such power to shape the lives of students positively or negatively, and David addressed this directly when he told us, “You are a precious child.”
“You are intelligent.”
“You have the ability to learn inside of you. You can learn how to do anything.”

These words are transformative, and they hold great power for both the speaker and the listener. It is exciting to hear these words, even jarring, when I consider how infrequently I have heard them used in the education system. More often than not, I heard the words “You are not enough” or “You do not have the ability” as a student growing up, and I still see these ideas heavily perpetuated in many classrooms today. As a classical musician, I have often dealt with hearing more criticism and negative comments than positive, uplifting ones. Unfortunately these are pervasive attitudes that have been perpetuated for generations in my field. To hear David show that the core goals of the teacher should be to validate, affirm, uplift, bolster, build up, and love the student is powerful. He demonstrated that a great teacher is a guide who reveals the strength and ability that already live inside the student. I experienced this positivity as a student with one of my viola mentors, and it changed the way I think about learning, teaching, and life. I want to continue David’s message to my own students because I know from personal experience that affirmation, validation, and positive reinforcement can mean the difference between success and failure for a student.

Application:

David’s teachings have enormous implications for teaching in the music classroom. I want to integrate his ideas on validation and empowerment into the structure of my classroom and my lessons. I can implement this by teaching my students how to give themselves and their peers positive feedback about their playing and tempering any critical comments with positive affirmations. A successful musician can identify both things that they need to improve AND things that they did well in their playing. Guiding students to give each other positive affirmations can help to build the whole ensemble’s self esteem.

Desert Dreams

This map, Road Trip Culture and Wanderlust in Southern California, explores the cultural significance of local travel in Southern California and the deep connection I (and many other Southern Californians) feel with the desert. I am attempting to explore the desert and its many facets as both a physical home and a heart home. Many southern Californians share a fascination with the strange, mysterious, and surreal and have a passion for travel and exploration in the local landscape. Going for a drive, taking a roadtrip, experiencing an obscure place or activity, and exploring nature are all common pastimes for SoCal locals. As a child, taking daytrips, roadtrips, scenic drives, and hikes in the natural landscape were formative experiences for me. Anywhere within a day’s drive was a place of imagination, inspiration, and possibility. The weekend trip and the day’s drive were a magical transport for me, which allowed me to immerse myself in the beauty, sights, and sounds of the environment around me. I used this map to explore some of the strange, mythos-evoking local landmarks and the starkly beautiful and rugged local landscape of southern California. Each place on the map is a day’s drive or less from any point in southern California. All drives are meant to be done as a day or weekend mini-road trip. The common thread among all of the chosen places on the map is that they all explore some sense of mystery or wonder about the desert and surrounding areas.

This classroom activity was a great way to explore and express creative narrative and geography with respect to sense of place. I would consider using this type of activity in the classroom because it allows for an engaging approach to research and an opportunity for students to make self discovery. I felt that the tech aspects of this project were not too challenging to learn, and that they could be successfully implemented into the classroom.

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