title: native american unit: tecumseh, the shawnee, and ... american unit on... · 1 name:_____...
TRANSCRIPT
1
Name:_______________________________
Title: Native American Unit: Tecumseh, the Shawnee, and Freedom
Grade Level: 6-8th
SUMMARY OF THE UNIT
Summary of the project: Because I teach 8th grade Language Arts, my unit will focus on the informational material, but some reading workshops will be done using other material. The teaching process I use will mostly be direct instruction, so I will model reading and writing strategies for them, do them with them, and then release my students as instructional leaders as I become the facilitator. This unit focuses on overall experience of the indigenous peoples in North America, interaction with European explorers and settlers, how the historical emphasis applies to Indiana, and what role Tecumseh, Shawnee Chief, had in history. It is in this way I plan to guide my students through history, so that they can begin to form opinions and beliefs about the history of our country, the United States, and how this evolution of cultures affected the indigenous peoples of North America.
2
Table of Contents:
Standards pg. 4
Enduring Questions and Learning pgs. 5-12
Calendar-pacing pgs. 13-18
Main Vocabulary for the Unit pgs. 19-26
Reading Strategies(Some) pgs. 27-30
Lesson 1 pgs. 31-101
Lesson 2 pgs. 109-114
Lesson 3 pgs.115-132
Lesson 4 pgs. 133-137
Lesson 5 pgs. 138-141
Lesson 6 pgs. 142-145
SUGGESTED RESOURCES
MATERIALS NEEDED
Vary for each lesson.
3
4
STAGE 1 – Identify desired results
Competencies/Standards
Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end
of the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between
individuals, ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
5
Enduring Understandings (“Students will understand THAT…”)
Overarching Enduring Understandings
1. Freedom means different things to different people.
2. One must consider all perspectives to gain the truth, and it will still be
interpreted differently, according to individual knowledge, background, and
opinions.
Topical Enduring Understandings
1. In order to understand history, we must consider all cultures involved, and
the causes and effects their habits, cultures, and decisions have on each
other.
2. Everything that has happened so far has created the world we live in; every
decision we make has an impact on what the future will become.
Essential Questions (“How…” “Why…” “To what extent…”)
Overarching Essential Questions
1. How do you define freedom?
2. Who and what affects our freedom?
3. How do our actions affect others?
Topical Essential Questions
1. Who are the Native Americans?
2. How did European contact affect their history?
3. How did these groups create American History?
Enabling Knowledge and Skills (“What skills and conceptual knowledge
must students possess in order to demonstrate understanding – especially on
performance tasks?”)
Students will know Students will be able to
1. What are stereotypes? Define stereotype.
2. Why do stereotypes exist? Explain the causes and effects of
stereotypes.
3. What are the pros and cons of Define freedom.
stereotypes?
6
4. What is freedom? Draw conclusions about their role in
society.
5. How do we all affect one Explain what respectful decisions and
another’s freedom? actions are.
6. How Native Americans have Identify the roles of Native Americans
evolved to survive. and Europeans in American History.
7. How do we define the future? Explain how and why groups of people
evolve to survive.
8. Make predictions about the Predict what the future of Native Amer-
future. icans might look like.
7
STAGE 2 – Determine acceptable evidence
Overview of assessment evidence
Briefly describe the types of assessment activities you will use throughout this unit to ensure
students are gaining the enabling conceptual knowledge and skills they need so that ultimately they
can demonstrate understanding through the major performance task.
TYPE OF
EVIDENCE
DESCRIPTION OF THE ASSESSMENT
ACTIVITY
WHICH
FACET OF
UNDERSTANDING IS
EMPHASIZED?
Primary
performance
task
The students will create a persuasive essay
from the point of view of either Tecumseh or
William Henry Harrison validating the Indian
Removal Act and present day settlements of
Native Americans on reservations. Who has
the rights to the land? Children will use
information from the entire unit to provide
proper research and facts to support their
argument.
Written prompts/
journals
Journal entries, exit tickets, compare and
contrast essay(four paragraphs), persuasive
essay(6-9 paragraphs), R.A.F.T.s(variety)
Small
projects/skill
demonstrations/
supporting
performances
Graphic organizers for vocabulary
development; Total Participation Techniques;
one short essay; one long essay; small research
project; simulation; graphic organizers to
complete two-sided note taking, cause and
effect, compare and contrast, and concept
development; rubric creation; questions
created based on Bloom’s Taxonomy
throughout lesson; interactive reading
questions; summaries
Student self-
assessments
Collaborative Rubrics created as a class for
assignments
8
Observing
/conferencing
White Boards, anecdotal notes, journaling,
exit tickets, essays, research, rubrics
Quizzes/ tests
Selection Tests, Informational Products, Tests
over content information, vocabulary tests
Other
Socratic seminars, graphic organizers, reading
and writing strategies, problem solving,
critical and creative thinking skills
9
GRASPS details for the primary performance task
Use the GRASP format to provide more detailed information about the primary performance task
through which you will assess students’ growing understanding.
GRASPS Use of GRASPS in this Unit
Goal
Provide a statement of
the task.
Establish the goal,
problem, challenge, or
obstacle in the task.
Students have stereotypes, misconceptions, and disinformation about
Native Americans in relation to American History. My goal is for
students to start with their own background knowledge, incorporate
information from this unit, and adjust their understanding of the Native
American role in American History. The students will culminate this
comprehension by creating a persuasive essay focused on either the
perspective of the Shawnee Chief, Tecumseh, or the Governor and
eventual president, William Henry Harrison, in response to the overall
question: Whose land is it?
Role
Define the role of the
students in the task.
State the job of the
students for the task.
The students will obtain reading and writing strategies as they
investigate, collaborate, reflect on, and interpret content knowledge of
Tecumseh, the Indigenous Tribes of Indiana, the Shawnee, the Indian
Removal Act, the Battle of Tippecanoe, and American History. The
students will produce many formative and summative products to show
their level of comprehension.
Audience
Identify the target
audience within the
context of the
scenario.
Example audiences
might include a client
or a committee.
The students and instructor are the main audience. Eventually, all
stakeholders in Richmond Community Schools are the audience for the
educational growth all students make on district and state tests.
Situation
Set the context of the
scenario.
Explain the situation.
Students have preconceived notions, stereotypes, misconceptions, and
disinformation about the experience of the Indigenous peoples of
Native America and their role in American History. The goal is to
expose the students to enough relevant information to educate them
about this topic, in order for them to re-evaluate their concepts and
create up-to-date and well-informed ideas about the aforementioned
subject matter.
Product
Clarify what the
students will create
and why they will
create it.
The students will create notes, summaries, opinions, responses to
questions, writing assignments, discussions, and mini-research projects
throughout the course of this unit.
Standards and Criteria
Provide students with
a clear picture of
The students and instructor will create project and writing rubrics both
for the teacher to evaluate the student’s progress according to the goals
and standards, and for the students to evaluate their own progress.
10
success.
Identify specific
standards for success.
Issue rubrics to the
students.
There will also be quizzes and tests.
11
STAGE 3 – Design learning activities
Use the WHERETO model to identify the type – but not the sequence – of instructional activities required to promote the desired
results. Following the WHERETO model is an optional calendar for actually scheduling the sequence of learning activities. Note that
assessment activities (the second “E” and to some extent the “R” in WHERETO) are embedded throughout the unit.
WHERETO
W How will you ensure that all students know
where they are headed in the unit, why they
are headed there, and how they will be
evaluated?
“W” Ideas
Selection quizzes and tests, conferencing, discussion, formative
and summative assessments both paper and electronic
H How will you hook students at the
beginning of the unit? “H” Ideas
The students will complete a simulation focused on stereotypes in order to
start the unit.
E
What events will help students experience
and explore the big ideas and questions in
the unit? How will you equip them with
needed skills and knowledge?
“E1” Ideas
The students will read text, be involved in simulations, be a part
of discussions, take notes, respond to questions offering evidence
and conclusions, create writings and projects, do research, create
questions to drive research and to reflect on knowledge,
interactively view videos, and experience pertinent web sites in
order to gain the skills and knowledge in this unit.
R
How will you cause students to reflect and
rethink? How will you guide them in
rehearsing, revising, and refining their
work?
“R” Ideas I will conference with students, students and myself will continue
questioning techniques, students and myself will create and evaluate
progress with content and standards based rubrics. Formative assessments
will drive instruction, and summative assessments will evaluate level of
success.
E How will you help students to exhibit and
self-evaluate their growing skills,
knowledge, and understanding throughout
“E2” Ideas
Collaborative learning will be used throughout the unit, as well as
12
the unit? direct instruction. Conferences, discussions, evaluation tools, and
rubrics will be used to exhibit and evaluate progress throughout
the unit.
T
How will you tailor instruction to meet
student need in readiness, learning style,
and interest while remaining true to the
desired result?
“T” Ideas
Expectations are high for all. Flexibility will occur with time,
choice, focus on individual progress, collaboration, re-teaching,
and choice for products.
O How will you organize learning
experiences to maximize engagement and
understanding and minimize
misconceptions?
“O” Ideas
Well-planned, upbeat pace, formative and summative
assessments, data-driven lessons.
13
Sequence of unit learning and assessment activities
August 2013 Sunday Monday Tuesday Wednesday Thursday Friday Saturday
1 2 3
4 5 6 7 8 Teacher’s First Day Back
9
10
11 12 Student’s First Day of
School
Lesson 1: Stereotypes,
bias, and prejudice
13 Reading Workshop 1: “On Top of the World”
Pages 1-5 notes
14 Pages 6-11 Day 2 “On Top of
the World”
15 Day Three: Discussion,
Study Games, and prepare for selection
quiz
16 Library: Check out
book 1 Quiz 1-Monday
17
18 19 Quiz 1-“On Top of the
World” Begin Pre-
reading K-W-L “Two Cultures
Meet”
20 Pages 4-12
“Two Cultures Meet”
Exit Slip
21 Pages 13-20 “Two
Cultures Meet”
Exit Slip
22 Pages 21-26
“Two Cultures Meet”
Exit Slip
23 Pages 27-32
“Two Cultures Meet”
Exit Slip
24
25 26 Pages 33-38
“Two Cultures Meet”
Group Review
27 Plan Journal
Entry –write it Create
Diagram Complete K-
W-L and Study
28 Games for review
Study Read Aloud:
Tecumseh(picture book)
29 Test over
“Two Cultures Meet”
30 Library-book
talks and check out
book 2
31
14
September 2013 Sunday Monday Tuesday Wednesday Thursday Friday Saturday
1 2 No School
Pages 12-14 New vocab.
Reading Workshop 2:
“Tell-Tale Heart”
3 Pages 15-22
Partner Read Vocabulary
Work Exit Ticket
4 Pages 23-24
Review Study Games-
quiz 3 tomorrow
5 “Tell-Tale
Heart” quiz 3
6 Library-
circulation Pre-reading
Activities for “Land of Indians-Indiana”
7
15
8 9 Pages 5-26
Exit Ticket
Begin using
Bloom’s Taxonomy
10 Pages 27-38
Exit Ticket
11 Pages 39-54
Exit Ticket
12 Pages 55-74
Games for study
purposes-Quiz 4 skills and
content
13 Library-Book
Talks and circulation
Quiz 4
Monday
14
15 16 Quiz 4 “Land
of Indians-Indiana”
17 Pages 75-89
Exit Ticket
18 Pages 90-102
Exit Ticket
19 Pages 103-115
Exit Ticket
20 Library-
Circulation
Review Games
21
22 23 1st G.P. ends
Pages 116-123 Bloom’s
Taxonomy used to
create review by students
24 2nd G.P. Beg.
Review Games
Exit Ticket
Study for Test
25 Test over “Land of Indians-Indiana”
26 Interactive notes while
viewing film:
27 Library-Book
Talks and Circulation
28 Making
History Come Alive
Teaching Conference at Museum
29 30 Finish Film-
Reflection Plan Compare and Contr. Es.
16
CALENDARS
MORE »
October 2013 Sunday Monday Tuesday Wednesday Thursday Friday Saturday
1 Work on
Compare and Contrast Essay
2 Compare and
Contrast Essay due
3 Partner project
biographies-share as a
class
4 Library-
Circulation Page 36
K-W-L “March of the Mill
5
17
Children” New Vocab.
6 7 “March of the Mill Children”
Pages 28-36 Partner reading
and 2-sided note-taking
8 Review Games
9 Group Quiz
over selection
10 Tecumseh
K-W-L: Battle at
Prophetstown
Film/Notes
11 Library-
Circulation and Book
Talks
12
13 14 15 16 17 18 19
20 21 Parent/Teacher
conferences Early Dismissal
22 Parent/Teacher
conferences Early Dismissal
23 Parent/Teacher
conferences Early Dismissal
24 Fall Break
25 Fall Break
26
27 28 Plan
Persuasive Essay:
Tecumseh or William Henry
Harrison
29
30 31 Persuasive Essay Due
18
19
Main Unit Vocabulary List 1. Bias-Use the noun bias to mean a preference for one thing over another, especially an unfair one.
Bias is an inclination of temperaments or outlook to present or hold a partial perspective at the expense of (possibly equally valid) alternatives in reference to objects, people, or groups. Anything biased generally is one-sided and therefore lacks a neutral point of view. Bias can come in many forms and is often considered to be synonymous with prejudice or bigotry.
2. Prejudice-The word prejudice refers to prejudgment: i.e. making a decision before becoming aware of the relevant facts of a case. In recent times, the word has come to be most often used to refer to preconceived, usually unfavorable, judgments toward people or a person because of gender, social class, age, disability, religion, sexuality, race/ethnicity, language, nationality or other personal characteristics. In this case it refers to a positive or negative evaluation of another person based on their group membership.[1] Prejudice can also refer to unfounded beliefs[2] and may include "any unreasonable attitude that is unusually resistant to rational influence."[3] Gordon Allport defined prejudice as a "feeling, favorable or unfavorable, toward a person or thing, prior to, or not based on, actual experience."[4]
3. Stereotype-A stereotype is a thought that may be adopted about specific types of individuals or certain ways of doing things,[1] but that belief may or may not accurately reflect reality.[2][3] However, this is only a fundamental psychological definition of a stereotype.[3] Within and across different psychology disciplines, there are different concepts and theories of stereotyping that provide their own expanded definition. Some of these definitions share commonalities, though each one may also harbor unique aspects that may complement or contradict the others.
4. Misconception- A misconception is a conclusion that's wrong because it's based on faulty thinking or facts that are wrong. Your accusation about your brother's role in that unfortunate event at your party may be based on a misconception.
First appearing in the 1660s, the noun misconception comes from the prefix mis-, meaning "bad, wrong," and the word conception, meaning "act of conceiving." A misconception usually a results from incorrect thinking or a flawed
20
understanding. Because they don't know the facts, many people have a misconception about how diseases such as AIDS are transmitted. It's a common misconception that Thomas Edison invented the light bulb, when, in fact, he didn't.
5. Disinformation-
N misinformation that is deliberately disseminated in order to influence or confuse rivals (foreign enemies or business competitors etc.)
6. Mandatory- In the US, attending school through the twelfth grade, driving on the right side of the road, and obtaining a social security number are all mandatory. The phrase "mandatory requirement" is redundant.
A mandatory action is something that is required, obligatory, or compulsory. Like letting your Great Aunt Edna pinch your cheeks or passing gym to get your diploma. Mandatory is often used in opposition to optional. If you want to compete with the swim team at school, weeknight practices are mandatory, meaning you have to go, though the Saturday dawn swim practice remains optional, meaning it's up to you.
7. Optional- If you can choose whether or not to do something, it is optional. Extra credit is always optional, death and taxes are not.
When you buy a new car, you can decide which options or choices, you would like. Things like a DVD player mounted in the ceiling are optional, you don't need them for the car to work, and it's up to you if you want to pay more for them. The opposite of
21
optional is mandatory. If you're in high school, going to bed at 8:00 is optional, for your little sister in elementary school, it's mandatory.
possible but not necessary; left to personal choice
8. Culture- A culture is a specific group of people during a particular time — like the hippie culture of the 1960's. Culture can also imply exposure to the arts. Visit a museum if you are in need of a dose of culture.
A useful thing to remember about culture is that it is closely related to cultivate, whose root meaning is "to till the soil." Even in Latin, the source language, cultura was used metaphorically (Cicero said philosophy was cultura animi, the "cultivation of the soul"), and in English it moved from the agricultural sense to training, development of language and literature, mental development through education, and finally the ideas, customs, and intellectual and artistic conditions of a society or group.
9. Tolerance- When you practice tolerance, you accept another's ideas and beliefs. If you respect someone's opinions — even if you disagree or find them nonsensical — you display tolerance.
The noun tolerance, which stems from the Latin for "endurance," also refers to an organism's ability to stand or handle a difficult environmental condition. If you build up a tolerance, you can handle large amounts of something (from medicine to psychological abuse) without being too strongly affected. We usually use the word to refer to our need to accept others, as suggested by John F. Kennedy when he said, “Tolerance implies no lack of commitment to one's own beliefs. Rather it condemns the oppression or persecution of others.”
10. Tradition- Traditions are longstanding customs and practices. It might be a family tradition to open Christmas presents on Christmas Eve, started because your parents were too impatient to wait.
22
The noun tradition has Latin roots in the word tradere, which means hand over or hand down. So think of a tradition as something that is handed down from one generation to another. Fireworks on the Fourth of July are a national tradition, and playing your school's fight song at the start of the football game is probably a longstanding tradition designed to get the fans excited for the game.
11. Respect- Respect is a way of treating or thinking about something or someone. If you respect your teacher, you admire her and treat her well.
People respect others who are impressive for any reason, such as being in authority — like a teacher or cop — or being older — like a grandparent. You show respect by being polite and kind. For a lot of people, taking your hat off is a show of respect. When people are insulted or treated badly, they feel they haven't been treated with respect. You can respect things as well as people. Saying the Pledge of Allegiance shows respect to your country.
12. Privilege- A privilege is a special advantage not enjoyed by everyone. If you're very snooty, you probably don't allow just anyone the privilege of being your friend.
Privilege comes from Latin privilegium, meaning a law for just one person, and means a benefit enjoyed by an individual or group beyond what's available to others. Someone wealthy come from privilege. Someone with a library card has borrowing privileges. Privilege can also be used as a verb. If you are on a committee giving away scholarships, you'll have to decide whether to privilege students from poor backgrounds or the students with high test scores.
13. Judgment- Judgment is the mental ability to understand something, form an opinion and reach a decision. You have great judgment of character, which is why your friends ask you to meet their significant others when things get serious.
A decision is a judgment, unless you let a coin toss decide for you. Use your judgment to determine how much salt to add, or the safest way home. In court, the judge's official decision is called the judgment, and if you condemn someone, even if you're not a
23
judge, we say you've "passed judgment." If you need to explain many parts of the story before your innocence will be clear, ask your listener not to rush to judgment.
14. Pro- a prefix indicating favor for some party, system, idea, etc., without identity with the group ( pro-British; pro-Communist; proslavery ), having anti- as its opposite.
15. Con- adverb 1. against a proposition, opinion, etc.: arguments pro and con. noun 2. the argument, position, arguer, or voter against something.
Origin: 1575–85; short for Latin contrā in opposition, against 16. Attribute- noun 1. something attributed as belonging to a person, thing, group, etc.; a quality, character, characteristic, or property: Sensitivity is one of his attributes. 2. something used as a symbol of a particular person, office, or status: A scepter is one of the attributes of a king. 3. Grammar . a word or phrase that is syntactically subordinate to another and serves to limit, identify, particularize, describe, or supplement the meaning of the form with which it is in construction. In the red house, red is an attribute of house. 4. Fine Arts. an object associated with or symbolic of a character, office, or quality, as the keys of St. Peter or the lion skin of Hercules. 17. migration- 1610s, of persons, 1640s of animals, from L. migrationem (nom. migratio), from pp. stem of migrare "to move from one place to another," probably originally *migwros, from PIE *meigw- (cf. Gk. ameibein "to change"), from base *mei- "to change, go, move" (see mutable). European birds migrate across the seas or to Asia.
24
18. relevant- rel·e·vant
adjective bearing upon or connected with the matter in hand; pertinent: a relevant remark.
Origin: 1550–60; < Medieval Latin relevant- (stem of relevāns ), special use of Latin, present participle of relevāre to raise, lift up. See relieve, -ant Related forms rel·e·vance, rel·e·van·cy, noun ;rel·e·vant·ly, adverb ;non·rel·e·vant, adjective ;un·rel·e·vant, adjective ;un·rel·e·vant·ly, adverb Synonyms applicable, germane, apposite, appropriate, suitable, fitting. See apt. 18. Native American: Indigenous people of North America-
The indigenous peoples of the Americas are the pre-Columbian inhabitants of North and South America and their descendants. Pueblos indígenas (indigenous peoples) is a common term in Spanish-speaking countries. Aborigen (aboriginal/native) is used in Argentina, while "Amerindian" is used in Guyana, but not commonly used in other countries.[22] Indigenous peoples are commonly known in Canada as Aboriginal peoples,[23] which include First Nations, Inuit, and Métis peoples. Indigenous peoples of the United States are known as Native Americans or American Indians and Alaskan Natives.[24]
25
According to a prevailing New World migration model, migrations of humans from Eurasia to the Americas took place via Beringia, a land bridge which connected the two continents across what is now the Bering Strait. The most recent migration could have taken place around 12,000 years ago, with the earliest period remaining a matter of some unresolved contention.[25][26] These early Paleo-Indians soon spread throughout the Americas, diversifying into many hundreds of culturally distinct nations and tribes.[26] According to the oral histories of many of the indigenous peoples of the Americas, they have been living there since their genesis, described by a wide range of traditional creation accounts.
Application of the term "Indian" originated with Christopher Columbus, who thought that he had arrived in the East Indies, while seeking Asia. Later, the Americas came to be known as the "West Indies," a name still used today to refer to the Caribbean. The use of the names "Indies" and "Indian" has served to imply some kind of racial or cultural unity for the aboriginal peoples of the Americas. Once created, the unified "Indian" was codified in law, religion, and politics. The unitary idea of "Indians" was not originally shared by indigenous peoples, but many over the last two centuries have embraced the identity. The term "Indian" does not include Aleuts, Inuit, or Yupik peoples.
19. tribe- noun 1. any aggregate of people united by ties of descent from a common ancestor, community of customs and traditions, adherence to the same leaders, etc. 2. a local division of an aboriginal people. 3. a division of some other people. 4. a class or type of animals, plants, articles, or the like.
20. treaty- trea·ty
[tree-tee] noun, plural trea·ties.
26
1. a formal agreement between two or more states in reference to peace, alliance, commerce, or other international relations. 2. the formal document embodying such an international agreement. 3. any agreement or compact.
Origin: 1350–1400; Middle English trete < Anglo-French < Latin tractātus tractate Related forms non·trea·ty, noun, plural non·trea·ties.
27
Reading Strategies:
21. making connections- When reading, it is important to make connections to what you read. If you do this, you are more likely to gain knowledge, understand things, and become a better reader. There are three kinds of connections you can make when you read. T-T: Text-to-text-this means you are comparing and contrasting what you are reading to another book, movie, song, poem, or text. You could find similarities and differences by considering the characters, the plot, the vocabulary, the style of the text, the events, the setting, etc… T-S: Text-to-Self-this means you find something about the story that relates to your life or someone in it. It could be a character trait, an event, a setting, a problem, or just about anything. T-W: Text-to-World-this means the text reminds you of something happening in current events or just in your world. It could be that the story you are reading is about a kidnapping, and you connect it to a news report you recently viewed on the news or in the newspaper. Maybe, somewhere in the story you are reading a hurricane occurs, and there is also a hurricane going on somewhere for real or you connect it to one that has occurred, like Hurricane Katrina. 22. Summarizing what you read:
Tips on Composing a Summary
"Summarizing condenses in your own words the main points in a passage. . . . 1. Reread the passage, jotting down a few keywords. 2. State the main point in your own words. . . . Be objective: Don't mix your reactions with the summary. 3. Check your summary against the original, making sure that you use quotation marks around any exact phrases that you
borrow."
28
(Randall VanderMey, et al., The College Writer, Houghton, 2007)
Characteristics of a Summary "The purpose of a summary is to give a reader a condensed and objective account of the main ideas and features of a text. Usually, a summary has between one and three paragraphs or one hundred to three hundred words, depending on the length and complexity
of the original essay and the intended audience and purpose. Typically, a summary will do the following: o Cite the author and title of the text. In some cases, the place of publication or the context for the essay may also be
included. o Indicate the main ideas of the text. Accurately representing the main ideas (while omitting the less important details) is
the major goal of the summary. o Use direct quotations of key words, phrases, or sentences. Quote the text directly for a few key ideas; paraphrase the
other important ideas (that is, express the ideas in your own words.) o Include author tags. ("According to Ehrenreich" or "as Ehrenreich explains") to remind the reader that you are summarizing
the author and the text, not giving your own ideas. . . . o Avoid summarizing specific examples or data unless they help illustrate the thesis or main idea of the text. o Report the main ideas as objectively as possible. . . . Do not include your reactions; save them for your response.
(Stephen Reid, The Prentice Hall Guide for Writers, 2003)
23. author’s purpose- The author's purpose could be to pursuade the reader, entertain the reader, or to inform the reader.
To Pursuade When the author wants to pursuade the reader he/she wants to convince that something is good or bad by their opinion.
Ex:The sheman on T.V. said that those shoes where the best.
To Entertain When an author wants to entertain for the pupose of geting an award. Sometimes they do it just for the puposes of fun.
Ex: See the monkey run, see the monkey eat, see the monkey laugh.
29
To Inform When an author wants to inform, he/she wants to teach the reader about an event, product or person.
Ex: This is a great product because it is made of the strongest and finest material in the world.
24. Drawing conclusions:
Using all information you have, such as written text, illustrations, diagrams, pictures, graphs, etc… to form a statement you believe to be true. When you draw conclusions while reading, you are always using all prior knowledge you have as well.
25. headings(titles) and sub-heads: noun
Title: 1. the distinguishing name of a book, poem, picture, piece of music, or the like. 2. a descriptive heading or caption, as of a chapter, section, or other part of a book. 3. title page. Sub-head: noun 1. a title or heading of a subdivision, as in a chapter, essay, or newspaper article. 2. a subordinate division of a title or heading. 26. cite evidence- — n
1. the quoting of a book or author in support of a fact
2. a passage or source cited for this purpose
3. a listing or recounting, as of facts
30
27.biography- Origin: 1680s, probably from L. biographia, from Gk. bio- "life" (see bio-) + graphia "record, account," from graphein "to write." Biographia was not in classical Gk. (bios alone was the word for it), though it is attested in later Gk. from c.500. Biographer is recorded from 1715; biographical from 1738. Definition:
The story of someone's life. The Life of Samuel Johnson , by James Boswell, and Abraham Lincoln , by Carl Sandburg, are two noted biographies. The story of the writer's own life is an autobiography.
31
32
33
Lesson # 1
Title: What are stereotypes?
Duration: 1-3 days Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
34
with accurate examples;
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
What are stereotypes, and how do they affect both individual and cultural group freedom?
Kid friendly: How and why do we judge people?
How do stereotypes hurt or help people, individually and in groups?
Students will Know:
Why we draw conclusions about
individuals or groups of people.
How we reach these conclusions
about individuals and groups of
people.
How immediate judgments about
people can help or hurt them.
How we can redirect our first
notions, or judgments, and shape
them appropriately.
Students will Understand:
What a stereotype is.
What bias and prejudice are.
How stereotypes are created, and
why they are continued.
The pros and cons of stereotypes.
It is better to form opinions based
on experience, truth, and
relationships.
Stereotyping, bias, and prejudice
are natural components of society
and humanity.
It takes active acknowledgment and
understanding of stereotyping, bias,
and prejudice in order for it to
change.
Students will Do:
A classroom
simulation.
They will be grouped
randomly, by a
colored index card.
Each group will be
given a set of
stereotypes by me.
Each group will
receive different
rewards and
privileges based on
their grouping.
Students will journal
how they feel about
their group, what the
pros and cons are of
their group, and how
they feel about both
35
their placement in the
group and the others
in their group.
Students will debrief
as a whole class and I
will take their ideas
down on a chart. We
will discuss the
connections and carry
over into real life.
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
Students will journal, discuss, and share their opinions, conclusions, and connections.
The instructor will jot down all ideas on a chart.
Connections to daily life and American History will then become the focus.
For example, how do students group themselves in school? How do others group them? What are
the pros and cons to that group? What are some significant stereotypes we have in society? What
characteristics do we assume these groups have? What have been the pros and cons of this?
How do these ideas carry over into an understanding of the Native American experience in North
America? What do we know, think, assume, and feel about Native Americans? Are these notions
positive or negative? How? What historical implications exist? How does this create our
understanding of American History? What relevance do all of these things have in our lives today
and in the future? What is our responsibility and role in history as it is being created now?
The chart will be formed with these categories: clothing and dress, weapons and war, music and
art, “play” and leisure, transportation, employment and economics, traditions and burial, and other.
After all parts of the lesson are completed, the students will end with an exit ticket-
Optional choices to reflect on. Choose one or more: What did you learn today? What would
you like to learn more about? What opinions and/or reflections do you have concerning today’s
lesson? Mandatory question: What do the words stereotype, bias, and prejudice mean to you?
36
Instructional Activities/Sequence:
1. The simulation will take place initially with no explanation. As kids enter, they will be
handed an index card with a color-blue, yellow, purple-and be told where to sit in their
group.
2. The attributes of their group will be on the front white board, as well as the responsibilities
and priveleges.
Blue-You are the best kids in this class. You will be allowed to do whatever
you want, as long as you don’t hurt anyone. You will never have homework,
and you will get a tootsie pop.
Yellow-You are pretty good kids. You must sit in assigned seats. You must
start the assignment on your desk. You must ask for permission to get up, talk,
or use the restroom. You may have one piece of hard candy as a gift.
Purple-You are the worst kids in this class, and I will be watching you closely
at all times. You are not allowed to talk, get up, use the restroom, or do
anything but what you are told. You must start the assignment on your desk.
You will have homework tonight. I will not allow you to work together or help
each other. You do not get any treats. If you do anything wrong or fail to
follow my directions, you will go straight to ISR and you will have to stay after
school to make up the work you miss.
3. After about five minutes of this-as I walk around listening and re-directing kids-I will tell
them to take out their journals. I will tell them to write for five minutes how they feel
about their group, group members, the judgments I made about them, the treatment they
got, responsibilities and privileges, and why they think I am doing this to them.
4. I will then tell the kids we have been doing a simulation, or a classroom exercise from
which I hope they will learn. I will give them the definitions of stereotype, bias, and
prejudice. I will ask them to copy these into their journals. I will ask them to tell how
these words and definitions pertain to what just happened.
5. We will proceed with discussion, charting, and connecting this to school life. Then we will
make connections to society as a whole: Richmond, Indiana, America, etc…
6. We will begin to discuss Native Americans. I will have them journal everything they think
they know about them in list format. We will begin our K-W-L classroom chart and start
discussing historical relationships to these concepts.
7. I will show them some pictures, advertisements, and clips of Native Americans, and we
37
will discuss the terms: stereotype, misconception, and disinformation.
8. We will add to our chart as we discuss how this information relates to American History.
9. Then I will ask kids to brainstorm a list of questions they have and want to learn the answer
to in this unit focused on Native Americans.
10. I will show them some video clips and pictures of modern Native Americans, as well as
some historical pictures that don’t meet their false stereotypes.
11. I will give them their first vocabulary list, and instruct them about the unit. I will also pass
out the calendar and explanation of this unit.
Journaling Questions for simulation:
1. What group are you in?
2. What definition was given to your group? Stereotypes?
3. What responsibilities and privileges do the people in your group have?
4. What do you think of your group?
5. How do you feel about being in your group?
6. Do you agree with the statements about your group?
7. Are you being treated fair? Are the other groups?
8. How do you feel about the other groups?
9. How can you relate this experience to real life in the classroom? At school? In your neighborhood? In this city? In this world?
10. How can you use this experience to impact the world around you in a more positive way?
11. What changes can you think of do you need to make?
12. Do you stereotype people? Why? How?
13. What positive and negative effects does stereotyping have on individuals and groups?
38
Resources:
Classroom whiteboard
Pencils and journals
Markers for charting
Video clips of the stereotypical Native American and modern Native American
Images of stereotyped Native American and modern Native Americans
39
1. http://www.youtube.com/watch?v=_hJFi7SRH7Q This is a 5 minute video on youtube showing how Hollywood has stereotyped the image of the Native American-Indian.
2. http://www.authentichistory.com/diversity/native/ This website has images of stereotypes, explanations, and a historical reference.
40
home > diversity > native > background: development of stereotypes
Native Americans & American Popular Culture
The Mission of This Collection Imagery & Stereotyping Explained Common Excuses Used to Justify Stereotyping
1665-1860: The Development of Two Savage Stereotypes
41
The fabrication of the American Indian by White American culture began around the 1820s. By that time, national feelings about Indians had developed into a kind of schizophrenic depiction of them, a phenomena that continues to the present day. Two polar opposite stereotypes developed: the noble savage (peaceful, spiritual, mystic guardian of the land who exists in harmony with nature and was the original conservationist), and the ignoble savage (a marauding untamable murderer; a hellish demon who scalped women and children. Once conquered, he was depicted as a thief, a drunkard, and a beggar, unwilling to work but willing to accept government handouts). The noble savage stereotype developed first in Europe. It first appeared in the United States in areas where "the Indian problem" had been solved. It's important to understand that as manifest destiny swept westward, it was possible for Indians to become picturesque and quaint in areas where they were either vanquished or powerless; i.e., no longer a threat. In recent times, the ignoble savage caricature has been most prevalent when Indians reclaim their rights, such as spear fishing rights in Northern Wisconsin and Michigan, or as they've started to gain economic and political power through casino revenue. It seems that White Americans today become exceptionally angry at Indians who do not fit the romanticized noble savage mold and so recast them ignobly. Both stereotypes depict the Indian as childlike and primitive, and always the "Other," distinct from any other race. The ignoble savage came first, created by the Puritan distrust of the wilderness and the precarious position they found themselves in during the early colonial experience. The Pilgrims wintered aboard the Mayflower after their arrival in New England in 1620. William Bradford wrote in Of Plymouth Plantation, "Besides, what could they see but a hideous and desolate wilderness, full of wild beasts and wild men--and what multitudes there might be of them they knew not." When the Pilgrims did make contact with Indians, Bradford described them as "skulking about," and having stolen some workmen's tools. The Pilgrims were soon contacted by English-speaking Squanto, who introduced them to Massasoit, the great Sachem of the Wampanoags, with whom the Pilgrims made the 1621 peace treaty. The two groups maintained an uneasy peace until Massasoit's death in 1661, at which time the leader's son Wamsutta succeeded him. Following the death of Wamsutta in Plymouth while negotiating with the Puritans, his younger brother Metacom became Sachem of the Pokanoket and Grand Sachem of the Wampanoag Confederacy.
42
Early Map of Indian Territories
The English called Metacom "Philip of Pokanoket," but he was nicknamed "Prince Philip" by the colonists because of his regal bearing. When war erupted between the Wampanoag and the colonists in 1665, Philip was sarcastically re-nicknamed "King Philip," and the conflict has since been popularly and historically known as King Philip's War. (Red King's Rebellion). The source of the conflict is complicated. The Wampanoags relied on the English for trade goods, particularly iron tools, and as a counterweight to their own native enemies. On the other side, as the colonial population increased (some estimates are that it was doubling every twenty-five years), the need for expansion became critical, which soon changed the dynamics of trade. Colonists began establishing small settlements in the region between New England's coastal plain and the Connecticut River Valley, putting pressure on the local Indians. In 1671, the court in Plymouth, hearing of ongoing threats against the colonists, attempted to coerce the Indians into turning over many of their firearms to the colony. This had limited results and increased Native suspicions about the colonists. Another factor was the ongoing attempt by the Puritans to Christianize the Indians through "praying towns,"
reservations created by Massachusetts Bay officials where converts were expected to learn English customs and trades. It was a report of pending hostilities from a "Praying Indian" translator and adviser to Metacom named John Sassamon that sparked the conflict. John Sassamon was murdered, allegedly killed by few of Phillip's Wampanoag angry at his betrayal. Three Wampanoags were arrested, tried, and convicted of Sassamon's murder, and then hanged on June 8, 1675 at Plymouth. Some Indians believed the three had been falsely convicted, and saw the Colonial judicial response as an insult to Indian sovereignty. In response, a band of Pokanoket, possibly without Philip's approval, attacked several isolated homesteads in Swansea, destroying the town and killing several settlers. The colonists quickly retaliated by destroying the Wampanoag town at Mount Hope. War then raged throughout the countryside. Metacom was betrayed and ambushed by an Indian named John Alderman in August 1676, and his severed head was displayed on a pike in Plymouth for decades. Three years of bloody and destructive
43
conflict was costly for both sides. The colonists became increasingly reliant on on the British government for protection, which soon tried to exploit them for their own gain. Consequences for the Indians were even more devastating and far-reaching. By 1678 over half of the native population of New
England had been eradicated. The depiction of Metacom for more than a hundred years following the war was that of the ignoble savage. He was cast as a diabolical demon, while the Puritans were painted as heroically doing God's work. This was especially true during the American Revolution, when there was a need to create a more idealized "first settler", whose early colonial struggles against nature and beast (including Indians), now helped justify independence. One of the tools used to spread this propaganda was a book titled, Diary of King Philip's War by Benjamin Church; a captain present at Metacom's ambush. When first published in 1716, it was a mere 120 pages, without notes or illustrations. During the years of British taxation policy and colonial protest, the book was reprinted (1772), this time with a description of Church's life, and an engraving of Metacom by Paul Revere. Titled, "Philip, King of Mount Hope," the image is an unflattering portrait of the Indian leader. He is depicted as being short and squat, and pygmy-like, typically ignoble. The creation of the noble savage stereotype was influenced by the advent of Romanticism and its influence on the first generation of American writers, especially Washington Irving and James Fenimore Cooper.
Paul Revere's "Philip, King of Mount Hope"
(1772)
Irving, in his essay "The Traits of Indian Character" (1819-1820), firmly placed "Indianness" within the environmental "scenery" in which the Indian lived. By Romanticizing and glorying the wilderness that had created the noble savage, a wilderness that was quickly disappearing, he was also criticizing the first European colonists. This theme is further explored in Cooper's The Pioneers (1823), which is set in the twilight of rural 18th Century central New York where the frontier has now moved West beyond them; the beautiful wilderness replaced by orderly farms. Cooper's "civilization", however, is prone to irrational, sinful destruction of nature. The townsfolk's
44
slaughter of the wild animals is well beyond any safety or economic justification. In one scene, the hero character of Natty Bumppo, whose legendary wilderness skills and attitudes were honed through his intimate contact with nature and Indians, is appalled at their employment of a cannon to bring down a massive flock of migrating pigeons. Bumppo criticizes the "wasty ways" of so-called civilization and says it's a sin to kill more than one can eat. Meanwhile, the noble Indians struggle to understand and accept the "order" imposed on them in the form of strict hunting laws.
This new trend in the depiction of Indians was part of a conscious effort in the early 19th Century to create a national identity. With Independence and a definitive physical separation from England resulting from the War of 1812, Americans consciously reinvented their past in order to further distinguish themselves from their predominantly British ancestors. They looked first to the first "Americans". The pilgrims were natural candidates to be redrawn in mythical proportions, a status they maintain to the present day, and Indians came to symbolize a romantic connection to the country's wild, virgin past (East of the Alleghenies, at least). Even Metacom received an image enhancement. Washington Irving wrote specifically about Metacom in his essay, "Philip of Pokanoket" (1819-1820). By reinterpreting him in nationalist terms as "a patriot to his native soil," he set the stage for a long history of White America's attempt to explain the legitimacy of their claim to the North American continent by establishing a mythical relationship with the continent's Romanticized wilderness origins (which now included Indians). Lingering Anti-British sentiments also played a role in allowing Whites to establish this mythical brotherhood with Indians. An 1819 play called She Would Be a Soldier; or The Plains of Chippewa had a small but important Indian role, played by an American-born Shakespearean stage actor named Edwin Forrest. The nameless character was a guide to a bumbling, idiotic British officer, and contrasted him with American-like sensibilities such as logic, loyalty, patriotism, and nobility of spirit. In one critical scene, the Indian is captured by the Americans, and he explains why he hates them and is justified in working for the British: You came with the silver smile of peace, and we received you into our cabins; we hunted for you, toiled for you; but when your numbers increased, you rose like wolves upon us, fired our dwellings, drove off our cattle, sent us in tribes to the wilderness, to seek for shelter; and now you ask me, while naked and a prisoner, to be your friend!...Think you I would be your enemy unless urged by powerful wrongs? No, white man, no!
45
"King Philip" (1825)
The American response is to tell the Indian that he and his people are the victims of British propaganda, and that the Americans and Indians are united in their native brotherhood against an intervening foreign power--the British. Given this explanation, the Indian sees the error of his thinking. He calls the Americans his "brothers," and pledges his friendship. The rehabilitation of Metacom continued in 1825, when Benjamin Church's diary was reprinted by Samuel Drake of Boston, this time in 304 pages and with a new engraving that modified the image of infamous sachem. No longer shriveled and ugly, this new Metacom was tall, strong, and far more heroic-looking. The book still cast the early settlers in a heroic light, but it de-demonized Philip. The public's response to this version was so favorable that in 1827 Drake published yet another version, this one 360 pages long.
The "Vanishing Indian" and Jacksonian Indian Policy The reinterpretations of the Indian and of Metacom were both well underway by 1826, but both took a giant leap forward in 1828 when actor Edwin Forrest (of She Would Be a Soldier fame), who was interested in developing uniquely American plays, took out an advertisement in a New York newspaper, The Critic, offering $500, "To the author of the best Tragedy, in five acts, of which the hero...shall be an aboriginal of this country." The winning entry was Metamora; or the Last of the Wampanoags, by John Augustus Stone. The play was first performed in New York on December 15, 1829, with Forrest playing the lead character of Metamora, a representation of Metacom. Written and performed at a crucial moment in the history of US Indian policy, the play manages to put forth a strong defense of the Indian position while at the same time justifying his forced removal (or "voluntary emigration," as the government called it), to Western lands. Metamora's enemies are not so much Americans as they are British. He actually befriends the kindhearted American colonists Oceana and Walter, who recognize the native as an honorable, if untaught savage who loves his country, his family, and who keeps his word. He is spiritual, if not Christian, but the audience would recognize in him a fear of an all-mighty being that was Christian-like in its humility. Metamora was a tragic figure, his inevitable demise brought about not by Americans, but by the manifest destiny of freedom-seeking Whites, whose quest to escape the tyranny of the Old World Order necessitated a new one. The Americans could bemoan the
46
inevitable fate of the Indian, but could also see themselves as worthy successors to be stewards of the North American continent.
Edwin Forrest as Metamora, by
Frederich Styles Agate, c.1832
Edwin Forrest as Metamora, 1890s
engraving
Much of the success and impact of Metamora; or the Last of the Wampanoags was due to the acting talents of Edwin Forrest. He reportedly spent a month living with an Indian chief in New Orleans as research. His interpretation of the noble savage focused greatly on physical characteristics he gave Metamora. Many of the now long-standing stereotypical attributes of how an actor should portray an Indian are due to Forrest, including the monosyllabic "ugh" grunts, certain tonal and facial expressions, his body carriage (including a particular way of walking in a straight line), and an emotional stoicism imbued with grandeur and pathos. Once enraged, however, the Indian character reverted to the ignoble savage. Forrest's own physique and voice were impressive, and in one particular scene he wielded a Tomahawk on a White man with terrifying power, electrifying the audience with the sheer bluntness of his brutality and forever ingraining the image of the wild savage in the minds of the audience. In doing so, Forrest was making it clear that such a creature must be removed,
nobility aside, for the sake of civilization. That the two stereotypes could coexist in a single character was not a problem for audiences. Fenimore Cooper also had already played an important role in thetrend of both romanticizing and demonizing the Indians in a single work. In his most famous novel, The Last of The Mohicans (1826), Chingachook and Uncas (the good Indians)
47
are idealized as the noble savage, while Magua and the other Hurons (the bad Indians) exhibit subhuman tendencies; they revel in violence and eat their meat raw.
As Americans continued to move West beyond Mississippi and again competed for land, the ignoble savage once again came into vogue. In 1837 Robert Montgomery Bird published Nick of The Woods. Set in 1760s Kentucky, it was written as a direct refudiation of Cooper's romanticized Indian. The hero character, Nathan Slaughter, is essentially an Indian hater, and the destruction of the Red menace is his sole concern. In the preface of the 1837 edition Bird wrote: We owe, perhaps, some apology for the hues we have thrown around the Indian portraits in our picture,--hues darker than are usually employed by the painters of such pictures. But, we confess, the North American savage has never appeared to us the gallant and heroic personage he seems to others. The single fact that he wages war--systematic war--upon beings incapable of resistance or defence,--upon women and children, whom all other races in the world, no matter how barbarous, consent to spare,--has hitherto been, and we suppose, to the end of our days will remain, a stumbling-block to our imagination: we look into the woods for the mighty warrior, 'the feather-cinctured chief,' rushing to meet his foe, and behold him retiring, laden with the scalps of miserable squaws and their babes.--Heroical? Hoc verbum quid valeat, non vident.
"Nick of The Woods" (1837) by Robert Montgomery Bird (1852 ed. shown)
With the popular success of Metamora; or the Last of the Wampanoags, the stage was soon crowded with vanishing Indian plays. They were so prolific that soon the noble savage character was being burlesqued and parodied, with the effect that Indians were for a long time considered unsuitable subjects for serious art and literature. By 1870, with the Civil War behind them and national attention having turned toward Reconstruction and the West, the Plains Indians and their culture had supplanted the Wampanoag and the tribes of the Iroquois confederacy in the public imagination. Metacom became an "Eastern Indian," and faded into history.
48
Secondary Sources:
Berkhofer, Jr., Robert. The White Man's Indian: Images of The American Indian from Columbus to the Present, New York, Vintage Books, 1979.
Bourne, Russell. The Red King's Rebellion: Racial Politics in New England, 1675-1678, Oxford, Oxford University Press, 1990.
Harland, Marion, ed.Character Sketches of Romance Fiction and the Drama (Complete in 4 Volumes), New York, Selmar Hess, 1892.
Jones, Sally L. "The First but Not the Last of the 'Vanishing Indians': Edwin Forrest and Mythic Re-creations of the Native Population," Dressing In Feathers, ed. S. Elizabeth Bird, Westview Press, 1996.
King Philip's War. (2007, August 6). In Wikipedia, The Free Encyclopedia. Retrieved 21:04, August 9, 2007, from http://en.wikipedia.org/w/index.php?title=King_Philip%27s_War&oldid=149624663
| top |
Last modified July 20, 2012
49
home > diversity > native > the ignoble savage: the demon
Native Americans & American Popular Culture
The Mission of This Collection Imagery & Stereotyping Explained Common Excuses Used to Justify Stereotyping
The Ignoble Savage: The Demon
Description
Ignoble Savage: The Demon
The counterpart to the noble savage Indian Brave is the The Demon. As an ignoble savage, he is an extremely negative caricature. In popular culture, The Demon is the marauding, untamable, hellish male who attacks wagon trains, murders children, and scalps women. He is the perpetual "red menace," a "godless heathen" totally lacking in trustworthiness, empathy and morality. In portraying The Demon, rarely are any social, political, or economic factors given to viewers to explain his behavior. He is simply evil, and he must be eradicated in order to make the West safe for White women and children (civilization). Physically, he is often portrayed as ugly, with a big nose and sloping forehead. The Demon caricature has roots in the earliest days of the country. He is intimately connected to the phenomenon of "Indian hating" that characterized the Euro-American perception of Native cultures for much of the 18th Century. Real life atrocities committed by a few Indians were used to assign these
50
extreme racial characteristics to all Natives. The Plains Indians Wars in the years following the American Civil War reinforced The Demon caricature in popular imagination.
Imagery
Print Media: 1860s-1900 American history written during and immediately after the Plains Indian Wars was very subjective in its depiction of Indians. One work shown below, The Pioneer History of America (1883), is subtitled, "A popular account of Heroes and Adventurers who, by their valor and war-craft, beat back the savages from the borders of civilization and gave the American forests to the plow and the sickle." The rest of the books is an extremely biased view of the Indians, told by the "winners" of history. These kinds of works justified American policy toward the Indian and influenced the next generations imagery about Indians.
1869 Cartoon,
Harper's Magazine
The Pioneer History of
America (1883)
The Pioneer History of
America, title page
The Pioneer History of
America: The Motte Family Massacre
The Pioneer
History of America: The
Battle of Captain Smith & the Indian Chief
51
Indian Horrors
(1890), by Henry Northrup (2 views)
Print: Warfare of the
Colonial Epoch (1892)
Print: Early Club Life in New York (1894)
Book: Redskin and
Cowboy (1895)
Puck Magazine Cartoon, 1890
Viewpoints that questioned the government's treatment of Native Americans were rare. Puck Magazine, a satirical publication that often lampooned America's politicians and policy, did sometimes provide alternative views about government Indian policy. The 1890 color lithograph to the left highlights the contradiction of Uncle Sam's benevolence toward Africans, Asians, and Europeans while massacring American Indians at Wounded Knee, South Dakota.
Dime Novels, 1880s-1920s
Cheaper printing practices in the late 19th Century led to the creation of a new literature industry, often called Dime Novels or Pulp Fiction. These mass-produced volumes, typically costing ten cents, were an enormous contributor to the mythologizing of the American West. Cowboys became heroes, and most often Indians were the villains. Numerous titles were produced about Buffalo Bill, mythologizing him too, and by the 1890s most Americans would experience the vanishing West only through the eyes of dime novel adventure writers, and the wild west shows that likewise sought to bring a mythological west directly to the American people (and even overseas). Wild West shows run by Buffalo Bill and others perpetuated both the noble and ignoble savage stereotypes, and even featured real Indians
52
The Buffalo Bill Stories, 1906
in the show, including Sitting Bull, and Geronimo.
American Novels
#139
American Tales #1
American Tales #23
Beadle's Dime
Novels #29
Beadle's Dime Novels #243
Beadle's Dime Tales
#2
Beadle's Frontier
Series #35
Buffalo Bill Novels
#324
Buffalo Bill Stories
#231
Buffalo Bill Weekly
#141 (1915)
53
De Witt's Romances
#10
Frank Starr's
American Novels #139
New Buffalo Bill
Weekly #138, 1915
New Buffalo Bill
Weekly #148
New York Dime
Library #845, 1895
Victorian Trade Cards The demise of the Indian coincided with the rise of a new form of advertising; the Victorian trade card. These postcard-sized lithographed images were mass produced in the latter quarter of the 19th Century and became the most important form of
Lavine Soap (2 views)
advertising of the era. They were widely distributed in stores and as premiums packaged with some products, and were collected by many Americans because of their often lush, colorful graphics. The manufacturers of trade cards catered to America's carnivalesque fascination with imagery, and they often mined the racial attitudes of the time to promote a sense of Euro-American middle class consumer solidarity. Blacks, Asians, Irish, and Indians were all marginalized in Victorian trade advertising in order to foster this sense of White American identity. Many depictions of Indians were in the Noble Savage mold, but The Demon adorned many a trade card as well.
54
Victorian Trade Card: Big Injun Silky Plows
(2 versions)
Victorian Trade Card:
Tippecanoe Bitters
Kickapoo Indian
Remedies, Returning From a Raid (2 views)
McLaughlin's
Coffee
Putnam Nails (2
views)
Standard Boots
This 6-part trade card set is especially interesting. It tells the story of two urban youths who, after reading in Boy's Own magazine about the adventures to be had out West in action against the "red heathen," decide to investigate for themselves. Their visions of "scalping wild injuns" come to naught, however. Upon seeing their first big Indian they freeze in terror, are scooped up, carried away, and then apparently brutally tortured to death. The moral of the story, we are told, is not to believe everything you hear. The Indian, not surprisingly, is caricatured in the most extreme terms as a savage demon.
#1: Contemplation | #2: Determination | #3: Consumation | #4: Exultation | #5: Consternation | #6: Demoralization
The Demon as Hollywood Plot Device
55
(This section is planned for the future).
The Demon in Comic Books The Native American has a long history in the American comic book, appearing most frequently when Western-themed comics were popular during the post-WWII years of the Golden Age (1946-1958). Mostly a plot device, the Indian male was the typically cast as The Demon, while the Indian woman was virtually nowhere to be seen. There were a few examples of the noble savage as well, most notably with the beautiful painted covers of the Indian Chief series and in the character of Tonto, the Lone Ranger's loyal sidekick. A more detailed examination of this subject is planned for the future. In the meantime, some examples of The Demon caricature on comic book covers from the 1950s-60s are presented below.
Apache #1
Arrowhead #1
Batman #86
Billy The Kid #16
Black Diamond Western #23
56
Black Diamond Western #25
Black Rider #9 Blackhawk Tomahawk Indian
War #1
Blazing West #3 Bobby Benson's B-Bar-B Riders #7
Buffalo Bill #4
Chief Victorio's
Apache Massacre
Dead-Eye Western
Comics #3
Fighting Indians of the Wild West #1
Geronimo #1
Geronimo and His
Apache Murderers #3
I Love Lucy #27
Indian Fighter #11
Indian Warriors #7
Indians #2
57
Red Ryder Comics
#128
Redskin #9
Tomahawk #1
Tomahawk #9
Tomahawk #47
Western Fighters v.3
#7
Westerner Comics
#40
Wild Bill Hickok #1
Other Artifacts: 1900-Present
58
Magazine Ad: Dr.
Scott's Electric Hair Brush
Savage Brand Ammunition (2
views)
Savage Ammunition Magazine Ad, 1960s
(2 versions)
Savage Ammunition
Pin
Real Photo
Postcard: Geronimo as a Prisoner
At That Bully Wooly
Wild West Show (1913)
American Record Company Label
Book: Indians Wild and Cruel (1929)
Postcard: My City
Oakland, Reflections of a Pioneer, 1932
59
Mask (2 views)
Injun Chief Tin Toy
Book: Indian Drums and Broken Arrows
(1952) by Craig Massey
Masquerade Make-up, Indian War Paint
Nabisco Ad for Indian Wars Medal
1955 RC Cola Ad
Book: Dan Frontier Scouts With The Army (1962) by William Hurley
Book: Injun Blood
(1963) by Bert Cloos
Friskies Dog Food Ad, 1963
1966 G.E. Ad
60
Wild Bill Hickok's Cavalry & Indians Game (6 views)
Roger Rabbit
Collector's Poster, 1988
Florida State
Seminoles Gift Wrapping Paper:
Scalp 'em!
Redskins Warpath
Dot Com Logo
Billboard Advertising
a Hayride, 2007
Modern Issue: Treaty Rights No modern issue brings up such intense feeling of hostility toward Native Americans as when they try to exercise treaty rights, especially involving spear fishing in the great lakes region. The issue has sparked intense animosity among White commercial and sport anglers since the 1970s, resulting in some renewed demonization of Indians, to the point where extermination is once again advocated. The bumper sticker was found in a cabin in northern Michigan and dates to the 1970s. The First Annual Indian Shoot notice was posted in a bar in Wisconsin in the 1990s. The automobile window decal was purchased on eBay in 2008 from a seller based in Minnesota.
Bumper Sticker, 1970s
First Annual Indian
Shoot Notice, 1990s
Auto Window
Decal, 2008 (2
61
home > diversity > native > ignoble savage: the drunk injun
Native Americans & American Popular Culture
home > diversity > native > the noble savage: the brave
Native Americans & American Popular Culture
The Mission of This Collection Imagery & Stereotyping Explained Common Excuses Used to Justify Stereotyping
62
home > diversity > native > noble savage: indian princess
Native Americans & American Popular Culture
The Mission of This Collection Imagery & Stereotyping Explained Common Excuses Used to Justify Stereotyping
The Noble Savage: The Indian Princess
Description
The Indian Princess is the female counterpart to The Brave caricature. In the late
19th Century the nostalgic romanticizing of nature, and of the Indians that had
once been found in nature, recreated Indians in all of their "natural" glory, as
noble savages, mythical icons of America's wilderness past. This phenomenon
allowed Americans to largely forget the ugly consequences of their expansionist
past. Additionally, even though the Noble Savage is defended as being a
"positive" stereotype, the result is historical amnesia and the dehumanization of
real people who still exist. By cementing the Indian as an "other" from the past,
it allows modern society to largely ignore the existence and plight of Native
Americans today. The Indian Princess caricature is rooted in the legend of
Pocahontas, who is most often cast in American popular culture as a supporter
63
Noble Savage: The Indian Princess
of European interests. She is strong, beautiful, and possesses an exotic sexuality
that both emphasizes her "otherness," and yet serves as a forbidden fantasy for
the dominating White male. She is Mother Nature, American-style, in all her
primitive glory.
Imagery
Early Images
"Cora, The Indian Maiden's Song"
(1851)
"The Death of Minnehaha"
(c.1855)
Images of
Pocatantas from The Pioneer
History of America, 1883 (4 images)
Wild West
Weekly #8, 1902
Early 1900s Music = songs with lyrics
64
"Hiawatha (A Summer Idyl)"
(1902)
"Anona" (1903)
"Falling Star"
(1903)
"Hiawatha (His
Song to Minnehaha)"
(1903)
"Laughing Water"
(1903)
"Laughing Water"
(1903)
by Columbia Orchestra
"Navajo
(Navaho)" (1903)
by Harry MacDonough
"Navajo
(Navaho)" (1903)
"Idaho, Indian Love Song"
(1904)
"Mineola, or, The Wedding of the Indian and the Coon" (1904)
65
"My Indian
Maiden" (1904)
"My Pretty Little
Kickapoo" (1904)
"Oneonta" (1904)
"Silverheels"
(1905)
"Silverheels"
(1905)
by Edison Military Band
"Arrah Wanna"
(1906)
by Collins and Harlan
"Arrah Wanna"
(1906)
"Iola" (1906)
by Edison Military Band
"My Prairie
Wildflower Sioux" (1906)
"Napanee, or, My Pretty Little Indian Napanee" (1906)
66
"Wan-a-tea"
(1906)
"Red Wing"
(1907)
"Since Arrah
Wanna Married Barney Carney"
by Collins & Harlan
"Laughing Eyes"
(1907)
"My Kickapoo
Queen" by Collins & Harlan (1907)
by Christy Minstrels (1907)
"Reed Bird, The
Indian Bride" by J.W. Myers (1907)
"My Wild Deer"
(1908)
"Rainbow" (1908)
by Ada Jones & Billy Murray
by Stanley & Burr
"Sun Bird" (1908)
"Golden Arrow"
(1909)
67
"Ogalalla" (1909)
"Dancing
Starlight" (1910)
"Silver Bell"
(1910)
"Silver Bell"
(1910)
by American Standard Orchestra
"Golden Deer"
(1911)
"Indian Patrol"
(1911)
"Pawnee Dear"
(1913)
"My Little Red
Feather" (1916)
"Snow Bird"
(1916)
"Indian Moon" by Vernon Dalhart
(1919)
68
"Pretty Little
Rainbow" (1919)
"Hiawatha's
Melody of Love" (1920)
"Wild Flower"
(1920)
"Na-Jo" (1921)
by Max Fells Della Robbia
Orchestra
"Seminola" (1925)
"Winona" (1927)
"Land O' Lakes"
(1928)
"Cherokee"
(1938)
"Rosie The
Redskin" (1938)
The Indian Princess as Product Endorsement
69
Victorian Trade Card:
Indian Queen Perfume
Victorian
Trade Card: Radium Cures (2 views)
"Ditto Cigar Sign, c.1906 (2 views)
Dr. Kilmer
Swamp-Root Almanac, 1909 (8 sample pgs)
Fruit Crate Label:
Mischief Washington Apples
Indian Princess Popping Corn (2
views)
Land O' Lakes Butter
(2 views)
The Indian Princess in Hollywood (planned for the future, but a few images of how Pocahontas has been presented in recent years are presented below)
70
Young
Pocahontas, 1994
Enchanted Tales: Pocahontas, 1995
Pocahontas, 1996
Pocahontas II:
Journey To a New World, 2000
Pocahontas, 2002
Other Images
Print, framed
Print, as calendar
71
Doll
Glass Charm
Custer's Revenge video game, 1982
Sacajawea Liberty
Dollar, 2000
| top |
Last modified July 20, 2012
72
The Noble Savage: The Brave
Description
Noble Savage: The Brave
The male version of the noble savage is The Brave. He is peaceful, kills only to eat or to defend his family, and is not wasteful. The Brave is a spiritual, mystic guardian of the land who exists in harmony with, and as icon of America's wilderness past, as if he were an eagle or a buffalo rather than human. He is often represented in picturesque nature, showcasing some "natural" skill admired for its primitive purity, like hunting buffalo or riding a horse. The Brave imagery usually includes excessive traditional dress (especially a splendid headdress), thereby reinforcing his flawless naturalness. As a mythic icon of the past, the Brave lacks humanity. Consequentially, the Brave is always shown as stoic, lacking any real emotion, especially humor. This section also includes imagery that romanticizes the traditional Native lifestyle since it is often a key part of Brave depictions.
Background
Imagery of Native American has for hundreds of years been controlled by non-Natives. Historical events resulted in the creation by non-natives in two distinct, contradictory Indian stereotypes, the noble and ignoble savage. Neither of them are real.
This fabrication of the American Indian by White American culture began around the 1820s, driven by the desire to create a mythic American past. Other heroic mythologies created
73
The Song of
Hiawatha, 1855 ed.
around this time include imagery about Christopher Columbus, the Pilgrims and their first Thanksgiving, and the casting of the Founding Fathers as demigods. With the Indians East of Appalachia subdued (and ultimately removed by the 1830s), anxiety about them subsided temporarily, allowing for national feelings about Indians to develop into a kind of schizophrenic depiction of them. There were still plenty of "bad" Indians in the American consciousness, but now there was room for re-invention, and the noble savage was created. Perhaps the single largest contribution to the creation of the Noble Savage was the publication of Henry Wadsworth Longfellow's epic poem, The Song of Hiawatha in 1855. Longfellow's Hiawatha was an Indian with magic powers from the Lake Superior region who became a prophet and a guide. From the body of a stranger he conquered, Hiawatha got corn. He defeated disease-bearing Pearl-Feather with
the help of a woodpecker, whose feather tuft he streaked with red. He invented picture writing. Following the death of his beloved Minnehaha and the coming of the white man, Hiawatha left his tribe to travel through the Portals of the Sunset to the Land of the Hereafter. The poem was enormously successful and, when taught in the elementary classroom, fully romanticized the Indian in the minds of numerous American generations.
Westward expansion soon brought "civilization" across the Appalachians in large numbers, and into conflict with Plains Indians, especially after the Civil War and the building of the transcontinental railroads, and once again negative images of Indians took center stage. By 1890, following the destruction of the buffalo, the surrender of Sitting Bull, and the tragedy at Wounded Knee, the "Indian threat" had been permanently extinguished. This again allowed for the re-emergence of the Noble Savage. Wild West shows run by Buffalo Bill and others perpetuated both the noble and ignoble savage stereotypes, and even featured real Indians in the show, including Sitting Bull, and Geronimo.
One key to understanding the imagery presented below is to understand that the re-imagining of the American Indian was intimately connected with a re-imagining of nature. The raw and expansive American wilderness was central to the development of the American identity and character, and this imagery too was being re-invented, mythologized. Early on, the wilderness (which contained Indians) was conceived as a negative. William Bradford, upon landing at Plymouth in 1620, expressed real fear, describing the wilderness as "hideous and desolate, full of wild beasts and wild men." In subsequent times, the wilderness was seen sometimes as an impediment to progress, or at best, as a cornucopia of God-given resources to be consumed by civilization (with
74
little to no thought about conservation). In short, it was the natural order of things for civilization to conquer nature. By the 1890s, much of the American wilderness, like the Indian, had been "tamed." If one wanted to have a real wilderness experience, more and more that required a visit to a few areas of the country that had been spared from "progress"--National Parks and Monuments. The wilderness, so important to self-identity, was gone.
What followed was a nostalgic romanticizing of what had been. The rampant exploitation of natural resources, and the conquering, or in some cases extermination of Natives was recast in the popular imagination as a necessary, if bittersweet consequence of progress. Indians could be depicted in all of their "natural" glory, as noble savages, mythical icons of America's wilderness past. This phenomenon allowed Americans to largely forget the ugly consequences of their expansionist past. Additionally, even though the Noble Savage is defended as being a "positive" stereotype, the result is historical amnesia and the dehumanization of real people who still exist. By cementing the Indian as an "other" from the past, it allows modern society to largely ignore the existence and plight of Native Americans today.
Imagery
Ethnographic Photography Native Americans were a common subject for photographers, especially in the late 19th and early 20th Centuries. As ethnography, many of these photographs have enormous value. At the same time, however, there were often conscious messages being sent. Photographs of the Native leaders Sitting Bull, and later Geronimo in captivity made it clear that civilization was in charge. One of the most famous photographers was Edwin S. Curtis. In 1906 Curtis was financed by famed banker J.P. Morgan to produce a 20 volume set of 1,500 photographs of American Indians. It is now known that Curtis staged many photographs, removed any evidence of Western material and culture (wagons, parasols, clothes, clocks), and misrepresented
75
Curtis Photograph: Oglala War-Party
photographs in their captions. He also is known to have paid natives to pose in staged scenes,
wear historically inaccurate dress and costumes, dance and to engage in simulated ceremonies.
Curtis' picture "Oglala War-Party" shows 10 Oglala men wearing feather headdresses, on
horseback riding down hill. The photo description reads, "a group of Sioux warriors as they
appeared in the days of inter tribal warfare, carefully making their way down a hillside in the
vicinity of the enemy's camp." In truth headdresses would have only been worn during special
occasions and, in some tribes, only by the chief of the tribe. The photograph was taken in 1907
when natives had been relegated onto reservations and warring between tribes had ended.
Curtis' photographs reinforced the noble savage stereotype, thereby diverting attention away
from the plight of the American Indian at a critical time when they were trying to adjust to the
radical changes brought about by Western culture.
Photographs printed on cardboard known as cabinet cards, as well early 1900s postcards were also commonly produced and sold to the general public. These images too tended to reinforce The Brave caricature.
Cabinet Card, Navajo
Runners
Real Photo
Postcard: Cho-Sha-Wat-San-
God_Man
Real Photo Postcard:
Native Dance
Real Photo Postcard:
Oklahoma Indian
Real Photo
Postcard: Real Bull
76
Real Photo Postcard:
Sioux Indians at Standing Rock
Reservation
Real Photo Postcard:
Standing Bear
Real Photo Postcard:
Indian Braves
Real Photo
Postcard: Chief Bacon Rind
The Brave as Product Endorsement The demise of the Indian coincided with the rise of a new form of advertising; the Victorian trade card. These postcard-sized lithographed images were mass produced in the latter quarter of the 19th Century and became the most important form of advertising of the era. They were widely distributed in stores and as premiums packaged with some products, and were collected by many Americans because of their often lush, colorful graphics. The manufacturers of trade cards catered to America's carnivalesque fascination with imagery, and they often mined the racial attitudes of the time to promote a sense of Euro-American middle class consumer solidarity. Blacks, Asians, Irish, and Indians were all marginalized in Victorian trade advertising in order to foster this sense of White American identity. Native exoticness became the perfect advertising vehicle. Most prevalent were Quack medicines that identified themselves with Indianness. Part of the Indian myth included the notion that Indian communion with nature put them more in tune with the natural healing powers of the earth. Indians held medicinal secrets lost to the science of civilized man, except for the product being advertised, of course. In an era of consumerism when there were virtually no regulations controlling medicinal products, manufacturers pumped out pills, oils, and potions that claimed to cure everything from falling down stairs to migraines to "women's diseases" to liver ailments. Containing mainly innocuous ingredients, these products were successfully marketed by connecting them with Indian mythology in the minds of Euro-American consumers. The use of The Brave as product endorser continued into the 20th Century, and examples can still be found today.
77
Victorian Trade
Card: Comstock's Clipper Line
Victorian Trade Card: Arbuckle Coffee, 1893 (2
views)
Victorian Trade Card: Cook &
Langley
Victorian Trade
Card: Dr. Kilmer's Indian Cough Cure
Victorian Trade
Cards: Kickapoo Indian Pills (2 views)
Chase & Sanborn Coffee Booklet: Epochs of US
History
Victorian Trade
Card: C.C. Hastings
Victorian Trade Card: Cherokee
Cure Gum (2 views)
Victorian Trade
Card: Henderson & Griffith
Victorian Trade Card: Indian Wine
Bitters
Victorian Trade
78
Card: Kickapoo Indian Remedies (2
views)
Kickapoo Oil (9 views)
Victorian Trade
Card: Morse's Indian Root Pills
Victorian Trade Card: Wright's
Vegetable Pills (2 views)
Indian Head Penny
(2 views)
Indian Head Penny,
encased
Lucky Penny, 1933
(2 views)
Indian Motorcycle Big Chief Sidecar
Ad
Indian Motorcycle
Ornament Indian Motorcycle
Decal
Indian Motorcycle Iron Redskin Belt Buckle, 1993 (2
views)
79
Fruit Crate Label: Big Chief Canada
Apples
Fruit Crate Label:
Indian Warrior Florida Citrus Fruit
Fruit Crate Label:
Pala Brave Oranges
Fruit Crate Label: Redman Apples
Fruit Crate Label: Redskin Emperor
Grapes
Fruit Crate Label:
Yakima Chief Apples
General Motors
Pontiac Token (2 views)
Indian Chief
Popcorn
Magic Lantern Glass Slide: Rings' Golden
Herbs
OKeh Record Label,
early 1900s
80
Advertising Spoon: Aberdeen Wash (3
images)
Calumet Baking Powder
Big Chief
Washington Potatoes Sack
Big Chief Michigan
Potatoes Sack
Red Skin Potatoes
Sack (2 views)
Dr. Haile's Ole Injun
Cactus Soap
Dr. Haile's Ole Injun
Tonic Sign
Baker's Indian Root
Beer Beverage Base (4 views)
Big Chief Bottle
Opener
Red Indian Station Playing Cards (2
views)
Red Indian Motor Oil
Big Chief Soda
Big Chief Strawberry
Cherikee Red Soda
Big Chief Writing
81
Can Bottle Soda Bottle Cap Can (2 views) Tablet
Big Chief Writing
Tablet
Wigwam Coffee Tin
Daisy's Snack
Magazine Advertisement, 1966
Keep America Beautiful PSA, 1971
Back By Popular Neglect PSA, 1998
Redinjun
Firecrackers
Remember Forgetting
Firecrackers
Big Chief Sugar,
2007 (2 views)
Indian Salted
Pumpkin Seeds, 2009 (2 views)
82
Tobacco The use of The Brave as an advertisement for tobacco is a special category. Most famous were the "cigar store Indians" or "wooden Indians", sometimes produced as large as life-sized, that were set outside of tobacco shops to draw customers the way that barber poles were used easily identify barber shops. Use of the cigar store Indian gradually fell out of use in the 20th century, but the image of the noble brave as tobacco endorser continues today.
A common artistic depiction of The Brave has him either sitting or standing with a "peace pipe" in hand. The term "peace pipe" is a misnomer, based on only one type of pipe and one way it was used. Various types of ceremonial pipes, called calumets, have been used by multiple Native American cultures, with the style of calumet, materials smoked, and ceremonies involved being unique to the distinct religions of those Nations.
Cigar store Indian
Victorian Trade
Card: You Smoke Up
Cigar Store Indian,
Old Honesty
Injun Brand Cigar Box
Big Chief Matchbook
Doorstop, Indian with
Peace Pipe
83
Tobacco Card:
American Indian (2 views)
Tobacco Card: Elk
Hunting Disguised as Buffalo (2 views)
Tobacco Card:
Stalking The Antelope (2 views)
Cast Iron Bank (2
views)
Indian With
Peace Pipe (2 views)
Red Cloud Brand
Cigar Label
Redskin Brand Tobacco Spittoon (2
views)
Natural American Spirit Cigarettes,
2010
Red Man Chewing
Tobacco, 2010
The Brave as Souvenir Souvenirs are another form of product endorsement. Not surprisingly, many towns and states over the years have sought to forget the past and to identify themselves as connected to America's wilderness past through the noble savage and a romantic notion of Indianness.
84
Adirondack Mountains
Souvenir Drum, c.1980s (2 views)
Pennant: Boyne City,
MI (2 views)
Pennant: Fort Ancient,
OH (2 views)
Pennant: Petoskey,
MI (2 views)
Drinking Glass:
Famous Ohio Indian:
Pontiac, the Red
Napoleon (3 views)
Postcard: Greetings From Evanston, WY
Postcard: Ready For
The Pow Wow (2 views)
Postcard: Greetings From Yuma, Arizona
Postcard: Indian Fire
Dancer
Early 1900s Music The Noble Savage became a specific genre of music during the early 1900s, at a time when the music recording industry was in its infancy. Sheet music with noble savage imagery on the cover was very popular, and went a long way toward reinforcing the noble savage caricatures. Samples of sheet music, and some early cylinder recordings are presented below.
85
"Waupanseh"
(1903)
"Fleetfoot" (1906)
"Flying Arrow"
(1906)
"Flying Arrow" by Edison Military Band (1906)
"Rainbow" (1908)
"Happy Hunting Grounds" (1909)
"Red-Man" (1909)
"Wyandotte" (1909)
"Cloud-Chief"
(1910)
"Cloud-Chief" by
American Symphony
Orchestra (1910)
86
"Indian Dawn"
(1919)
"Waters of the
Perkiomen" (1925)
The Brave as Art
Print: Brave in Canoe, early
1900s
Handmade
Teepee & Canoe
Print: Braves Admire Automobile, c.1910
Picture with battery-operated lights
[video of lights in action]
The Brave in Hollywood (This section is planned for the future)
The Brave in Comic Books
87
The Native American has a long history in the American comic book, appearing most frequently when Western-themed comics were popular during the post-WWII years of the Golden Age (1946-1958). Mostly a plot device, the Indian male was the typically cast as the ignoble savage, while the Indian woman was virtually nowhere to be seen. There were a few examples of the noble savage as well, most notably with the beautiful painted covers of the Indian Chief series and in the character of Tonto, the Lone Ranger's loyal sidekick. A more detailed examination of this subject is planned for the future. In the meantime, some examples of The Brave caricature on comic book covers from the 1950s are presented below.
Indian Chief #22
Indian Chief #23
Indian Chief #24
Lone Ranger #25
Long Bow #1
Tonto #2
Young Eagle #1
Young Eagle #5
The Brave as Household Item
88
Big Chief Cookie Jar, by McCoy
Indian Head Salt Shaker (3 views)
Figurine: Indian in
Eagle Canoe Salt & Pepper Shakers
Salt & Pepper Shakers
The Brave as Toy
Bicycle Handlebar
Mount, 1950s (2 views)
Big Chief Bow &
Arrow Set
Big Chief Game Board
Big Chief Indian Set Costume
Big Chief Indian Sign Language Card
Game (2 views)
89
Big Chief Pinball Machine Booklet
Sterling Indian Ring
Play Cut Outs, 1938 (4
views)
Indian Motif Toy Drum (2
views)
Indian Crafts
Catalogue, 1975 (4 sample views)
Eastern Friendly Indians Model (3
views)
Drum With Painted Indians (2 views)
| top |
Last modified July 20, 2012
90
home > diversity > common excuses
Teaching Diversity With Multimedia
Common Excuses Used to Justify Stereotyping (or, How Some People Try To Distance Themselves From These Images)
When viewing the artifacts in The Authentic History Center's collection, some of you will try to distance yourselves from the harm in these images by giving excuses for them. For that reason, consider reading this section before continuing on into the collection. Common excuses used to justify stereotyping include:
1. It's okay to stereotype one group because other people/groups are stereotyped as well.
This is flawed logic. Humans should operate on the premise that it's never acceptable to intentionally stereotype races of people, regardless of how many races are caricatured. Consider the old saying, "two wrongs don't make a right." With this in mind, it should be noted anyway that since Caucasians have long been in control of the country's imagery, they have had a free ride from being caricatured for hundreds of years now, at the expense of every other race. Some of you will say, "What about all of those 'redneck' jokes? Isn't that stereotyping of Whites?" While much of this humor is stereotypical and distasteful, it is based on regional and economic differences, not on skin color; and since it originated by Whites, it's a self-parody, which is not the same as when one race caricatures another. Ask yourself, did the government discriminate against "rednecks" based on their...redneckness? Were they enslaved for two hundred fifty years and then legally segregated for another hundred years?
2. If it's funny, then it's not offensive.
Some stereotyping is intended to be funny. If your first reaction is to laugh at a racist joke or image, you're not alone, and it doesn't necessarily mean you are a racist. However, you should then stop and consider why it is that you're laughing. Maybe you're just enjoying the sense of security you get by being part of the "in group"
91
that gets to laugh, rather than a part of the "out group" whose differences are being laughed at. We all want to be insiders. Chances are that the person being stereotyped does not share your opinion about the humor and feels offended. Something can be funny and offensive. If you're hurting other people, you're hurting yourself too, because you're limiting your development as a human being. Next time, try to think about and feel for that other person before laughing. Develop empathy.
| top |
3. These stereotypes are so old that they're not offensive anymore.
While these stereotypes are often very old, they're not "history." Most caricatures never
completely die. Some are still around virtually unchanged, while others have evolved and
become a little less obvious. New caricatures appear all the time. Some old images from
the early 1900s are being slapped on mouse pads and watch faces and sold as new,
"nostalgic" items; there is a huge Internet and antique store market for reproductions of
old racist artifacts; and new items with new images frequently enter the marketplace. The
bottom line is that racist artifacts are still being made and sold today on the Internet and in
retail stores, and the stereotyping they promote is still being used to justify prejudice and
discrimination.
4. These images are understandable because it was just a normal part of life back then.
It's true that inhumane treatment of humans by other humans has a long, long history, and that we really didn't get around to thinking much about basic human rights until The Enlightenment in the 18th century. It is a good idea to use "historical perspective" when studying history, which means you have to try to judge people and their behaviors based on the ethical and moral standards of the time period in which they lived. In doing so, remember that there were voices during the Colonial and antebellum days of slavery who were saying it was wrong. There were people in the US who were against the dispossession of the Indian peoples, and later, the efforts to force Indians to abandon their culture and assimilate into the general populace. There were people who protested the internment of Japanese-Americans during WWII. Racism certainly was extremely common and obvious throughout American history, but that doesn't mean it was right. Racism was sometimes public policy, and that's part of the country's heritage. Americans have made efforts to correct some of these past mistakes, which is extremely important to remember. We study these images to understand the past, to celebrate the progress made, and to be more aware of the work still to be done. If we pretend these things didn't happen, we diminish ourselves, and we set the stage for history to repeat.
92
| top |
5. If the image is "cute" or part of a child's toy, it's not offensive.
When viewing these items, you must teach yourself to view an item in context with the history of all of these items. One "cute" item by itself probably wouldn't be problematic. But individual items don't exist in a vacuum. You can't pretend that they do. Even if the item is a cherished toy from your childhood, you must think about the item's relationship to all of the other items in the collection, and the history of the caricature it represents. See the explanation of the continuum below for more details.
6. If the image didn't intend to be racist or offensive, then it isn't.
Some of the items you'll see in the collection were obviously intended to be hurtful. Most of these fall into the category of novelty items, and we can more easily categorize these items as being racist and highly offensive. However, many of the images you'll see didn't intend to be racist at all. Many corporate icons and name brand products featured racist images, especially from the 1870s to the 1960s. These images still caused harm, and they helped to legitimize and perpetuate the caricatures, thereby justifying continued discrimination. Many Whites with little or no contact with non-Whites based their mental image of these "others" on these images.
| top |
7. If it doesn't include the word "nigger", then it's not racist
Most people can agree that when used with an obvious intent to harm, the word nigger is racist (for a good history of the word, go here). Unfortunately, many people conversely believe that only that word (and its ethnic counterparts) is racist, and that everything else is okay. That's simply not true. All of these items exist on what is called a continuum. Think of it as a scale, from most racist down to least racist. While items with the word "nigger" are blatantly offensive, they are only one end of a continuum. They still exist because they're connected to all of the lesser caricatured items that too many people accept. Consider the blatantly offensive"Nigger Head Oysters" product. This a modern item, a reproduction of a real product that was produced in the early 1900s. It exists because it's part of a continuum of lesser caricatured items, heading toward the right. The last item, produced in 2003, is a trash-talking pimp doll. It too is a racist item, it just falls on the farther end of the continuum. Many people today find it humorous. Because so many people do, it contributes to acceptance of the more offensive images.
93
Some people new to these images don't find anything wrong with the mammy caricature at all, especially the softly caricatured examples of her. Once again, it's important to put the item in context with all of the other items. A continuum of just mammy items might look like this:
The very last image is the recently updated Aunt Jemima corporate character, one of the most famous mammies of all time. Compare her with the other example of Aunt Jemima, further up the continuum. Should Aunt Jemima have simply been "retired" rather than updated? Maybe. Those kinds of questions are debatable. One can't have an informed opinion, however, without considering the long history of where Aunt Jemima sits on the mammy continuum.
94
| top |
8. Blacks call each other "nigger" so I should be able to.
Recently, "shock jock" Don Imus received national attention when he referred to the women's NCAA runner-ups as "nappy-headed hoes." Public outrage by prominent African American leaders soon pressured NBC to fire him. Some saw this as appropriate, while others saw evidence of a double standard. Why was it unacceptable for Caucasian Don Imus to say this, while Black comedians and rap artists can get away with the same language, and with calling each other nigger? Public use of that language, regardless of who speaks it, is harmful and offensive. That many young African Americans have appropriated such language in public discourse is a source of concern and frustration for African Americans of the Civil Rights Era. Many of them have publicly criticized certain rap artists for perpetuating stereotypes. Young Black Americans are not born with a complete knowledge of Black history any more than is anyone else. Their ignorance has, in some cases, helped keep old stereotypes alive and has allowed too many other young Americans to claim license to use the same kind of language in public. For a more thorough discussion on this topic you can listen to the June 18 episode of Day To Day on National Public Radio: [Simply Slang, or a Culture of Disrespect?]
9. This is a positive stereotype--what's wrong with that?
Some stereotypes could be qualified as "positive" ones, like some of the team mascots that are so common in the US. These are commonly justified as being okay because they "honor" their subjects. The team mascot debate will be covered in detail in the Native American section, but it's important to remember that even so-called positive stereotypes do harm because they depict real human beings as being unreal. Additionally, when the subject involves Native Americans, these "positive" images consistently characterize Indians as a people of the past, not of the present (or future), further confirming their "other" status and drawing attention away from contemporary Native American issues.
| top |
10. If I don't find it offensive, then it isn't offensive.
What each person finds offensive is going to vary based on that person's values, past experiences, and education. The more a person has been stereotyped and discriminated against, or the more a person is exposed to materials such as those collected here, the more sensitive that person is going to be about such issues. Just because you don't find something offensive doesn't mean it isn't harmful to someone else.
95
11. We should all just relax and not worry about this stuff. It's really no big deal.
It would be nice if this were true. Unfortunately, we will never stop talking about race. Because of this, we must learn to talk about race better than we do now. Ignoring racism, pretending it doesn't exist is not the way to talk better about it.
96
Last modified July 20, 2012
97
Free Archive of Native American Indian Pictures, Photographs and Images. Indian Pictures from the Iroquois, Cheyenne, Sioux,
Cherokee, Blackfoot, Southwest Indians, California, and Algonquins
98
99
Shawnee Indian Chief
100
101
Shawnee Indian Chief
Tecumseh the Prophet
103
Shawnee War Dancers
105
Shawnee Chief and Prophet Tecumseh Thomas Jefferson's Account of Tecumseh
Shawnee Battle American Troops
106
Shawnee Indians fight Daniel Boone in Kentucky
107
Shawnee Indians sign treaty with William Penn
Shawnee Indian Stone Graves
More Native American Pictures
More Native American Historical Accounts
Native American History
108
109
Lesson # 2
Title:Reading non-fiction workshop 1-“On Top of the World”
Duration: Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
110
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
1. How can you use key reading skills, such as connecting, setting a purpose,
understanding author’s purpose, drawing conclusions, taking notes, and
summarizing, to become a better reader?
Students will Know:
1. The difference between
biographies and
autobiographies.
2. What it means to make
connections to a text-text
to text, text to self, and
text to world.
3. What titles, headings, and
subheads are.
Students will Understand:
1. How a biography is
organized.
2. How the climbers, Hillary
and Norgay, achieved their
goal to reach the peak of
Mt. Everest.
3. How text structure and
connections aid
comprehension.
Students will Do:
1. Fill out notes,
graphic
organizers, and
word
development
organizers.
2. Answer questions
using evidence
from the text.
3. Draw
conclusions,
make
connections, and
summarize.
111
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
1. Graphic organizers
2. Word development organizers
3. Answer questions and site evidence
4. Collaborate
5. Selection test
6. Skills pre-test and test
Instructional Activities/Sequence:
1. Use the Glencoe Literature grade 8 text book pg. 4 to take notes on autobiographies
and biographies.(Together)
2. Use pg. 1 Active Learning and Note Taking Guide-Glencoe grade 8, adapted version-
to take notes on text structure, connections, and author’s purpose.(Together)
3. Have children complete pg. 2 ALNT(Active Learning and Note Taking) with partners
as practice review of the newly explored information.(Partners)
4. Go over the correct answers. Discuss any confusions, as well as the attributes to look
for in each skill.(Together)
5. Use textbook pages 14-15 to take notes on Connecting-Reading With a Purpose-using
AlNT pg. 3.(Together)
6. Use textbook pg. 31 Text Element-Title and Subheads to take notes on pg.4
AlNT.(Together)
7. Before reading the story, do the pre-reading activities: pg. 5 ALNT. This page
incorporates connecting, title and subheads, and vocabulary development. It also has
kids begin the act of connecting by having them use background knowledge and
experience to get the proper mindset before they read.
8. Discuss individual connections.(Together)
9. Read Interactively together (“We do”) through “On Top of the World”, pgs. 6-9
ALNT. Children have many opportunities to respond as they read to connecting and
relative questions about the text.
10. Have the kids work in pairs to complete pgs. 10-11 ALNT in proper R.A.S
format=Repeat part of the question, Answer the question, Support your answer. As a
class, go over responses.(“You do”=this is a time for them to practice these new skills
112
more independently, but still allow collaborative learning to occur.
113
Resources:
Glencoe Grade 8 Literature Book
Glencoe Grade 8 Active Learning and Note Taking Skills Workbook
Chart Paper
Word development graphic organizers
114
115
Lesson # 3 Link to document masters: http://www.ngsp.com/Portals/0/Downloads/41210_tg.pdf
Title: “Two Cultures Meet-Native Americans and Europeans”
Duration: Learning Goals Based on Standards:
11. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
12. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
13. 8.2.7=Analyze the structure, format, and purpose of informational materials;
14. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
15. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
16. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
17. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
116
18. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
19. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
20. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
21. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
What elements of freedom were the European looking for when they traveled to the New
World?
How was the freedom of the Indigenous people of North America affected by the arrival of
the Europeans?
How can you apply the reading and writing skills you learned in the last lesson to help you
comprehend this text?
Students will Know:
How to use nonfiction text
structure to gain meaning
How to take notes to
summarize a text
How to use connections to
text to gain understanding
of it
Students will Understand:
Why Europeans traveled
to North America
What assumptions
Europeans made about
the indigenous people
How European
immigration affected the
indigenous people of N.
America
Students will Do:
Identify key
text structures
and use them
to
comprehend
Take notes by
determining
importance
within the
text
Practice
117
drawing
conclusions
and
supporting
them with
textual
evidence
118
Knowledge Rating Scale
Word Know It Well Have Seen or Heard It
Have No Clue
119
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
K-W-L plus Still need to learn and How it is or can be learned
Cause and Effect graphic organizer
Notes on graphic organizer included in teaching guide materials will be used to
create a summary
Complete concept and vocabulary graphic organizers
Answer comprehension questions about content and vocabulary in a quiz
Rubrics used for collaboration effectiveness in the following situations:
Partner reading
Think-pair-share
Gallery Walk
Whole Class Discussion
120
What I KNOW
What I
WANT to
Know
HOW I will
find the
information
What I
LEARNED
121
122
K-W-L, K-W-L-PLUS, B-K-W-L-Q WHAT? K-W-L is an instructional
activity for assisting students in developing a framework and actively engaging students in
constructing meaning from text. The basic instructional activity consists of three parts. First, readers
identify what is KNOWN about a topic. Second, the readers identify what they WANT to know
about the topic. Finally, the reader identifies what was LEARNED from reading the text. K-W-L-
PLUS and B-K-W-L-Q are variations of this instructional activity.
WHEN? This instructional activity is used Before, During, and After Reading. In order to support
the U-46 Literacy Roadmap, K-W-L is initially taught in kindergarten, K-W-L-Plus is introduced in
grade three, and B-K-W-L-Q is introduced in grade six. Teachers can use these instructional
activities in all content areas.
WHY? As a result of using this instructional activity the reader activates his prior knowledge for the
topic, he becomes involved in setting the purposes for reading the text, he becomes more focused in
reading the text, and the reader is more engaged in the reading process.
HOW? 1. Select the text material for your students to read.
2. List the topic and/or key vocabulary from the text on the board or chart paper. Distribute K-W-L
chart to each student.
3. Based on their experience/knowledge of topic and/or key vocabulary ask students to tell what they
know about the topic. Write student responses on the board, chart paper, or overhead in the first
column marked What I Know. (See chart K-W-L).
4. Ask students to find ideas that go together. Develop headings/categories that describe the ideas.
Place these headings/categories at the bottom of the K-W-L chart.
5. For each heading/category, have the students generate questions identifying what they would like
to know. List student questions in the second column of the chart.
6. Have students read the text. During and after they read the text have them write down what they
learned in the third column. Students should identify new categories of information that they
learned.
7. As a group, have the students discuss what they learned from the text and recorded in the third
column. Ask the students to revise their charts, making changes in their pre-reading knowledge. Ask
students if they need to change any information from the first list. Together indicate with plus and
minus signs information verified in the text (+) and incorrect information (-).
8. After completing steps 1-7 extend the learning process by adding the PLUS. Ask students to
develop a concept map or graphic organizer integrating the information from the text.
9. Using the concept map or graphic organizer the students can write a summary of the text.
123
124
Frayer Model
What is it?
The Frayer model is a word categorization activity that helps learner to develop their
understanding of concepts. Two versions of the Frayer model can be used. In the first, students
provide a definition, list characteristics, and provide examples and non-examples of the concept. In
the second, students analyze a word's essential and nonessential characteristics and refine their
understanding by choosing examples and non-examples of the concept.
How could it be used in instruction?
There are many concepts that can be confusing because of their close relationships. The Frayer
model provides students with the opportunity to understand what a concept is and what it is not. It
gives students an opportunity to explain their understanding and to elaborate by providing
examples and non-examples from their own lives.
How to use it:
1. Assign a concept that might be confusing because of its relational qualities.
2. Explain the Frayer model diagram.
3. Model how to fill out the diagram.
4. Provide students with time to practice with assigned terms.
5. Once the diagram is complete, let students share their work with other students. Display
students' diagrams as posters throughout the unit so students can refer to the words and continue to
add ideas.
125
Frayer Model Examples
Definition (in own words)
.
.
Characteristics
.
........................................
(WORD)
Examples (from own life)
.
.
Non-Examples
.
........................................
Definition (in own words)
A mathematical shape that is a
closed plane figure bounded by
3 or more line segments
Characteristics
* Closed
* Plane figure
* More than 2 straight
sides
* 2-dimensional
* Made of line segments
Definition (in own words)
A mathematical shape that is a
closed plane figure bounded by
3 or more line segments
Characteristics
* Closed
* Plane figure
* More than 2 straight sides
* 2-dimensional
* Made of line segments
(POLYGON)
126
Examples (from own life)
* Pentagon
* Hexagon
* Square
* Trapezoid
* Rhombus
Non-Examples
* Circle
* Cone
* Arrow
* Cylinder
Definition (in own words)
The ideas, beliefs, and ways of
doing things that a group of
people who live in an area share.
Characteristics
* Shared ideas
* Shared beliefs
* Shared practices
(CULTURE)
Examples (from own life)
* What my friends and I wear
* Music we listen to
Non-Examples
* Color of my hair
* Color of my eyes
* Nature
* Weather ..........................
Definition (in own words)
A change in size, shape, or state
of matter
Characteristics
New materials are NOT formed
Same matter present before and
after change
(PHYSICAL CHANGE)
Examples (from own life) Non-Examples
127
Ice melting
Breaking a glass
Cutting hair
Burning wood
Mixing baking soda with vinegar
Definition (in own words)
A whole number with exactly
two
divisors (factors)
.
Characteristics
* 2 is the only even prime number
* 0 and 1 are not prime
* Every whole number can be
written
as a product of primes
Definition (in own words)
A whole number with exactly
two
divisors (factors)
.
Characteristics
* 2 is the only even prime number
* 0 and 1 are not prime
* Every whole number can be
written
as a product of primes
(PRIME)
Examples
2,3,5,7,11,13...
Non-Examples
* 5 is not a factor of 12
* 0 is not a factor of any whole
number
.
Essential Characteristics Non-essential Characteristics
128
.
.
.
.
(WORD)
Examples
.
.
Non-Examples
.
.
Essential Characteristics
Feathers
Hollow bones
Warm blooded
Breathe air with lungs
Wings
Beaks
Non-essential Characteristics
Ability to fly
(BIRDS)
Examples
Robins
Meadowlarks
Parrots
Eagles
Ostriches
Penguins
Non-Examples
Bats
Flying reptiles
Insects
Flying squirrels
129
Essential Characteristics
A person seeking the legal end
to slavery in the U.S.A.
Non-essential Characteristics
Northerner
Race
Essential Characteristics
A person seeking the legal end
to slavery in the U.S.A.
Non-essential Characteristics
Northerner
Race
(ABOLITIONIST)
Examples
John Brown
Frederick Douglass
Harriet Beecher Stowe
Harriet Tubman
Non-Examples
Jefferson Davis
John C. Calhoun
Slave trader
Cotton farmer
130
Instructional Activities/Sequence:
See attached link at beginning of lesson for general lesson plans.
Main Reading Strategies focused on:
Making connections: text to text, text to self, text to world
http://www.readwritethink.org/professional-development/strategy-guides/making-
connections-30659.html
R.A.S.=Restate, Answer, Support: when responding to questions
1. Pre-Reading=k-w-l(lesson included)
2. During Reading=graphic organizer to take notes(in teaching guide)
3. After Reading=Summarize, think-pair-share, gallery walk(groups move to view other
groups notes, concept maps, and summaries to peer review, add tweets, point out missing
information or add to
4. Test over reading and vocabulary(comprehension questions in teaching guide; vocabulary
can be a self-made test)
131
Resources:
132
133
Lesson # 4 Reading Workshop 2
Title: “The Tell-Tale Heart” by Edgar Allen Poe-Glencoe Literature Book pgs. Active Learning and Note-
Taking Adapted Guide pgs. 12-24
Duration: Learning Goals Based on Standards: Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
134
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
1. How do predictions help us comprehend?
2. Why is setting a purpose for reading important?
3. How do we set a purpose for reading?
4. How can we use questioning to improve comprehension?
Students will Know:
1. How to predict and use
predictions to
comprehend.
2. How to set a purpose for
reading.
3. How questioning can help
comprehension ability.
Students will Understand:
1. How predictions can be
created, adjusted, and re-
visited to aid
comprehension.
2. The role a purpose for
reading plays and how to
adjust reading to
accomplish the purpose.
3. How to use questioning to
aid in comprehension.
Students will Do:
1. Make predictions,
adjust predictions as
the knowledge and
story unfold, and
compare the
outcome to original
predictions.
2. Set a purpose for
reading and adjust
reading strategies to
accomplish the goal.
3. Self-question as
they read, and use
questions to aid
comprehension of
text.
135
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
1. Rate vocabulary words and begin graphic organizers for learning them.
2. Use pgs. 42-43 of Glencoe 8th
Grade Literature book to take notes on pg.12ALNT-
focus on “Setting a Purpose for Reading and Questioning”
3. Use pg. 45 in Literature book to take notes on pg. 13ALNT-focus on “Point of View”
4. Use pg. 14ALNT to make predictions about the story and to work on vocabulary.
5. Partner Read and respond to questions as they read.
6. Create summaries, opinions, comments, and questions in the margin as they read
pgs.15-22ALNT.
7. Independently fill out pg. 23ALNT to review ability on Setting a Purpose.
8. Complete pg. 24ALNT with a partner to review Point of View.
9. Play a game to review for selection quiz.
10. Take a test over all skills and vocabulary.
136
Instructional Activities/Sequence:
137
Resources:
138
Lesson # 5
Title: “Land of Indians-Indiana”-Practice new reading strategies on content reading.
Duration: 5-8 days Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
139
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
1. What effect did western movement of Europeans have on the Indigenous inhabitants
in Indiana?
2. How was freedom affected and re-defined by contact?
3. How did this contact effect the following areas of culture: art, music, dress, burial
practices, religion, food, work, and leisure?
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
140
Instructional Activities/Sequence:
1. Students will approach the reading material using all previously learned reading skills.
They will use “T-charts” to practice 2-sided note-taking as they read content material.
2. Students will be divided into groups of 2-3 kids and be assigned one section of text.
3. A lesson on how to use nonfiction text features and how to read nonfiction is a good idea.
That way the kids will know to focus on titles, subheads, main idea sentences, and only
the important information.
4. Each day the kids will practice the “Jigsaw” approach to learning and sharing
information. They will read, take notes, share in groups, and finally we will have a whole
class sharing of information so everyone will get all of the content information. They will
all have graphic organizers for notes on each section to guide their note-taking.
5. Having kids in groups of 2-3, assign a portion of text. All kids who read the same
material get together after they have read and taken notes to go over their notes. They
need to double check and discuss everything. Then they will have the expert notes for
that portion and will share when whole-class discussion occurs. The sharing out of notes
and discussion as a class allows the kids to move through more material quicker.
1.Pages 5-26
2. Pages 27-38
3. Pages 39-54
4. Pages 55-74
5. Pages 75-89
6. Pages 90-102
7. Pages 103-115
6. 8. Pages 116-123
141
Mobile Reading Rockets Mobile
Teaching kids to read and helping those who struggle
Resources For Other Education Professionals For Other Professionals
ABCs of Teaching Reading
Classroom Strategies
Helping Struggling Readers
Reading Rockets offers a wealth of reading strategies, lessons, and activities designed to help young children learn how to read and
read better. Our reading resources assist parents, teachers, and other educators in helping struggling readers build fluency, vocabulary,
and comprehension skills.
Title: Jigsaw
Summary: Jigsaw is a strategy that emphasizes cooperative learning by providing students an opportunity to actively help
each other build comprehension. Teachers use this technique to assign students to reading groups composed of varying skill
levels.
142
Background
Jigsaw is a strategy that emphasizes cooperative learning by providing students an opportunity to actively help each other build
comprehension. Use this technique to assign students to reading groups composed of varying skill levels. Each group member
is responsible for becoming an "expert" on one section of the assigned material and then "teaching" it to the other members of
the team.
Benefits
Jigsaw is a well-established method for encouraging group sharing and learning of specific content. This technique can be used as an
instructional activity across several days and is best to use when there is a large amount of content to teach.
Jigsaw helps students learn cooperation as group members share responsibility for each other's learning by using critical thinking and
social skills to complete an assignment. Subsequently, this strategy helps to improve listening, communication, and problem-solving
skills.
Monitoring each student's participation within the groups provides teachers with information about how much the students already
know about the topic. This allows teachers to tailor instruction accordingly.
143
Create the strategy
Teachers can use the following steps when developing the jigsaw strategy for a class:
1.Introduce the technique and the topic to be studied.
2.Assign each student to a "home group" of 3-5 students who reflect a range of reading abilities.
3.Determine a set of reading selections and assign one selection to each student.
4.Create "expert groups" that consist of students across "home groups" who will read the same selection.
5.Give all students a framework for managing their time on the various parts of the jigsaw task.
6.Provide key questions to help the "expert groups" gather information in their particular area.
7.Provide materials and resources necessary for all students to learn about their topics and become "experts".
8.Discuss the rules for reconvening into "home groups" and provide guidelines as each "expert" reports the information learned.
9.Prepare a summary chart or graphic organizer for each "home group" as a guide for organizing the experts' information report.
10.Remind students that "home group" members are responsible to learn all content from one another.
Note: It is important that students have experience with small group learning skills before participating in the jigsaw strategy. It is also
important that the reading material assigned is at appropriate instructional levels.
144
Use the strategy
Students are directed to read the selection of text assigned to them. When the reading has been completed, the students meet for
approximately 20 minutes with others assigned to the same topic. They discuss the material, identify the most important learning
points, and return to their "home groups" to instruct the others about information in which they have become an "expert". Each student
takes turns teaching what he or she has learned to the other "home group" members.
During this process teachers should:
1. circulate to ensure that groups are on task and managing their work well;
2. ask groups to stop and think about how they are checking for everyone's understanding and ensuring that everyone's voice is heard;
and
3. monitor the comprehension of the group members by asking questions and rephrasing information until it is clear that all group
members understand the points.
If appropriate, have students fill out a graphic organizer in the "home group" to gather all the information presented by each "expert".
"Home groups" then present results to the entire class, or they may participate in some assessment activity. Teachers may assign a
team grade based upon academic and cooperative performance.
Further reading
145
The following links provide some examples of the jigsaw technique: http://departments.jordandistrict.org/socialstudies/expert_jigsaw.html
http://www.lpb.org/education/classroom/itv/litlearn/lessons/lssn_jigsaw.pdf
http://www.education-world.com/a_curr/curr324.shtml
http://www.educationworld.com/a_curr/curr324.shtml
http://www.landmarkcases.org/tinker/activity.html
http://english.unitecnology.ac.nz/resources/units/shawshank/jigsaw.html
References
Aronson, E. (2000-2008). Jigsaw Classroom: overview of the technique. Retrieved 2008, February 15, from
http://www.jigsaw.org/overview.htm
Aronson, E., & Goode, E. (1980). Training teachers to implement jigsaw learning: A manual for teachers. In S. Sharan, P. Hare, C.
Webb, and R. Hertz-Lazarowitz (Eds.), Cooperation in Education (pp. 47-81). Provo, Utah: Brigham Young University Press.
146
Aronson, E., & Patnoe, S. (1997). The jigsaw classroom: Building cooperation in the classroom (2nd ed.). New York: Addison
Wesley Longman.
Clarke, J. (1994). Pieces of the puzzle: The jigsaw method. In S. Sharan (Ed.), Handbook of cooperative learning methods. Westport
CT: Greenwood Press.
Muskingum College - Center for Advancement and Learning (CAL). (n.d.). Retrieved 2008, February 15, from
http://www.muskingum.edu/~cal/database/general/attention4.html
Slavin, R. E. (1980). Cooperative learning in teams: State of the art. Educational Psychologist, 15, 93-111.
Slavin, R. E. (1995). Cooperative learning: Theory, research, and practice (2nd ed.). Boston: Allyn & Bacon. Tierney, R. (1995)
Reading Strategies and Practices. Boston: Allyn & Bacon.
147
Get our newsletters!
Follow Reading Rockets
Follow us on Twitter! Become a fan of Reading Rockets on Facebook! Follow us on Pinterest! Watch our videos on YouTube Check
out our podcasts in iTunes
148
"I am planning on giving this website to parents as a resource to use during the summer."
~ Lore S.
Donate to Reading Rockets online
Reading Rockets Podcasts
Featured Sister Site
149
AdLit.org: Resources for parents and educators of struggling adolescent readers and writers.
AdLit.org: All about Adolescent Literacy
Home
About Us
Reprint Policy
Privacy Policy
Terms & Conditions
Contact Us
Follow Reading Rockets
Follow us on Twitter!
Become a fan of us on Facebook!
Follow us on Pinterest!
Follow us on Follow us on Google+
Watch our videos on YouTube
Check out our podcasts in iTunes
150
© Copyright 2013 WETA Washington, D.C.
Reading Rockets is funded by a grant from the U.S. Department of Education, Office of Special Education Programs.
Reading Rockets is a national multimedia project that offers research-based and best-practice information on teaching kids to read and
helping those who struggle.
Visit WETA's other education websites:
Colorin Colorado
Adlit
LD Online
LearningStore Logo
View Reading Rockets:
Mobile | Desktop
151
152
153
Lesson # 6-Reading Workshop 3: Activating Prior Knowledge
Title: Glencoe: Grade 8 Active Learning and Note-Taking Adapted version
“The March of the Mill Children”
Duration: 1-3 Days Learning Goals Based on Standards:
Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
154
with accurate examples;
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
155
Instructional Activities/Sequence:
1. Kids will use Glencoe Literature Book Grade 8 pgs. 62-63 to take notes on
“Activating Prior Knowledge” ALNT pg.25.
2. Students will then use page 65 in Literature book to take notes on Tone ALNT pg. 26.
3. Students will begin work on vocabulary and making a connection to the upcoming
story by doing pg.27 ALNT.
4. Students will read with partners “The March of the Mill Children” and take notes
and respond to questions as they read pgs. 28-35ALNT.
5. Teacher will lead a whole class discussion of story and go over notes.
6. Individually, kids will complete as a skill check pg. 36ALNT –Activating Prior
Knowledge, and pg. 37 Tone ALNT.
7. Teacher will go over these pages with the whole class.
8. Kids will take a selection test after playing some review games to prepare.
156
Resources:
157
Lesson # 7 Focus on Tecumseh
Title: Battle of Prophetstown-Tippecanoe and Battle of Tippecanoe-Tippecanoe Discovery Book
Duration: 5-8 days Learning Goals Based on Standards:
Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
158
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
159
Instructional Activities/Sequence:
1. Kids will read assigned text in partners after completing an extended version of the k-
w-l chart.
2. They will take notes on T-charts as they read.
3. They will be reading primary documents: speeches, letters, quotes, and pictures and
analyzing them.
4. The children will work with partners to complete a five paragraph essay from the
point of view of Tecumseh or William Henry Harrison.
5. It will be graded with a 6-Traits rubric.
160
Resources:
161
Lesson # 8 Indian Removal: The Cherokee and Andrew Jackson
Title: Analyzing the cultural impact of political decisions by Leaders
Duration: 2-3 days Learning Goals Based on Standards:
1. 8R1.6=Determine an author’s point of view or purpose in a text and analyze how the
author acknowledges and responds to conflicting evidence or viewpoints;
2. 8R1.10=By the end of the year, read and comprehend literary nonfiction at the high end of
the grades 6-8 complexity band independently and proficiently;
3. 8.2.7=Analyze the structure, format, and purpose of informational materials;
4. 8R1.3=Analyze how a text makes connections among and distinctions between individuals,
ideas, or events(through comparisons, analogies, or categories);
5. 8.3.7=Analyze a work of literature, showing how it reflects the heritage, traditions,
attitudes, and beliefs of the author;
6. 8.3.6=Identify significant literary devices, such as metaphor, symbolism, dialect or
quotations, and irony, which define a writer’s style and use those elements to interpret the
work;
7. 8.3.8=Contrast points of view-such as first person, third person, third person limited and
third person omniscient, and subjective and objective-in narrative text and explain how
they affect the overall theme of the work;
8. 8R1.4=Determine the meaning of words and phrases as they are used in a text, including
figurative and connotative meanings; analyze the impact of specific word choices on
meaning and tone, including analogies or allusions to other texts;
9. 8.2.9=Make reasonable statements and draw conclusions about a text, supporting them
with accurate examples;
162
10. 8R1.2=Determine a central idea of a text and analyze its development over the course of
the text, including its relationship to supporting ideas; provide an objective summary;
11. 8R1.1=Cite the textual evidence that most strongly supports an analysis of what the text
says explicitly as well as inferences drawn from the text.
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
163
Instructional Activities/Sequence:
1. The children will view a powerpoint from Oakland Unified School District-History
and Social Studies on the Dawe’s Act and the Indian Removal.
2. They will take notes on T-charts.
3. Students will work in groups to answer analysis questions in R.A.S. format.
164
Resources:
165
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
166
Instructional Activities/Sequence:
167
Resources:
168
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
169
Instructional Activities/Sequence:
170
Resources:
171
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
172
Instructional Activities/Sequence:
173
Resources:
174
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
175
Instructional Activities/Sequence:
176
Resources:
177
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
178
Instructional Activities/Sequence:
179
Resources:
180
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
181
Instructional Activities/Sequence:
182
Resources:
183
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
184
Instructional Activities/Sequence:
185
Resources:
186
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
187
Instructional Activities/Sequence:
188
Resources:
189
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
190
Instructional Activities/Sequence:
191
Resources:
192
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
193
Instructional Activities/Sequence:
194
Resources:
195
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
196
Instructional Activities/Sequence:
197
Resources:
198
Lesson #
Title:
Duration: Learning Goals Based on Standards:
Essential Questions:
Students will Know:
Students will Understand:
Students will Do:
Assessment: How will students demonstrate the desired understandings? (Performance tasks,
quizzes, tests, journals, homework, observations, etc.) How will understanding be judged?
199
Instructional Activities/Sequence:
200
Resources:
201