Page 74 - THE ONTARIO CURRICULUM, GRADES 9 to 12 | First Nations, Métis, and Inuit Studies

Grade 9, Open
THE ONTARIO CURRICULUM, GRADES 9–12 | First Nations, Métis, and Inuit Studies
Sample questions: “How do symbols used by First Nations, Métis, and Inuit artists differ from region to region across Canada? How might you explain some of these differences?” “Why do the sun, moon, stars, fish, bears, and turtles play a significant role in many First Nations cultural expressions?” “What cultural or spiritual significance did the First Nation presenter assign to the spirit colours of his or her regalia? How did the regalia reflect the presenter’s cultural identity?” “What materials were traditionally used by Inuit artists and how are they similar to or different from materials used by contemporary Inuit artists? Why do walrus, whales, seals, and birds play a signifi- cant role in many Inuit cultural expressions?”
A2.3 explain how the form, materials, and/or techniques used in various First Nations, Métis, and Inuit art works/productions have been selected by the artist(s) to express a perspective or communicate a message about gender and gender roles (e.g., describe the techniques used
in Shelley Niro’s 1991 photographic series Mohawks in Beehives to document an act of personal empowerment by Mohawk women; explain how Kent Monkman uses the art form
of landscape painting to explore concepts of sovereignty and territory while commenting on gender and two-spirited identities in works such
as Trappers of Men)
Sample questions: “What is a moccasin vamp? Why do you think this material was selected as a symbol of missing and murdered Indigenous women in the art installation Walking with Our Sisters? How did social media play a role in the production of the work?”*
A2.4 describe how various First Nations, Métis, and Inuit artists use media arts to express and support Indigeneity, collective and/or cultural identity, decolonization, and cultural continuity (e.g., Métis/Algonquin filmmaker Michelle Latimer uses stop-motion animation to explore the individual search for identity within contemporary urban
society from a First Nations perspective; Alderville First Nation poet Leanne Simpson collaboratively sets her poems and spoken-word narratives to music by Indigenous musicians to express what it means to live as an Anishinaabekwe; the travelling photo- graphic exhibition Lost Identities: A Journey of Rediscovery invited members of various First Nations communities to symbolically repatriate the subjects of historical images by recording the names, locations, and details of the individuals and places represented; Inuit media art collective Isuma Productions uses high-definition video and
wireless broadband to re-create cultural traditions as the expression of a distinctively Inuit perspective)
Sample questions: What does the term ‘decolonization’ mean in the context of art works/productions created by and/or for
First Nations, Métis, and Inuit youth? What is the connection between decolonization and identity? What are some ways that media arts can be used to reclaim First Nations, Métis, and Inuit cultural identities and express a collective desire for decolonization?” “How do Nadya Kwandibens’ Concrete Indians photographic series and Terrance Houle’s photographic Urban Indian Series express aspects of contemporary urban Indigeneity?”
A3. Self-Determination and Nationhood
By the end of this course, students will:
A3.1 explain how the concepts of sovereignty, self-governance, and nationhood are expressed through a variety of First Nations, Métis, and Inuit art forms (e.g., with reference to peace pipes, wampum belts, Métis sashes, the Nunavut flag, Métis flags, the Eagle Staff, flag songs, ceremonial regalia, dance regalia), analysing the purpose and function of these art forms in social policy and/or the representation of world views
Sample questions: “Did the introduction of
the Nunavut flag unite the territory?” “How and when is a wampum belt used?” “How do nations differentiate themselves through art forms at powwows, intertribal gatherings,
and Elder/youth gatherings?” “What are some historical interpretations of the Métis flag? How is the Métis flag used within Métis organizations and at rendezvous and annual general assem- blies? “What does an Eagle Staff reveal about the nation that created it? Why does the Eagle Staff need a helper, or Eagle Staff carrier, to be present to enable the art form to perform its function? Why is this cultural expression of sovereignty referred to as a living spirit?”
A3.2 explain some consequences of various pieces of Canadian legislation for past and present First Nations, Métis, and Inuit cultural and artistic expressions of sovereignty and/or self- governance (e.g., the Indian Act amendment of 1885 prohibited religious ceremonies and dances for Indians as defined by the Act; section 35(1)
of the Constitution Act, 1982, recognizes First Nations, Métis, and Inuit as three separate groups of Indigenous peoples with unique heritages, languages, cultural practices, and spiritual beliefs;
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* Certain topics may trigger an emotional response due to the sensitivity of the subject matter. It may be necessary to provide or connect students with appropriate emotional supports.