Page 80 - 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: “What connections can you make between how a beadwork artist chooses motifs and patterns to adorn a piece of clothing and how a storyteller selects certain words
and phrases to reiterate throughout a story?” “What do First Nations, Métis, and Inuit storytellers need to consider when developing their approach to a traditional storytelling?” “How do natural materials influence the type of sculptures produced by contemporary
First Nations, Métis, and Inuit artists? What examples can you identify to support your explanation?”
C2. Themes and Influences
By the end of this course, students will:
C2.1 describe, on the basis of research, themes in the work of some past and/or present First Nations, Métis, and Inuit artists, including artists whose body of work incorporates more than one art form (e.g., prepare and deliver a short presentation on themes explored by artists such as Rebecca Belmore, Buffy Sainte-Marie, Tomson Highway, Nadia Myre, Archer Pechawis, Teharihulen Michel Savard, Tanya Tagaq)
Sample questions: “How has the artist’s choice of media changed over the course of his or her career? What connection can you make between the artist’s choice of media and the theme of the work?”
C2.2 describe, on the basis of research, some past and present political, socio-economic, and environmental influences on First Nations, Métis, and Inuit art making (e.g., colonization and decolonization; assimilation; missionary evangelism; historical migration and settlement patterns; rural–urban migration; the forced relocation of Inuit communities; funding or lack of funding for community-based cultural and art programs; the commodification of Inuit art by the West Baffin Eskimo Co-operative; globalization; the depletion of natural resources; the European
Union’s ban on the trade of all marine mammal products, including seal and whale products)
Sample questions: “What information can you gather about the influence of both First Nations and European cultures in Métis art works, dance, music, and/or clothing designs?” “What effect does lack of financial support for community- based arts programs have on First Nations communities?” “In what ways have First Nations, Métis, and Inuit entrepreneurs influ- enced how traditional art forms are introduced into the global marketplace?” “How has the market economy affected the development and growth of traditional Inuit art forms?”
C2.3 describe, on the basis of research, some past and present technological and cultural influences on First Nations, Métis, and Inuit art making (e.g., printmaking technologies, photography, film and digital video, popular culture, shared and hybrid cultural contexts, the dissemination of European-designed goods, square dancing and accordion music introduced to the Arctic by Scottish whalers)
Sample questions: “How have advances
in technology affected the choice of forms, materials, and techniques used in First Nations, Métis, and Inuit art works/productions? How have they facilitated the dissemination of art?” “While media and mainstream art circles coined the name ‘the Indian Group of Seven’ to refer
to a group of First Nations artists, the artists themselves referred to their group as the Professional Native Indian Artists Incorporation. What difference is expressed by the two names? What sociocultural influences can you identify in the works of these artists?” “How did ancient Japanese printmaking traditions influence Inuit printmaking?”
C3. Conventions and Responsible Practices
By the end of this course, students will:
C3.1 identify and appropriately apply conventions associated with experiencing various types of art works/productions, including works from First Nations, Métis, and Inuit cultures (e.g., outline a protocol for etiquette in a gallery, museum, concert hall, theatre, or gathering, and create a poster illustrating this protocol)
Sample questions: “Is it appropriate to clap after viewing a ceremonial dance? Why, or why not?” “What types of behaviour can detract from other listeners’ experience of an oral storytelling?” “When listening to an oral story or song, what responsibility do you have to be part of the experience?”
C3.2 identify, on the basis of research, some legal, ethical, and culturally sensitive practices related to various arts disciplines, and apply these practices when analysing, creating, presenting, and/or promoting art works/productions (e.g., seek permission before reproducing copyrighted material and provide appropriate credit; identify the differences between cultural appreciation and cultural exploitation, and avoid cultural appropri- ation in their own art works; conduct research
on evolving Canadian copyright standards with respect to new media and implications for the arts; seek the views of local Elders, Métis Senators, knowledge keepers, and knowledge holders when
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