Page 81 - THE ONTARIO CURRICULUM, GRADES 9 to 12 | First Nations, Métis, and Inuit Studies

exploring First Nations, Métis, and Inuit art forms; follow appropriate cultural protocols and practices when sourcing, gathering, or handling traditional materials and artefacts; obtain permission when working with cultural designs, stories, and/or imagery; acknowledge the gifts of material from the natural environment; treat sacred/ceremonial objects and objects of cultural significance respectfully and responsibly)
Sample questions: “Why is it important to consider cultural sensitivity when analysing and/or promoting First Nations, Métis, and Inuit art works?” “Is it ethical for artists to borrow from the work of others? Why, or why not?” “What respectful practices and protocols should you follow when using this traditional art-making technique?” “What copyright considerations did you need to address in your art work?” “How can you appropriately acknowledge the gifts of natural materials used in your art?”
C3.3 demonstrate an understanding of safe and conscientious work practices associated with various arts disciplines, and apply these practices when engaged in the creative process (e.g., follow instruction manuals and/or the teacher’s instructions when using new tools and technologies; show consideration for other students sharing the same work space; develop classroom rules and expectations through small-group discussions; read warning labels on containers; wear appropriate protective equipment)
Sample questions: “Why should you avoid using spray paint in a classroom?” “What organizations or unions are concerned with the safety of artists in your chosen media? Do they have any specific safety guidelines that apply to your work?” “How do you respectfully dispose of traditional materials? How does this give back to Earth?”
C3.4 identify some environmental issues associated with the arts, and apply environmentally responsible practices when creating and presenting art works, including integrated
art works/productions (e.g., dispose of paint containers in an environmentally responsible way; source environmentally friendly materials; recycle materials appropriately; use natural materials only in the amount needed and only if they have been sustainably and responsibly collected)
Sample questions: “How can art and art making affect the environment?” “How can you obtain environmentally responsible materials for your art work?” “What are some ways that an individual artist can contribute to environmental conservation or protection?” “Where does
our waste water end up? What might be some consequences of pouring a toxic liquid down the drain?”
C4. The Critical Analysis Process
By the end of this course, students will:
C4.1 assess and communicate their initial reaction to art works/productions from a variety of
First Nations, Métis, and Inuit cultures and arts disciplines (e.g., describe their initial response to Inuit throat singing; explain their interpretation
of the body movements and hand gestures of Tsimshian dancers acting out a tale; identify an aspect of a Dene chant, a work by Nelson Tagoona or Tanya Tagaq, or a piece of Métis fiddle music that evoked an emotional response; discuss their reaction to an article of fashion that appropriates a First Nation, Métis, or Inuit design without consent), using various strategies and modes
of communication (e.g., a small-group or class discussion, a placemat exercise, a blog, a journal)
Sample questions: “What cultural insights did you gain from the art forms demonstrated by the Métis presenter?” “In what ways does the floral beadwork or quillwork on traditional clothing remind you of contemporary clothing designs? How has this influenced your percep- tion of the contributions of Métis women to art and art forms?” “The creative directors of the House of Valentino asked artist Christi Belcourt for permission to base a fashion line on her painting Water Song. What do you think the art work and the clothes express about the inter- connectedness of all living things? How does the theme of interconnectedness make you feel? What do you think the process demonstrates about respectful collaboration?”
C4.2 describe various ways in which First Nations, Métis, and Inuit artists are incorporating new technologies into traditional art forms (e.g., Christi Belcourt’s Water Song uses raised paint dots to represent beadwork; A Tribe Called Red’s “Electric Pow Wow Drum”combines techno and traditional beats; Inuk artist Tanya Tagaq combines traditional throat singing and video projection
in her performances; Ruben Anton Komangapik embeds QR codes into some of his art works in order to share stories), and analyse the impact of this innovation on how the work is experienced
Sample questions: “What are some issues involved in combining traditional art forms with contemporary technologies and tools?” “What are some innovative ways that contem- porary artists are using interactive technologies to tell First Nations, Métis, and Inuit stories? How effective do you find these forms of presentation?”
FOUNDATIONS
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and Inuit Cultures
Expressions of First Nations, Métis,
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