Page 83 - THE ONTARIO CURRICULUM, GRADES 9 to 12 | First Nations, Métis, and Inuit Studies

D. ART AND SOCIETY OVERALL EXPECTATIONS
By the end of this course, students will:
D1. Art Forms and Society: demonstrate an understanding of how past and present First Nations, Métis, and Inuit art forms reflect the societies and periods in which they were created;
D2. Promoting Renewal, Healing, Reconciliation, and Dialogue: demonstrate an understanding of how art making and art works can promote renewal and healing in First Nations, Métis, and Inuit communities and reconciliation and dialogue with non-Indigenous communities;
D3. Connections beyond the Classroom: describe the skills developed through creating, presenting, and analysing art works that explore First Nations, Métis, and Inuit perspectives, including integrated art works/productions, and identify various opportunities to pursue artistic endeavours beyond the classroom.
SPECIFIC EXPECTATIONS
D1. Art Forms and Society
By the end of this course, students will:
D1.1 analyse various ways in which precontact First Nations and Inuit material culture and early Métis material culture reflected cultural, artistic, and/or spiritual expression, drawing on evidence from several different utilitarian art forms (e.g., bannerstones, which were used as counterweights in spear-throwing devices called atatls, held ceremonial significance; burial objects that were intended to reflect the social status of the deceased also had ornamental characteristics; Inuit carvings of animals were used in games and for storytelling and shamanic purposes; Inuit snow goggles made of bone or ivory were both functionally innovative and aesthetically sophisticated; horn rattles were used in Haudenosaunee ceremonies, social songs, and dances; paintings on animal hides were used to illustrate and record significant events and to promote healing)
Sample questions: “What are some examples of utilitarian objects that demonstrate spirituality and/or a reverence for beauty?” “What do early buffalo hide paintings tell us about artistic
and technological elements of Plains culture?” “Do you think that utilitarian objects can be considered artistic creations? Why, or why not? Can utilitarian objects be considered historical documentation? Why, or why not?”
D1.2 reflect on and communicate how their experience of First Nations, Métis, and Inuit
art works depicting social relationships (e.g., intergenerational relationships, clans, kinship, ancestral connections) has influenced their
own beliefs and values with respect to family relationships and community in contemporary society (e.g., with reference to the role of grand- parents, extended family connections, child–parent relationships)
D1.3 analyse various social and/or political messages communicated by the work of emerging and established First Nations, Métis, and Inuit artists (e.g., Carl Beam’s mixed-media work The North American Iceberg links the
past and present by depicting the intersection of historical and contemporary resistance to colonialist policies; Alanis Obomsawin’s film Kanehsatake: 270 Years of Resistance gives voice to a First Nation perspective on the Oka land dispute; David Garneau’s painting series Cowboys and Indians (and Métis?) promotes the representation of Métis identity; Alethea Arnaquq-Baril’s documentary film Angry Inuk brings the voice of Inuit into the debate over seal product bans in Europe; the ballet Going Home Star – Truth and Reconciliation was commissioned by the Royal Winnipeg Ballet to convey the Indian residential school experience through dance and music), drawing on their knowledge of the social context within which
a specific art work was produced
ART AND SOCIETY
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and Inuit Cultures
Expressions of First Nations, Métis,
NAC1O