UNIT OVERVIEW

UNIT TITLE: The Cultural Genocide of Indigenous People

UNIT OVERVIEW:
- 20TH CENTURY WORLD HISTORY:
- Indian Act
- Potlatch Ban
- Repatriation of Cultural Artifacts
- Representation of Indigenous People in media
- DRAMA:
- Devising Techniques
- Immersive Theatre
- Film + Text Analysis

SUBJECT: Living History 11/12 (20th Century World History/Drama)

RATIONALE: As we move towards reconciliation as a nation, it is vital to understand the role colonialism played (and continues to play) in the
cultural genocide of the Indigenous people. It is important to honour the stories of those who have been silenced, while simultaneously
recognizing that we are not owed a place in their narrative. Representational theatre creates opportunities for us to engage meaningfully with
the Indigenous experience without claiming it as our own.

CULMINATING TASK: Students will work individually and collaboratively to create an immersive Theatre experience based on ​Where The Blood
Mixes​ by Kevin Loring. They will consider the importance of setting, space, and artifacts to a narrative, and use them to effectively and
meaningfully portray the events of the play in question.

IMPORTANT NOTES: This class combines two curriculums, and takes place over two (2) blocks each day. Though it is listed as a Socials Studies
class, students earn credit for both Social Studies and Drama.
 CURRICULAR CONNECTIONS

UNDERSTAND WORLD HISTORY:

big ideas - nationalist movements can unite people in common causes or lead to intense conflict between different
groups

DRAMA:
- drama is a way of sharing and understanding traditions, perspectives, cultures, and worldviews

KNOW WORLD HISTORY:

curricular competencies - assess the significance of people, locations, events, and developments, and compare varying
perspectives on their historical significance at particular times and places, and from group to group
- assess the justification for competing historical accounts after investigating points of contention,
reliability of sources, and adequacy of evidence
- make reasoned ethical judgments about controversial actions in the past or present, and assess whether
we have a responsibility to respond

DRAMA:
- create, rehearse, and refine dramatic works through collaborative and individual presentation or
performance
- experiment with a range of props, processes, and technologies to create and refine innovative dramatic
works
- analyze the role of story and narrative in expressing First Peoples perspectives, values, and beliefs,
including protocols related to ownership of First Peoples oral texts

DO WORLD HISTORY:
content - human rights movements, including indigenous peoples movements
- religious, ethnic, and/or cultural conflicts, including genocide

DRAMA:
- roles of performer, audience, and venue
- influences of time and place on dramatic works
- traditional and contemporary First Peoples worldviews, history, and stories communicated through
dramatic works
CORE COMPETENCIES COMMUNICATION:
big picture reminders - connect and engage with others (to share and develop ideas)
- collaborate to plan, carry-out and review constructions and activities

THINKING:
- generating and developing ideas ​(creative)
- develop and design ​(critical)

PERSONAL AND SOCIAL:

- relationships and social contexts ​(personal/social identity)
- self-determination and self-regulation ​(awareness and responsibility)
- building relationships ​(social responsibility)
- solving problems in peaceful ways ​(social responsibility)

LEARNING INTENTIONS - What is “cultural genocide”? How does it differ from other forms of genocide?
- What is the Indian Act?
- How did the Indian Act contribute to the cultural genocide of Indigenous people in Canada?
- What is the Potlatch?
- What did the Canadian government hope to achieve by banning the Potlatch? Did they succeed?
- What role did the Potlatch Ban play in the cultural genocide of Indigenous people in Canada?
- Why is it necessary to consider bias when analysing Edward Curtis’ photos and film?
- How do stereotypes affect cultural identity?
- Why do museums hold 90% of Indigenous cultural artifacts?
- What does it mean to “repatriate cultural artifacts”?
- What roles do artifacts serve in Indigenous culture?
- What non-verbal strategies can we utilize in story-telling?
- Why do we write/play stereotypes? What are the dangers of doing so?
- What is immersive/experiential theatre? What purpose does it serve?
- How can immersive/experiential theatre be utilized in the telling of stories that do not belong to us?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts” tell a story?
- How can improv games be used to explore a variety of theatrical structures and forms?

FORMATIVE ASSESSMENT
SUMMATIVE ASSESSMENT
culminating task
LEARNING INTENTIONS
For each lesson, state what individual
learning intention(s) you will be covering
in that lesson
LESSON 1:
- What is “cultural genocide”? How does
it differ from other forms of genocide?
- What is the Indian Act?
- How did the Indian Act contribute to
the cultural genocide of Indigenous
people in Canada?
- What non-verbal strategies can we
utilize in story-telling?
- In what ways can “setting” tell a story?
ASSESSMENT
- participation in performance exercises
- Artifact narrative performance
- Group discussions
- Collaborative creation of an immersive Theatre experience
LESSON OVERVIEW
ACTIVITIES AND STRATEGIES ASSESSMENT TOOL/METHOD ASSESSMENT CRITERIA
What teaching strategies & activities will What instrument will you use to collect By what criteria do you decide that the
you utilize to enable students to achieve evidence of the learning? learning intention has been successfully
the learning outcomes? met? What evidence will you use?
THE INDIAN ACT: ASSESSMENT TOOL: ASSESSMENT CRITERIA:
- Individually, students will be asked to 1) Group Discussion 1) Observing student discussion will
define genocide. Then, they will be asked 2) Worksheet allow me to check for understanding,
to make an educated guess at potential 3) Participation and clarify/guide as necessary.
differences between ‘genocide’ and 2) The collected worksheets will be
‘cultural genocide.’ Students will share reviewed. Any major issues or
out, and the class will collectively define misunderstandings will be clarified next
‘cultural genocide.’ class.
- Students will be introduced to the 3) Drama is a participation based class.
Indian Act through a short lecture. Students will be expected to partake in
- Students will complete a worksheet all activities to the best of their abilities.
which asks them to compare and
contrast the Indian Act with the
Canadian Charter of Rights and
Freedoms.
- Students will participate in an acting
warm-up activity.
- Students will participate in a series of
exercises which consider the importance
of props in a scene.
LESSON 2:
- What is the Potlatch?
- What did the Canadian government
hope to achieve by banning the
Potlatch? Did they succeed?
- What role did the Potlatch Ban play in
the cultural genocide of Indigenous
people in Canada?
- What non-verbal strategies can we
utilize in story-telling?
- In what ways can “props” or “artifacts”
tell a story?
THE POTLATCH BAN: ASSESSMENT TOOL: ASSESSMENT CRITERIA:
- Students will be asked to activate their 1) Group Discussion 1) Observing group discussion will allow
prior knowledge about the Potlatch 2) Jigsaw Reading Activity me to check for understanding and
through group brainstorming. 3) Participation clarify/guide as necessary.
- Students will participate in a short 2) The collected worksheets will be
lecture about the Potlatch and its reviewed for understanding.
importance to Indigenous Cultures. 3) Drama is a participation based class.
- Students will analyze primary Students will be expected to partake in
documents about the Potlatch Ban in a all activities to the best of their abilities.
Jigsaw Reading Activity, and report out
regarding what they learned.
- The importance of artifacts to
indigenous culture will be introduced;
connections will be drawn to the
importance of items to the students’
family histories.
- Students will participate in an acting
warm up activity.
- Students will be placed in pairs; Partner
A will share with Partner B the story of
an important object they have brought
with them from home. Then, they will
switch. The partners will work to create a
short performance piece where Partner
A interacts with their object while
Partner B tells the story of that object
(and vice versa)
- Students will present short
performances to class.

LESSON 3: REPATRIATION OF ARTIFACTS: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- Why do museums hold 90% of
Indigenous cultural artifacts?
- What does it mean to “repatriate
cultural artifacts”?
- What roles do artifacts serve in
Indigenous culture?
- What non-verbal strategies can we
utilize in story-telling?
- In what ways can “props” or “artifacts”
tell a story?
- Students will participate in a short
lecture which looks at the history of
colonial museums, the displaying of
cultural items, and how repatriation
relates to reconciliation.
- Students will debate the following
question: Should Colonial Museums
Return Cultural Artifacts? Each side will
be given time to research and prepare
their argument.
- Following the debate, students will be
1) Group Discussion 1) Observing group discussion will allow
2) Debate me to check for understanding and
3) Participation clarify/guide as necessary.
2) During the debate, I will be monitoring
student answers and giving points based
on students’ ability to present objective,
supported arguments.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.
 invited to discuss their personal opinion
on the matter as a large group.

LESSON 4: STEREOTYPES: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- How do stereotypes affect cultural
identity?
- Why is it necessary to consider bias
when analysing Edward Curtis’ photos
and film?
- Why do we write/play stereotypes?
What are the dangers of doing so?
- Students will use Visual Thinking Skills 1) Images Worksheet 1) Collected worksheets will be
to engage with photographs (and video) 2) Group Discussion reviewed. Any issues or
taken by Edward Curtis. 3) Participation misunderstandings will be addressed
- In small groups (and then as a class), next class.
students will discuss how Edward Curtis 2) Observing group discussion will allow
may have contributed to cultural me to check for understanding and
stereotyping. clarify/guide as necessary.
- In small groups, students will be asked 3) Drama is a participation based class.
to brainstorm stereotypes they often see Students will be expected to partake in
portrayed in theatre/film/literature. all activities to the best of their abilities.
They will be asked to consider why these
stereotypes are still being shown, and
how they may impact the identity of
these groups. After small group
discussion, students will report out.
- Students will be cast in roles and begin
reading ​Where the Blood Mixes​ by Kevin
Loring.

LESSON 5: IMMERSIVE THEATRE: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
- Students will be introduced to
Immersive Theatre, by means of a short
lecture. Punchdrunk’s ​Sleep No More​ will
be used as a “case study” for this form of
theatre.
- Students will be divided into two
groups and asked to research ​Sleep No
More​. One group will focus on how
Punchdrunk uses props in their
story-telling. The other group will focus
on place and setting. Students will watch
trailers and media clips; explore social
media, websites, and play reviews; and
read the show programs. Each group will
condense their research onto a poster,
and share with the class what they
learned.
- Students will continue to read ​Where
1) Group Discussion
2) Group Research + Presentation
3) Participation
1) Observing group discussion will allow
me to check for understanding and
clarify/guide as necessary.
2) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.
 The Blood Mixes.

LESSON 6: COLLABORATION: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
- Students will finish reading ​Where The
Blood Mixes.
The final activity of the unit will be
introduced. Students will work together
to create criteria for peer and
self-assessment rubrics.
- Students will work together
collaboratively to decide how they would
like to present the play in an immersive
context.
- Company Roles will be divided, and
students will brainstorm next steps.
1) Teacher observation of and
conversation with students as they work
on their projects
2) The rubric created to grade this
project
3) Participation
1) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing as they work their way
through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.

LESSON 7: WORKING BLOCKS: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- What non-verbal strategies can we
utilize in story-telling?
- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
- Students will work in company roles to
create an immersive theatre production
based on ​Where The Blood Mixes​ by
Kevin Loring
1) Teacher observation of and
conversation with students as they work
on their projects
2) The rubric created to grade this
project
3) Participation
1) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing as they work their way
through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.

LESSON 8: WORKING BLOCKS: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- What non-verbal strategies can we
utilize in story-telling?
- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
- Students will work in company roles to
create an immersive theatre production
based on ​Where The Blood Mixes​ by
Kevin Loring
1) Teacher observation of and
conversation with students as they work
on their projects
2) The rubric created to grade this
project
3) Participation
1) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing as they work their way
through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.
LESSON 9:
- What non-verbal strategies can we
utilize in story-telling?
- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
DRESS REHEARSAL:
- Students will work in company roles to
create an immersive theatre production
based on ​Where The Blood Mixes​ by
Kevin Loring
- Students will prepare the performance
space
- Students will rehearse the show
ASSESSMENT TOOL: ASSESSMENT CRITERIA:
1) Teacher observation of and 1) Observation and conversation with
conversation with students as they work students will allow the teacher to
on their projects determine if there are any class or
2) The rubric created to grade this individual student issues that need
project addressing as they work their way
3) Participation through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.

LESSON 10: PERFORMANCE: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- What non-verbal strategies can we
utilize in story-telling?
- What is immersive/experiential
theatre? What purpose does it serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts”
tell a story?
- Students will rehearse the show
- Students will perform the piece
- Students will deconstruct the show
1) Teacher observation of and
conversation with students as they work
on their projects
2) The rubric created to grade this
project
3) Participation
1) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing as they work their way
through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.

LESSON 11: REFLECTION: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- How can immersive/experiential
theatre be utilized in the telling of stories
that do not belong to us?
- Students will finish deconstructing the
show, and tidy all set/prop pieces away
- Students will debrief the process as a
group, speaking about their experiences
during the rehearsal and performance
process
- Students will complete peer
assessment rubrics for those students in
the same company roles
- Students will complete self-assessment
rubrics
- Students will write a reflective journal
about how immersive theatre allows us
to explore narratives without claiming
them.
1) Teacher observation of and
conversation with students as they work
on their projects
2) The rubric created to grade this
project
3) Participation
4) Peer-Assessment rubric
5) Self-Assessment rubric
1) Observation and conversation with
students will allow the teacher to
determine if there are any class or
individual student issues that need
addressing as they work their way
through the project
2) The marking rubric will be used to
assess completed projects.
3) Drama is a participation based class.
Students will be expected to partake in
all activities to the best of their abilities.
4) Students will evaluate their group
members using a rubric created as a
group earlier in the unit.
5) Students will evaluate themselves
 using a rubric created as a group earlier
in the unit

LESSON 12: GAMES DAY: ASSESSMENT TOOL: ASSESSMENT CRITERIA:

- How can improv games be used to - Students will play a variety of improv 1) Student Participation 1) Drama is a participation based class.
explore a variety of theatrical structures and acting games Students will be expected to partake in
and forms? all activities to the best of their abilities.
Lesson Plan #1: The Potlatch Ban

Name: Ms Harper

Grade Exploring and Expressing 11 Topic The Potlatch Ban

Date April 27, 2020 Allotted Time 140 minutes

STAGE 1: Desired Results

Rationale​:
Canada has a long and complicated history; at the centre of this history is the governmental treatment
of Indigenous people. In the previous class, students will have explored the Indian Act as a whole. This
lesson will ask students to engage with a single component of the Indian Act (the Potlatch Ban), and
how this regulation impacted Indigenous culture, in both the short and long term.

Artifacts serve an important role in Indigenous cultural identity, but are often not given the respect
they are owed. So, too, are props overlooked in performance spaces. Actively utilizing props in
performance will allow students to connect with the idea that a seemingly irrelevant object can be
very relevant to the whole.

Prior Learning:
- The defintion of ‘cultural genocide’
- Understanding of ‘genocide’ and its social impacts
- Familiarity with the Indian Act (both the document and the long term ramifications)
 
Curriculum Connections:
Understand
Big Ideas:
- WORLD HISTORY:
 -the rapid development and proliferation of technology in the 20th century led to
profound social, economic, and political changes.
- DRAMA:
- drama offers dynamic ways to express our identity and sense of belonging.

Do
Core Competency:
- generating and developing ideas ​(creative thinking)
- solving problems in a peaceful way ​(social responsibility)
- relationships and social contexts​ (personal/social identity)
- connect and share with others (to share and develop ideas) ​(communication)

Curricular Competencies:
- WORLD HISTORY:
- assess the significance of people, locations, events, and developments, and compare
varying perspectives on their historical significance at particular times and places, and
from group to group
- assess the justification for competing historical accounts after investigating points of
contention, reliability of sources, and adequacy of evidence
- DRAMA:
- create, rehearse, and refine dramatic works through collaborative and individual
presentation or performance
- analyze the role of story and narrative in expressing First Peoples perspectives, values,
and beliefs, including protocols related to ownership of First Peoples oral texts

Know
Content Standards:
- WORLD HISTORY:
- religious, ethnic, and/or cultural conflicts, including genocide
- DRAMA:
- influences of time and place on dramatic works
STAGE 2: Assessment Plan
Learning Intention(s):
- What is the Potlatch?
- What did the Canadian government hope to achieve by
banning the Potlatch? Did they succeed?
- What role did the Potlatch Ban play in the cultural genocide of
Indigenous people in Canada?
- What non-verbal strategies can we utilize in story-telling?
- In what ways can “props” or “artifacts” tell a story?

Evidence of Learning: - Group discussion

- Jigsaw Reading Activity
- Participation

STAGE 3: Learning Plan

Resources, Material and Preparation:
- Projector/computer
- Powerpoint
- Article for each student
- Jigsaw reading sheet for each student
- Extra artifacts/props
- Extra pens and pencils
- Whiteboard markers

Differentiated Instruction​:
- Some students may have difficulty taking notes and listening simultaneously; a copy of the lecture
will be given to these students following the lecture
 - Students who have difficulties with fine motor skills will be able to access the Jigsaw Reading sheet
on Google Classroom, and fill it out electronically.

Lesson Development

Connect (Hook):

Teacher will: Student will: Management: Pacing:

Teacher will welcome students
to class; take attendance;
present riddle of the day.
Students will sit down, and
answer the question of the
day as the teacher does
attendance; students will
attempt to guess the riddle
of the day.
Some students will need to 5 min
be reminded to put cell
phones away, especially
before the presentation of
the riddle (to avoid any
issues surrounding
“cheating”)

Teacher will facilitate small
group brainstorm sessions
surrounding the Potlatch.
Teacher will ask students to
share what their group
discussed.
Students will activate prior
knowledge around the
Potlatch and participate in
discussions; students will
share with class when asked.
Some students may be 10 min
unwilling to volunteer;
teacher should be prepared
to call on students by
name.
Body:
Teacher will:
Teacher conducts short
lecture about the importance
of the Potlatch to Indigenous
cultures, and the regulation to
ban it under the Indian Act.
Teacher breaks students into
groups in preparation of a
Jigsaw Reading Activity.
Teacher gives each of these
groups a primary document
discussing the Potlatch Ban to
analyse together.
Teacher shuffles groups, so
that so that students who
analyzed different documents
are now grouped together.
Teacher facilitates students
sharing information with each
other.
Teacher asks groups to share
their understanding of the
Potlatch Ban with the class.
Student will:
Students participate in
lecture, taking notes or
listening quietly.
Students join their group; in
their groups, students work
together to analyze their
primary document, filling
out a worksheet as they do
so.
Students move to new
groups; students share the
analysis of their document,
and take notes on other
students’ analysis’.
Groups report out, and
share their understanding of
the Potlatch Ban.
Management: Pacing:
Some students may need to 15 min
be reminded to keep
phones away and pay
attention.
Students may need to be 20 min
reminded how a Jigsaw
Activity works; they may
also need to be reminded
that their classmates are
counting on their
understanding of a
document, so staying on
task is important.
Teacher guidance will be 15 min
required to ensure this
shuffle moves smoothly.
5 min
Teacher reconvenes class in
the theatre, and joins the
adjoining class for question of
the day and a warm up
activity.
Students answer the Students may need to be 15 min
question of the day, and reminded that phones are
participate in the warm-up not welcome in the theatre.
activity.

Teacher asks students to Students share their family 15 min

reveal the important family
items they brought. Teacher
facilitates conversation about
the connection between
family heirlooms and artifacts
in Indigenous culture.
heirloom with the class, and
participate in conversation
about the importance of
artifacts to identity.

Teacher instructs students to
find a partner. In partners,
students tell the story of their
family heirloom.
In partners, students share
the story of their family
heirloom.
Teacher may need to 10 min
facilitate this process so no
one is left out; teacher will
need to tell partners when
to switch so both stories
are told.

Teacher instructs partners to Partners choose one 25 min

select one heirloom with
which to continue the activity.
Teacher guides pairs through
improvisation with the
heirloom, where the person to
whom the object belongs is
interacting with it while the
other partner tells its story.
heirloom to use in a guided
improvisation. Students
participate in guided
improvisation, constructing
a narrative around the
family heirloom.
Closure:
Teacher will: Students will: Management: Pacing:

Teacher dismisses students for After ensuring the 5 min

the day. performance space is clean,
students will leave for the day.

Reflection​:
T​ his lesson has not yet been taught.
Lesson Plan #2: The Repatriation of Artifacts

Name: Ms Harper

Grade Exploring and Expressing 11 Topic The Repatriation of Artifacts

Date April 28, 2020 Allotted Time 166 minutes

STAGE 1: Desired Results

Rationale​:
Many of the items we observe in colonial museums today are cultural artifacts that were stolen from
Indigenous families during the 19th and 20th century. Part of our country’s journey towards
reconciliation involves the return of these items to their true owners, but there is a great debate as to
whether or not museums should have to relinquish said items. This class will ask students to consider
the ethical implications of repatriation from both colonial and Indigenous perspectives, and invite
them to explore what remains when a culture no longer has access to the items by which their identity
was defined.

Artifacts serve an important role in Indigenous cultural identity, but are often not given the respect
they are owed. So, too, are props overlooked in performance spaces. Actively utilizing props in
performance will allow students to connect with the idea that a seemingly irrelevant object can be
very relevant to the whole.

Prior Learning:
- The defintion of ‘cultural genocide’
- Understanding of ‘genocide’ and its social impacts
- Familiarity with the Indian Act (both the document and the long term ramifications)
- The importance of the Potlatch to Indigenous culture
- The implications of the Potlatch Ban
- The role of cultural artifacts in the Potlatch
Curriculum Connections:
Understand
Big Ideas:
- WORLD HISTORY:
- the rapid development and proliferation of technology in the 20th century led to
profound social, economic, and political changes.
- DRAMA:
- drama offers dynamic ways to express our identity and sense of belonging.

Do
Core Competency:
- generating and developing ideas ​(creative thinking)
- solving problems in a peaceful way ​(social responsibility)
- relationships and social contexts​ (personal/social identity)
- connect and share with others (to share and develop ideas) ​(communication)

Curricular Competencies:
- WORLD HISTORY:
- assess the significance of people, locations, events, and developments, and compare
varying perspectives on their historical significance at particular times and places, and
from group to group
- assess the justification for competing historical accounts after investigating points of
contention, reliability of sources, and adequacy of evidence
- DRAMA:
- create, rehearse, and refine dramatic works through collaborative and individual
presentation or performance
- analyze the role of story and narrative in expressing First Peoples perspectives, values,
and beliefs, including protocols related to ownership of First Peoples oral texts

Know
Content Standards:
- WORLD HISTORY:
 - religious, ethnic, and/or cultural conflicts, including genocide
- DRAMA:
- influences of time and place on dramatic works

STAGE 2: Assessment Plan

Learning Intention(s):
- Why do museums hold 90% of Indigenous cultural artifacts?
- What does it mean to “repatriate cultural artifacts”?
- What roles do artifacts serve in Indigenous culture?
- What non-verbal strategies can we utilize in story-telling?
- In what ways can “props” or “artifacts” tell a story?

Evidence of Learning: - Group Discussion

- Debate
- Participation

STAGE 3: Learning Plan

Resources, Material and Preparation:
- Projector/computer
- Powerpoint
- Chromebooks (x 5)
- Extra paper
- Extra pens and pencils
- Whiteboard markers
Differentiated Instruction​:
- Some students may have difficulty taking notes and listening simultaneously; a copy of the lecture
will be given to these students following the lecture

Lesson Development

Connect (Hook):

Teacher will: Student will: Management: Pacing:

Teacher will welcome students
to class; take attendance;
present riddle of the day.
Students will sit down, and
answer the question of the
day as the teacher does
attendance; students will
attempt to guess the riddle
of the day.
Some students will need to 3 min
be reminded to put cell
phones away, especially
before the presentation of
the riddle (to avoid any
issues surrounding
“cheating”)

Body:

Teacher will: Student will: Management: Pacing:

Teacher conducts short
lecture about the history of
colonial museums, the
displaying of cultural items,
and how repatriation relates
to reconciliation.
Students participate in Some students may need to 20 min
lecture, taking notes or be reminded to keep
listening quietly. phones away and to pay
attention.

Teacher introduces the debate Students ask any necessary 10 min

question (Should Colonial questions about the debate
Museums Return Cultural
Artifacts?), debate format, and
places students into teams.
Teacher provides students
with the opportunity to
research their side of the
argument.
Teacher facilitates a debate
Teacher facilitates large group
discussion about the ethical
implications of this question,
and invites students to offer
their opinion.
Teacher reconvenes class in
the theatre, and joins the
adjoining class for question of
the day and a warm up
activity.
Teacher asks students to find
their partners from the
previous class, and conducts
the guided improvisation with
the other partner.
question and format, and
join their team.
Students use Chromebooks Circulating the class will 25 min
and phones to research their allow the teacher to
side of the argument, and address any concerns and
form and opinion. help groups stay focussed.
Students participate in 15 min
debate.
Students participate in Some students may not 10 min
group discussion, sharing wish to share freely;
whether their own opinion teacher may need to call on
made their stance in the students by name.
debate challenging.
Students answer question of Students may need to be 15 min
the day, and participate in reminded that phones are
the warm-up activity. not welcome in the theatre.
25 min
Partners select the second
heirloom to use in a guided
improvisation. Students
participate in guided
improvisation, constructing
a narrative around the
family heirloom.
Teacher instructs students to
choose an improvisation to
develop for an informal
performance at the end of
class. Teacher facilitates
student exploration and
improvisation.
Teacher invites pairs to
perform their
heirloom-focussed
improvisation.
Closure:
Teacher will:
Teacher dismisses students for
the day.
Reflection​:
T​ his lesson has not yet been taught.
Students select one of the
two improvisations to
develop; students work to
expand and refine the
improvisation for
performance.
Partners present their
heirloom-focussed
improvisation.
Students will:
After ensuring the
performance space is clean,
students will leave for the day.
Circulating the class will 30 min
allow the teacher to
address concerns, offer
support, and ensure
students remain on task.
One group will likely ask to 10 min
go first; teacher must be
prepared to prompt the
others.
Management: Pacing:
3 min
Lesson Plan #3: Indigenous Stereotypes

Name: Ms Harper

Grade Exploring and Expressing 11 Topic Indigenous Stereotypes

Date April 29, 2020 Allotted Time 166 minutes

STAGE 1: Desired Results

Rationale​:
Modern stereotypes and cultural understanding of Indigenous people can be traced back to colonial
interactions. In the late 19th and early 20th century, Edward S Curtis, fearing the decline of Indigenous
culture, took a series of photos and videos of Indigenous communities. For a long time, these images
were accepted as true representations of this culture, but that may not be the case. In this lesson,
students will be asked to critically engage and analyze Curtis’ images, and determine whether or not
the images positively or negatively impacted colonial views of Indigenous people.

It can be challenging to incorporate Indigenous content into the performing arts, as performance is
considered to be a sacred part of some First Nation culture. However, the performing arts provide
students with the tools necessary for the exploration and understanding of new perspectives. Using
text written by an Indigenous author allows Indigenous voices to be responsibly used in the classroom.

Prior Learning:
- The defintion of ‘cultural genocide’
- Understanding of ‘genocide’ and its social impacts
- Familiarity with the Indian Act (both the document and the long term ramifications)
- The importance of the Potlatch to Indigenous culture
- The implications of the Potlatch Ban
- The role of cultural artifacts in the Potlatch
- The broad role of artifacts in Indigenous culture
Curriculum Connections:
Understand
Big Ideas:
- WORLD HISTORY:
- the rapid development and proliferation of technology in the 20th century led to
profound social, economic, and political changes.
- DRAMA:
- drama offers dynamic ways to express our identity and sense of belonging.

Do
Core Competency:
- generating and developing ideas ​(creative thinking)
- solving problems in a peaceful way ​(social responsibility)
- relationships and social contexts​ (personal/social identity)
- connect and share with others (to share and develop ideas) ​(communication)

Curricular Competencies:
- WORLD HISTORY:
- assess the significance of people, locations, events, and developments, and compare
varying perspectives on their historical significance at particular times and places, and
from group to group
- assess the justification for competing historical accounts after investigating points of
contention, reliability of sources, and adequacy of evidence
- DRAMA:
- create, rehearse, and refine dramatic works through collaborative and individual
presentation or performance
- analyze the role of story and narrative in expressing First Peoples perspectives, values,
and beliefs, including protocols related to ownership of First Peoples oral texts

Know
Content Standards:
- WORLD HISTORY:
 - religious, ethnic, and/or cultural conflicts, including genocide
- DRAMA:
- influences of time and place on dramatic works

STAGE 2: Assessment Plan

Learning Intention(s):
- How do stereotypes affect cultural identity?
- Why is it necessary to consider bias when analysing Edward
Curtis’ photos and film?
- Why do we write/play stereotypes? What are the dangers of
doing so?

Evidence of Learning: - Image Analysis worksheet

- Group discussion
- Participation

STAGE 3: Learning Plan

Resources, Material and Preparation:
- Projector/computer
- Powerpoint
- Image Analysis sheet for each student
- Paper copies of images
- Extra pens and pencils
- Whiteboard markers
Differentiated Instruction​:
- Some students may have difficulty taking notes and listening simultaneously; a copy of the lecture
will be given to these students following the lecture
- Paper copies of the images will be provided to students who have difficulties looking at pictures on a
screen.

Lesson Development

Connect (Hook):

Teacher will: Student will: Management: Pacing:

Teacher will welcome students
to class; take attendance;
present riddle of the day.
Students will sit down, and
answer the question of the
day as the teacher does
attendance; students will
attempt to guess the riddle
of the day.
Some students will need to 5 min
be reminded to put cell
phones away, especially
before the presentation of
the riddle (to avoid any
issues surrounding
“cheating”)

Teacher will show students Students will view the film Students may need to be 3 min
the trailer for ​The Lone Ranger trailer. instructed to keep phones
starring Johnny Depp. away.

Teacher will facilitate group
discussion about the problems
with this film's depiction of
Indigenous people.
Students will participate in
discussion about the
challenges of this film’s
racial stereotyping.
This is a challenging subject, 10 min
and some students may be
surprised to learn about it.
This could result in
defensive responses.
Body:
Teacher will:
Teacher will break students
into small groups, present
them with photographs by
Edward S. Curtis, and guide
students through analysing
them using Visual Thinking
Skills, introducing information
about Edward Curtis
throughout.
Teacher will facilitate small
group discussions about how
Edward Curtis may have
contributed to racial
stereotyping of Indigenous
people.
Teacher will ask students to
share what was discussed in
small groups. Teacher will use
this sharing as a way to shift
the conversation towards
Student will:
Students will use Visual
Thinking Skills to engage
with photographs by Edward
S. Curtis
Students participate in small
group discussions, pulling on
prior knowledge as well as
information gained during
the last activity.
Students report out on what
was discussed in small
groups.
Management: Pacing:
It may be necessary to 25 min
conduct this activity as a
class, depending on
comprehension and
understanding.
This is a challenging subject, 10 min
and some students may be
surprised to learn about it.
This could result in
defensive responses.
Circulating the class will
allow the teacher to
address any concerns and
ensure the conversation
stays amicable.
Some students may be 5 min
unwilling to share; teacher
may need to call on
students by name.
social acceptance of
stereotyping.
Teacher will place students in
small groups, and ask them to
find a depiction of a
stereotype in film, television,
or advertisement, and
consider how the associated
identity could have been
depicted more respectfully.
Teacher asks groups to briefly
share their discoveries.
Teacher reconvenes class in
the theatre, and joins the
adjoining class for question of
the day and a warm up
activity.
Teacher will cast students in
roles, and facilitate reading
Where the Blood Mixes​ by
Kevin Loring.
In small groups, students
find a depiction of a
stereotype in entertainment,
and brainstorm how the
identity could have been
depicted more respectfully.
Students share their
discoveries with the group.
Students answer question of
the day, and participate in
the warm-up activity.
Students are cast in roles,
and participate in a group
reading of ​Where the Blood
Mixes​ by Kevin Loring.
Circulating the class will 15 min
allow the teacher to
address any concerns and
ensure students remain on
task.
Some students may be 10 min
unwilling to share; the
teacher may need to call on
students by name.
Students may need to be 25 min
reminded that phones are
not welcome in the theatre.
This is a long time to sit still 55 min
doing a single task; it is
likely that brain breaks and
opportunities to stretch will
need to be incorporated.
Closure:
Teacher will: Students will: Management: Pacing:

Teacher dismisses students for After ensuring the 3 min

the day. performance space is clean,
students will leave for the day.

Reflection​:
T​ his lesson has not yet been taught.
Lesson Plan #4: Immersive Theatre

Name: Ms Harper

Grade Exploring and Expressing 11 Topic Immersive Theatre

Date April 30, 2020 Allotted Time 166 minutes

STAGE 1: Desired Results

Rationale​:
Immersive Theatre is a genre that allows audiences to viscerally engage with a story. Like museum
exhibits, these performances were created with a narrative in mind, but how that narrative is
interpreted lies with each individual audience member. This class will provide students with a
foundational understanding of the genre - this will be very important when it comes to the creation of
their final, collaborative project.

It can be challenging to incorporate Indigenous content into the performing arts, as performance is
considered to be a sacred part of some First Nation culture. However, the performing arts provide
students with the tools necessary for the exploration and understanding of new perspectives. Using
text written by an Indigenous author allows Indigenous voices to be responsibly used in the classroom.

Prior Learning:
- The definition of ‘cultural genocide’
- Some familiarity with the Indian Act (long and short term ramifications)
- Comfort with the section of the play read the previous day (either in class or independently)
- Some understanding of immersive theatre as a concept
 
 
 
 
Curriculum Connections:
Understand
Big Ideas:
- WORLD HISTORY:
- the rapid development and proliferation of technology in the 20th century led to
profound social, economic, and political changes.
- DRAMA:
- drama offers dynamic ways to express our identity and sense of belonging.

Do
Core Competency:
- generating and developing ideas ​(creative thinking)
- solving problems in a peaceful way ​(social responsibility)
- relationships and social contexts​ (personal/social identity)
- connect and share with others (to share and develop ideas) ​(communication)

Curricular Competencies:
- WORLD HISTORY:
- assess the significance of people, locations, events, and developments, and compare
varying perspectives on their historical significance at particular times and places, and
from group to group
- assess the justification for competing historical accounts after investigating points of
contention, reliability of sources, and adequacy of evidence
- DRAMA:
- create, rehearse, and refine dramatic works through collaborative and individual
presentation or performance
- analyze the role of story and narrative in expressing First Peoples perspectives, values,
and beliefs, including protocols related to ownership of First Peoples oral texts

Know
Content Standards:
- WORLD HISTORY:
 - religious, ethnic, and/or cultural conflicts, including genocide
- DRAMA:
- influences of time and place on dramatic works

STAGE 2: Assessment Plan

Learning Intention(s): - What is immersive/experiential theatre? What purpose does it
serve?
- In what ways can “setting” tell a story?
- In what ways can “props” or “artifacts” tell a story?

Evidence of Learning: - Group Discussion

- Group Research and Presentation
- Participation

STAGE 3: Learning Plan

Resources, Material and Preparation:
- Projector/computer
- Powerpoint
- Chromebooks (x 5)
- Poster paper
- Extra pens and pencils
- Whiteboard markers
Differentiated Instruction​:
- Some students may have difficulty taking notes and listening simultaneously; a copy of the lecture
will be given to these students following the lecture
Lesson Development
Connect (Hook):
Teacher will:
Teacher will welcome students
to class; take attendance;
present riddle of the day.
Teacher will ask students if
they have ever attended an
immersive performance, and
facilitate a conversation about
the ways this performance
made the students disconnect
from reality.
Student will:
Students will sit down, and
answer the question of the
day as the teacher does
attendance; students will
attempt to guess the riddle
of the day.
Students will share previous
experiences with immersive
theatre.
Management: Pacing:
Some students will need to 3 min
be reminded to put cell
phones away, especially
before the presentation of
the riddle (to avoid any
issues surrounding
“cheating”)
Students may have no 10 min
understanding of what
immersive theatre is, or if
they’ve experienced it.
Teacher should be prepared
to prompt them (haunted
houses, corn mazes,
museum exhibits, etc)
Body:
Teacher will:
Teacher will introduce
students to the Immersive
Theatre genre, by means of a
short lecture. Punchdrunk’s
Sleep No More​ will be used as
a “case study” for this form of
theatre.
Teacher will break students
into groups; half the groups
will be instructed to conduct
research about Punchdrunk’s
use of props in their
story-telling. The other groups
will focus on place and setting.
Students will be instructed to
organize their findings in a
presentation format (either a
very basic powerpoint, or a
large piece of paper with
notes)
Teacher asks groups to
present their findings.
Student will:
Students will participate in
lecture, taking notes or
listening quietly.
Students join their groups,
and conduct research (watch
trailers and media clips;
explore social media,
websites, and play reviews;
read the show programs) on
their assigned topic.
Students will condense their
research into a presentation
format.
Students present their
findings to the class.
Management: Pacing:
Some students may need to 20 min
be reminded to keep phone
away and pay attention.
Circulating the class will 30 min
allow the teacher to
address any concerns and
ensure students stay on
task.
If students choose to create 20 min
a ppt, they will need to be
given time to pull it up on
the projector.
Teacher reconvenes class in
the theatre, and joins the
adjoining class for question of
the day and a warm up
activity.
Teacher recasts students in
roles, and facilitates a group
reading of ​Where the Blood
Mixes​ by Kevin Loring, picking
up where class ended the
previous day.
Closure:
Teacher will:
Teacher dismisses students for
the day.
Reflection​:
T​ his lesson has not yet been taught.
Students answer in question
of the day, and participate in
the warm-up activity.
Students are recast in roles,
and participate in a group
reading of ​Where the Blood
Mixes​ by Kevin Long, picking
up where class ended the
previous day.
Students will:
After ensuring the
performance space is clean,
students will leave for the day.
Students may need to be 25 min
reminded that phones are
not welcome in the theatre.
This is a long time to sit still 55 min
doing a single task; it is
likely that brain breaks and
opportunities to stretch will
need to be incorporated.
Management: Pacing:
3 min