A Note on the Co er Page

The co e page fea e he fo colo fo nd on he Medicine Wheel

hi e ello ed and black

A mbol of Mi kmaq and o he Indigeno c l e he Medicine Wheel ep e en a io a pec

of he na al o ld incl ding he ea on of he ea and he ca dinal di ec ion

Ackno ledgements

We o ld like o hank Mi kmaw Elder Junior Peter Paul for granting

the NAC permission to share his musical work.
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Mi kmaq M sic C lt re
Cultivating a uniquely rich and colourful culture, the Mi kmaq People have lived in their traditional lands referred
to as the Mi kmaq ki for thousands of years. In terms of geographical area, the Mi kmaq ki comprises Prince
Edward Island, Nova Scotia, the Gaspé of Quebec, and parts of New Brunswick, Newfoundland, and the State of
Maine. Akin to many other Indegenous groups within what we now call Canada, the Mi kmaq culture bears
deep rooted connections to the natural world. The culturally fixed interconnectedness between the Mi kmaq
People and their environment is evident in Mi kmaq traditional ways of life, belief systems, arts, and a wide
variety of other cultural practices. Enduring the attempted assimilation of Indigenous cultures in the wake of
European colonization, the Mi kmaq People and associated culture remains profoundly resilient today.

Music holds a great importance within the Mi kmaq culture. In the same way that knowledge and stories have
been communicated from time immemorial, traditional song and dance continue to be handed down from one
generation to another. Today, this form of musical expression remains an important element of Mi kmaq cultural
ceremonies including spiritual rituals, powwows, and other forms of gathering.

Introd ction o Lesson Plans

The information shared in this work is presented to increase Indigenous knowledge and develop skills in singing
and dancing in Mi kmaq while having fun. Having this knowledge at a young age can be the starting point of
reconciliation, bringing our communities together in song and dance. When we share these things, we are
welcoming others to see where we come from and what it means to us to be Indigenous.

There will be three songs, and one dance intermixed with stories and language learning. Eventually, each child
will know how to say hello in Mi kmaq. We hope that these children the leaders of tomorrow enjoy the songs
and dances. Learning about and respecting Indigenous culture brings us one step closer to reconciliation with
each other.

The Big Idea 1. Learning about the Mi kmaq Culture through music and dance

Curricular Competencies 1. Choose elements, processes, materials, movements, technologies, tools,

techniques, and environments of the arts

2. Apply learned skills, understandings, and processes in new contexts

Content 1. Elements in the arts, including but not limited to: body, space, dynamics,
time, relationships, and form

No e De c ip ion and p on ncia ion fo ph a e depic ed in red a e di pla ed in he glo a ha follo he

le on plan Addi ionall con ib o biog aphie and a li of e o ce and ma e ial fo f he lea ning i
al o incl ded a he end of hi doc men
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The Learning E perience B eakdo n

The dance lesson featured in day two embodies understanding of biological processes in nature expressed
through four of the elements of movement: body, space, dynamics and relationships.

Bod Wha 1. Locomotor (travelling) movements: walk, run, hop one foot to same foot ;

a. Standing in a circle holding hands

b. Moving arms in a circular motion while moving feet to the right with a
side step for your feet
c. Ending with all dancers in centre around the drummer and moving back
for next round where you dance to the left this time

2. Non-locomotor (stationary/axial) movements: Stretch extend, bend flex,

twist, rotate, etc

a. Turn, rise grow, elevate, fall, swing, rock, shrink, shake, enclose, open,
close, etc
b. Theme is together, moving forward to let go of the negative

Space Whe e 1. Place: Place large enough for everyone to be in a circle

2. Size of movement: big, small

3. Size of reach: near, mid, far

4. Level: low, medium, high

5. Directions: forward, back, sideways right left , diagonal, upward,

downward

6. Pathways: floor and traced in air curvy, straight

7. Shapes: curved, straight, angular, twisted, asymmetrical, symmetrical, still

forms

. Laban Movement Analysis: pin long, linear , ball round, spherical , wall
flat, wide , pyramid wide base with point on top , screw twisted, spiraling

D namics Ho 1. Qualitative vocabulary: Mi kmaw chant

2. Qualities combining different effort factors:

a. Weight: strong light

b. Time: quick sustained
c. Space: direct indirect

Rela ionships Who 1. Individual/group and environments: near, gathering, together

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Da K e

1. Display the following Mi kmaq welcome to your students. Once you have learned it yourself, recite the welcome
out loud in a confident voice: “Kwe, pjila’si, en teluisig (your name)”

Mi’kmaq Word Kwe Pjila’si en Teluisig

English phonetics k way ip jill ahh see une dell ooh ee see

English Translation Hello Welcome My name is ...

2. As a class, practise saying each individual word together. Next, encourage each individual student to recite the
welcome phrase with their own names added.

3. Share with the class your acknowledgement of the territory on which you are gathered upon. This might be said
in the following manner: “I would like to acknowledge that we are gathered upon unceded, sacred Mi'kmaq
Land.” A statement like this might lead some students to challenge their own existing ideas on land ownership.
Be prepared for open discussion and reflection.

4. It is time to sing the Tahoo ta hoe Song, written by Mi kmaw Elder Junior Peter Paul. As the educator, it is your
role to learn, teach, and lead the singing of this song. Students will only need to learn one word in order to sing
along. This word is “Tahoo.” A loose translation of this word in English would be amen When attending a Pow
wow or Mawiomi, a community member who hears something they agree with or enjoys might yell Tahoo

Listen to the Tahoo Song at the following webpage:

h ps o be GQi nS Pbs

Tahoo Song Lyrics

Repeat 3x ; introduce clapping on the beat

Way ha way hi ya
Way ha way hi ya ha
Way ha way hi ya
Let’s sing a big Tahoo
TAHOO everyone

5. The discussion should now transition to a historical cultural narrative of the Mi kmaq People. Ask the students:
Whe e do o hink he Mi kma li e Explain to students that the traditional area lived in by the Mi kmaq is
referred to as “Mi’kmaq’ki” Mig mah gee . This land encompasses Prince Edward Island, New Brunswick, Nova
Scotia, Newfoundland, a part of Quebec, and a part of Maine in the United States.

6. Next, introduce the idea of a Creation Story. Explain that we all have a creation story different beliefs of how
we came to be. Encourage students to share the stories and experiences that have led to who they are today.

7. Explain that the Mi kmaq Creation Story began many years ago. Give students the option of closing their eyes
while they listen to the Mi kmaq Creation Story as you share it aloud:
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Mi’kmaq Creation Story

The story of where the Lnu or the Mi kmaq People all came from starts long, long ago. In the beginning, there
was only darkness and the Wise One. The Wise One lived in that darkness all alone, and he held all the
knowledge and wisdom of what had to be done. One day, he looked around the darkness and decided it was
time to bring light Leaving it dark would just not be right.

He began to use his lips and whistle, and with this music coming from his strong mouth and lips, he created
stars and then the entire universe The Wise One was very happy with the beauty he had just created but
soon he realized that he was still alone with no one to share his joy with. And so, he decided to create a
Companion a friend someone he could share all of his knowledge with.

The Wise One then began to create beautiful red clay that he molded into a shape of a man, and with the
power from the Wise One s mind and body, he created Glooscap This man was created with extra human
strength and power Glooscap s body had the strength of ten people, and his mind was very, very smart.
Together, they created the beautiful Mniku Island of Prince Edward Island. Just as the Wise One had created
Glooscap, together, they molded the rich red clay to form a home for the Mi kmaq People here. They were so
inspired by the beauty of their creation, they thought this new land would be fit to place in the stars. But, after
some time of thinking, they decided to place it in St. Lawrence, and they call it Epgewitg Ep be gwit or
cradle in the waves. Together, they knew it was time to now create people who would look just as they looked.
Thus, they took the bright red clay and molded it to create the Mi kmaq People.

The Wise One sent Glooscap to go and stay with the newly created people and Glooscap taught them how
to hunt and fish, to trap, and to find and harvest the medicines they would need in order to stay healthy.

Mi’kmaq Traditional Government

Prior to European colonization, the Mi kmaq People did not have a centralized or permanent system of
governance. In modern times, however, Mi kmaq governance is closely integrated within the contexts of
Western society. Following initial contact with European settlers, the Mi kmaq People established seven
districts similar to our Provinces in Canada. Within this system each district would appoint an Elder who
represents them at the Grand Council which would be like the national government office. There would be
elections to decide who would be the leader of the Grand Council, and they would be called the Grand Chief.
Each community would have a leader that would be called Saqamaw sag a maw or chief.

. Conclude the creation story with an acknowledgement that this has been a lot of information to consider.
Encourage students to discuss what they have learned and to ask any questions that may have come to mind.
Try challenging the students to answer the following questions.

A. What did the Wise One create first?

B. How strong was Glooscap?
C. What was the name of the leader of the Grand Council?

. As a final wrap up to this lesson, revisit the Tahoo Song from before Those who were at first shy or reluctant
to participate may now be more comfortable in engaging with the song.
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Da Amalka
1. Just as you did in the first lesson, begin with the Mi kmaq welcome. Lead the group in reciting the phrase as a
group, and then individually: “Kwe, pjila’si, en teluisig (your name)”

2. Next, revisit the Tahoo Song. Encourage students who feel more comfortable with the song to assist in leading
those who might not yet feel confident. Sing through the song as a group.

3. It is time to introduce the Round Dance. Present the following narrative to your students:

Background for the Round Dance

Long long ago, the Mi kmaq People lived all over the beautiful land of Mi kmaq ki just as we learned last time.
Now, you will learn that they lived in small family units in the winter. They would find the perfect place, build a
lodge, and live there together all winter long. These families all looked different, just as they do now. Some
families lived with their parents and grandparents, some lived with their siblings, and sometimes it could just
be a couple. Now, all winter long they still hunted, and at night, they would sit and tell stories by the fire. This
is how they shared their past, their culture, and their traditions. Once spring came, the air got warmer and the
ice slowly melted. It was time to gather and celebrate the survival of another winter. This usually took place
around June 21st. The Mi kmaq people would come back to their communities and dance, sing, feast, and visit
with friends and families. This was a time of joy, and many songs and dances came from that time of
gathering. The one we would like to share today is the round dance.

Listen to the Round Dance song at the following webpage:

h ps o be ceq kQMVh

Round Dance Song Lyrics

You way hi ya ha you way hi ya

You way hi ya ha you way hi ya
Way hi ya, yo way hi ya, yo way hi ya
You a hi ya WAY hi ya, WAY hi ya yooo way
You way hi ya, ah you way hi ya
You way hi ya, ah you way hi ya
Way hi ya, hi yo, yo way, hi ya hey oh
You way hi ya, way hi ya, way hi ya, yo way

4. Once students are familiar with the Round Dance song, it is time to learn the accompanying steps and
movements. Have the students stand up and stretch, and then hold hands in a circle.

5. Explain to the students that they will learn the Round Dance one step at a time, beginning with their hands, then
their feet, and then their shoulders.
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Arms While holding hand in a ci cle he a m ho ld mo e in ci cle like he heel of a ain T

ing he o nd ch gga ch gga ch gga ch gga S den ho ld make mall ci cle a he hold
he hand of hei neighbo like he a e acing a a e melon The mo ion ho ld ake pa mo l
f om he elbo do n

Fee The g o p ho ld begin o mo e in a clock i e di ec ion The igh foo ep o e o a d he

pa ne on he igh Then he lef foo mo e o e o o igh foo T a ing ep and oge he
ep and oge he Thi i a imple and f n ide ep and o ng people ca ch on o hi fa

Sho lders If o feel ha he g o p i ead fo a challenge i i ime o lea n he ho lde mo emen

A he a m ci cle p h he ho lde and a m p hile hand a e p and le hem fall a o hand
go in do n a d mo ion The bod ill na all end p doing hi b fo ho e o ng one ha an
o do pe fa po e ci cle i h hei hand i ho ld lo hem do n o he na al h hm

Le el S anding in he cen e of he ci cle hile pe fo ming a ead h hm on a d m o

pe c i e in men of o choice ha e he cla mo e in a clock i e di ec ion
E plain ha in he Ea he Ro nd Dance al a begin clock i e ho e e in he
We all ce emonie and dance begin co n e clock i e

Le el Af e he cla ha ni hed inging he Ro nd Dance ong ha e he g o p emain

holding hand E plain o he den ha in o de o ge id of all he nega i e
ene g he ill gi e a g ea big ell a he co n of h ee

Yo migh a
Are o read Are o reall read One T o Three

Ha e he cla alk o a d o Once den ha e eached he cen e he

ho ld emb ace he g o p i h a big h g

Le el While e e one i a he cen e of he ci cle epea he ong once mo e i h he

g o p mo ing in a co n e clock i e o a ion A he ame ime he g o p ho ld
al o begin o pace back o in o he la ge ci cle

Le el Once den ha e become comfo able i h he mo emen o a e enco aged

o in i e one o o h ee den o ake o place in he cen e of he g o p
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6. After completing the Round Dance, have the group return to their regular positions in the classroom for a period
of discussion and reflection. Lead the discussion by asking the following questions:

A. How did that make you feel?

B. Do you think it is hard to stay angry or sad while dancing together?
C. Did you get all that negative energy out?

7. Ask the students what they believe negative energy means. Explain that negative energy is when someone says
something to you or you think of something that makes you angry or sad. These are not fun feelings, but when
you dance, sing, and have a group hug, you let go of the negative energy by sending it up into the air.

. Once again encourage students to discuss what they have learned and to ask any questions that they might
have. You might choose to test the memory of the group by asking the following questions:

A. What type of dance is You Way Hi Ya?

B. When and why did the Mi’kmaq do this dance?
C. Did the Mi’kmaq live all together in the winter?
D. What do you say when you think something you do or hear is good?

. Acknowledge the hard work and participation of the group and encourage them to follow up with any
questions that arise following the past two lessons.

Glossary of Key Terms Phrases

Amalkay I am Dancing
Creation Story The story of how the Mi kmaq People first came into existence
Elder — A representative of the Mi kmaq People
Epegwitg Ep be gwit Meaning cradle in the waves, the land created by the Wise One and Glooscap
Glooscap A man with extra human power created by the Wise One
Grand Chief The elected leader of the Grand Council
Grand Council A governing body comprised of Elders who represent the seven districts of the Mi kmaq
Kwe, pjila’si, en teluisig K way ip jill ahh see une dell ooh ee see Hello, welcome, my name is...
Lnu Ell nu Mi kmaq; First Nations; Indigenous Person
Mi'kmaq'ki Mig mah gee The traditional area lived in by the Mi kmaq people
Mniku Mini goo Island
Negative Energy Feelings of sadness or anger
Round Dance A traditional Mi kmaw dance, performed in celebration
Saqamaw Sag a maw Also known as the Chief, the leader of a Mi kmaq community
Tahoo Ta hoe An expression of agreement and or enjoyment
The Wise One The creator of Glooscap, Epegwitg, and the Mi kmaq People

Listen to p ope p on ncia ion a he follo ing ebpage

h ps o be A S DoVYO
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Related Reso rces Materials

Mi’kmaq Groups Organizations Mi’kmaq Music

The Mi’kmaq Confederacy of PEI Eastern Owl

h p mcpei ca h p ne jo ne ca en a icle ea e n o l

Lennox Island First Nation, PEI Wolf Castle

h p lenno i land com h p m icnb o g en di ec o olf ca le

L’nuey Moving Towards a Better Tomorrow Emma Stevens

h p ln e ca h p cel ic colo com a i emma e en

Gespe’gewa’gi Mi’gmaq: Speaking About Our Land Quinn Bonnell

h p abo o land ca h p nikamo in com en a i inn bonnell

Mi’kmaq Visual Performance Art Mi’kmaq Theatre Literature

Ursula Johnson Rita Joe

h p lajohn on ca h p nac cna ca en bio i a joe

Loretta Gould Megan Gail Coles

h p na i ecanadiana com a i lo e a go ld h p en ikipedia o g iki Megan Gail Cole

Alan Syliboy Mi’kmaq Legends

h p alan libo ca h p mikma legend com

Leonard Paul Daniel Paul

h p leona dpa l com h p en ikipedia o g iki Daniel N Pa l
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Contrib tor Biographies

Julie Pellissier-Lush M.S.M, actress, and bestselling author of M Mi kma
Mo he , Poet Laureate for PEI, recipient of the Queens jubilee medal in 2013,
the Meritorious Service Medal recipient in 2017, and the Senators 150 metal in
April 2019. She grew up all over Eastern Canada and spent a number of years
in Winnipeg, Manitoba, before coming back home. Julie is a graduate from the
University of Winnipeg in 2000 with a double major in Psychology and Human
Resource Management. She writes, acts, and does photography to preserve
the history and culture of the Mi kmaq for future generations. Julie wrote the
poems for the play Mi kmaq Legends which has been performed on many
different stages in the Atlantic region. It is her hope that this play will someday
travel across Canada and beyond so more people have the opportunity to
learn about the rich Mi kmaq history Julie lives in PEI with her husband Rick,
her five children, and her granddaughter Miah.

Richard Pellissier-Lush is a Mi kmaq man from Lennox Island First Nation, PEI.
His passions are based on his Mi kmaq culture, traditions, loyalty and love of the
First Nations communities and his family, the Mi kmaq People. Richard works
with L nuey as an Engagement Officer and he previously worked with the PEI
Aboriginal Sport Circle and was heavily involved with the two First Nation
Communities here in PEI, his biggest strength is working with his Mi kmaq
brothers and sisters. Richard graduated and was selected to be the Valedictorian
of his 2012 Sport Leisure Management Program, and continued his Education
at the University of Manitoba. Richard is one of the founders and original
members of Mi kmaq Legends Mi kmaq Heritage Actors , an all Indigenous
Theatre Group that specializes in telling the stories, traditions, songs, dances, and
culture of the Mi kmaq from the past, and present. He has acquired and thrived in
skills of public speaking, hosting engagement sessions, and educating
non Indigenous and Indigenous people of the Mi kmaq on PEI, as well as working
with and teaching the next generation about their culture and traditions. Richard is passionate about working
with First Nation Communities to make sure the Mi kmaq People know their rights, understand their rights, and
help build a future for all L nu that is strong and can flourish seven generations from today.

Ryan Elliot Drew is a musician, educator, and freelance creative currently based
out of PEI, Canada. Ryan s work as a performer and recording artist blends his
formal training in concert percussion with a passion for contemporary and
popular styles of music. In addition to regularly performing with professional
ensembles such as the PEI Symphony Orchestra, Ryan has appeared in venues
and on stages across North America including Red Rocks Amphitheatre in
Denver, Colorado, and the Capitol Records Building in Los Angeles, California. As
an educator, Ryan is a Teaching Artist with the National Arts Centre NAC Music
Alive Program, the Educational Outreach Coordinator for the PEI Symphony
Orchestra, and he has developed extensive music and culture curriculum for the
Montessori School of Charlottetown and his own private studio. Ryan holds his
Bachelor of Music from UPEI, and is currently completing graduate research for
his Master in Global Affairs with the Universidad Rey Juan Carlos URJC located
in Madrid, Spain.