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  • Special NACI Episode: Native Voices Framework

    Special NACI Episode: Native Voices Framework
    2024/07/02
    Episode 42: Artful Teaching Podcast Special Episode: Native Voices FrameworkHeather 0:00Welcome to the artful teaching podcast! It's been a while. This is Heather Francis and I am back as a co-host for this show to produce a special episode with my friend Stephanie West. She and I are going to be discussing a framework that she has developed as part of her doctoral studies. It's called the Native Voices Framework. She's going to fully describe it in just a moment, but to get listeners right on the topic of what Native voices are: There's the Tribe. You have a Sovereign Nation. They have someone that they've appointed to speak for the Tribe. It's someone sanctioned by the Tribe to be their voice. That is an official type of voice. But then you can have a neighbor who lives next door who has Native heritage, and they have Native experiences and perspectives to share as well. Then you might go into your student’s or child's school and see a Native artist presenting something, and they are another type of Native voice to share. So it's important in education, when we're looking to amplify Native Voices, that we understand these different voices and the different values that they evoke and share with us. Stephanie West 1:29You talked about the Native Voices Framework as being part of my doctoral work, and yes, it is, but this really started before then. We've shared content about this for years, so I can't say that this is my work, but more that I have been given the privilege of expanding on it as we've continued to learn more about these different perspectives that are available to us, as well as some missing pieces, which I'll talk about in a second, that help us to clarify how teachers might frame those perspectives and understand how those different various voices, Native voices, can impact their teaching of Native topics.Heather Francis 2:11 This framework is coming out of content that our program coordinator and program manager have been presenting in workshops for several years. And it's really great, Stephanie, that you're formalizing it. We love to see this kind of deep research and thinking. So the first question is, what is the framework? What is the Native Voices Framework?Stephanie West 2:31A framework is something that helps us to organize the information that's available to us and make it more applicable to our own work. The Native Voices framework, the image that we've created, which you can see on our website, is in the form of a circle. We felt it was really important to communicate both visually as well as through words. That is more of an Indigenous pedagogy, to also use shapes to communicate information. We have this circle that has a ring of individuals around it that have their hands connected. There's also some coloring to that circle. There's a deep red color as well as a black color, and they kind of blend into each other. It's concentric circles. The image that we currently have is two dimensional. I would love to have it recreated in a three dimensional shape. If we were to see it three dimensionally, I would see it as more like a cone, where it's wider at the base, and comes up to a point at the top. That point at the top is the focus. But the base visually communicates the different values that influence both our teaching of Native topics, as well as the different values that might influence different Native perspectives. We put that on a continuum of both Native values as well as Western values. And most educational systems are Western. Heather Francis 4:15Yeah, that's the world we exist in. When we say there's Native perspectives and Western perspectives, we're not saying that it's this against that. We know our own culture, that's one of our guiding principles. We do operate in a very western perspective, and it has certain values underlying it, just like Native perspectives have certain values underlying them. We're just including both of them in this framework.Stephanie West 4:41One piece of this framework that's helpful when it comes to the values is that, yes, we put it on a continuum, because they're not completely contradictory, but they can be very different. It's also helpful when you have a framework. We don't necessarily, as teachers, think about, how does this value influence the way that I teach? Often, we just have values, and they're just part of our lives. But by having this framework, it encourages teachers to be able to consider, “Oh, this might be the reason why I'm choosing to do it this way.” By making it more evident, we hope that teachers can be more thoughtful in the ways that they include those different values in their teaching. Especially with Native teaching, because for it to be accurate and authentic, you have to make sure that it aligns well with Native values. Native Values of Community, Relationship, Responsibility, Reciprocity, & Holism:Stephanie West 5:40I looked at lots of different content and also reflected back on our ...
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    28 分
  • Native American Series 4 | Making Friends with Native Americans

    Native American Series 4 | Making Friends with Native Americans
    2023/04/17
    Episode Resources:Utah Department of Culture and Community EngagementNative American Teaching Artist Roster: Utah Division of Arts and MuseumsList of Utah Title VI Coordinators Native American Curriculum Initiative Websitewww.advancingartsleadership.com/naciNative American Lesson Planswww.education.byu.edu/arts/lessonsAbout the BYU ARTS Partnership https://advancingartsleadership.com/node/66Episode Notes:Cally Flox: Welcome to the Artful Teaching podcast. I'm here with co-host Heather Francis. We have two guests with us this morning, Emily Soderborg, project manager of the Native American Curriculum Initiative, and Brenda Beyal, project coordinator of the Native American Curriculum Initiative. Brenda, we've been answering questions from our teachers, and we have a list of questions here that we've been trying to get to. Let’s jump right in. Our listeners want to know: “How do I meet, connect with, and make friends with Native Americans in my community?”You May Already Have Native American FriendsBrenda Beyal: You have already met Native American people. You probably have friends that are Native American. The assumption that there are different communities that we have to walk into, to meet people and make friends, is probably something that we need to do away with. There are Native Americans all over the United States—we're still here. We are contributing members of the community. If you want to make friends or get to know a little bit more about culture, there are many opportunities that you can look for. One is to see if there are any community outreach programs, like in our community, there is the Utah Department of Culture and Community Engagement. Go to their website and you will find a lot of information on different events that may be happening. There are always series or lectures going on; there are museums that you can visit that are maybe hosting an art show done by Native Americans; and, you can also reach out to the Title VI program in your school community. I know that in our community, right now, it's winter. There are storytelling events that are going on up and down the Wasatch Front that you can find out about. It is quite easy to find events that you can go to. But I want to ask Emily, as a non-Native, how would you approach going into an event or, you know, just becoming a part of maybe a celebration?Building Confidence to Participate in Native EventsEmily Soderborg: I think the biggest thing is just observing first, having a really open mind. I will just go and take my family places; oftentimes, I don't know anyone, but I'll just sit and observe and watch and see how other people are interacting. Be open to try new things. People that I follow on social media, I get information. This helps me to know a little bit about what's going on—just a little bit— which helps me to have conversations that feel more comfortable. Oftentimes, if you have absolutely no idea, no background, then you don't know how to start a conversation with someone. Having just a little bit of information, understanding that there are no wrong questions, believing that we can honestly, openly, and sincerely ask questions, then the people that we're interacting with, whatever differences they may have, whatever culture they may be from, they will recognize that and they will respond. I know I've asked questions in the wrong way in the past, and I've learned from that. The people that I was talking to said, “Oh, that's probably not the best way to ask that question. Here's a different way to ask it.” For example, asking the question, “Where do you come from?” isn't the best question. Instead, more appropriate questions are, “Can you tell me about your background?” “Can you tell me where your accent comes from?”“Can you tell me where your language is from?” I've learned from asking questions because I really want to know, and from just doing a little bit of research, so I know what types of questions are appropriate or what things I should ask. Finding the students in your classroom that are Native and connect with their parents. Asking parents questions has been really helpful for me too.Asking Questions Appropriately Helps Build Community Cally Flox: Emily, talking about the students in schools—during Arts Express 2022, we had many Native American artists who were there presenting, and each of them shared their stories as they presented. I was struck by how many of them grew up with their friends and their teachers thinking they were Hispanic rather than Native American. Because of that misunderstanding, they never even had a chance to share what their heritage is, and where their relatives came from, or what they connect with, or associate with. To hear that over and over again: “They thought I was Hispanic.” “They didn't understand what my braids meant.” How simple it is to ask questions! You offered great ideas, Emily, teaching us how to ask authentic and ...
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    18 分
  • Native American Series 4 | Fourth-Grade "Utah Indians" Song

    Native American Series 4 | Fourth-Grade "Utah Indians" Song
    2023/03/16
    41. Native American Series 4 | Utah 4th-Grade Song “Utah Indians”Episode Keywords:NACI, Native American Curriculum Initiative, teachers asking appropriate questions about Native content, cultural appropriation, addressing Native stereotypes, indigenous pedagogy, Native American lesson plans, authentic voice, Artful Teaching podcast, Native American, classroom, indigenous pedagogy in the classroom, lesson plans, Native American, tribe, NACI authentic experience, teachers, culture keepers, share, curriculum, lessons, indigenous education, culture, Native American cultural arts, sovereign nation, song, Native American song, Northwestern Band of the Shoshone Nation, Shoshone Fish Song, choosing appropriate books, Native American children’s books, decision-based model for Native content, tipi, eight sovereign nations, Utah Educational NetworkEpisode Resources:Decision-Based Model for Selecting Appropriate Native American Content for the ClassroomBlog Post: Answering Teachers’ Questions about the “Utah Indians” SongHow to Choose Native American Children’s Books for the ClassroomUtah Educational Network Resource: Five Tribal Groups, Eight Sovereign NationsI Love the Mountains–Damen Doiya lesson planNorthwestern Shoshone Fish Song lesson planShi Naasha lesson plan: Coming soon! Native American Curriculum Initiative Websitewww.advancingartsleadership.com/naciNative American Lesson Planswww.education.byu.edu/arts/lessonsAbout the BYU ARTS Partnership https://advancingartsleadership.com/node/66Episode Notes:Why “Utah Indians” from Utah’s Popular Fourth-Grade Program is a Song to Set Aside Cally Flox: Welcome to the Artful Teaching podcast. Today we address the next question teachers have asked our Native American Curriculum Initiative experts, Brenda Beyal and Emily Soderborg. In our state, we have a wonderful program that was created in the 1990’s called “This is the Place.” It was written and based on people's understanding and the cultural zeitgeist of the day. Over the years, a sense of awareness emerged that one of the songs on that program, called “Utah Indians” is not ideally suited for representing Native American culture or Native American people. Over and over and over again, we get questions from teachers about this song: “Wow, is this song okay?” “Can I sing this?” Teachers now know to ask the questions, and they are asking intelligent questions, noticing: “This song supports stereotypes.” “This song is saying things that aren't really true.” “This song has that stereotypical beat.” Teachers are learning to ask the right questions. They’re asking, “Can I use this song?” “What do I do?” Brenda Beyal is the Program Coordinator for Native American Curriculum Initiative (NACI), and Emily Soderborg is the NACI Project Manager. They're here to help us answer that question today.Brenda Beyal: Thank you, Cally. We have had this question over and over again. When this song was first created, it was acceptable to people in general. Now, in 2023, we have viewpoints and perspectives that have changed. At this point, this song is probably verging on creating a narrative that is inaccurate for children. We want to do what's best for children. We want them to view their fellow friends and fellow community members in a way that is authentic and accurate. I don't know if this song does that.Cally Flox: This is a song, based on our criteria, that we recommend be set aside.Brenda Beyal: Yes.Cally Flox: Too many inaccuracies exist in the song for a simple explanation for children in the classroom. For example, if we're choosing a children’s book, and there are one or two inaccuracies, we can show those to the children and still use the book with modifications. This song is one that needs too many modifications. It's time to set it aside. “Utah Indians” Song Perpetuates Stereotypes of Native AmericansBrenda Beyal: Right. Perhaps you're a teacher that is on a team that possibly uses the song, or you need to talk to an administrator about the song. Here’s how you can explain why the song “Utah Indians” marginalizes communities. There are a couple of things that we find in the song that are uncomfortable. For example, the very first words of the song—which is supposed to be about Native people—are actually sharing the original perspective that the song comes from.Cally Flox: Will you tell us what it says in the beginning of the song?Brenda Beyal: It's, “When white man came…” This song actually tells you what perspective the song is coming from.Cally Flox: That's an honest point of view. This is a song written from white man's point of view about when white man came to the land. Brenda Beyal: Yes. Cally Flox: We want to move forward to restoring some of those cultural bonds and the sharing of the land and a more respectful point of view. At least the song was honest about the perspective they were sharing.Brenda Beyal: Yes, yes. And ...
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    21 分
  • Native American Series 4 | Viewing History from Multiple Perspectives

    Native American Series 4 | Viewing History from Multiple Perspectives
    2023/03/08
    Episode Keywords:Indigenous pedagogy, teachers asking questions, Native American voices, amplify Native voices, history, importance of multiple perspectives, transcontinental railroad lesson plans, Native American historical timelines, answering questions, cultural appropriation, reflective listening, asking with genuine intent, honoring the no, listening, listening to amplify Native voicesEpisode Resources:Amplify Native Voices Online Professional Development CourseArtful Teaching Podcast Episode 19Decision-Based Model for Selecting Appropriate Native American Content for the ClassroomNative American Children’s BooksWhy a Hula Hoop is Different than a Native American HoopNative American Round DanceTips for Teaching Native American Art Projects Without Cultural AppropriationReal and Ideal: A Closer Look at Westward Expansion (Transcontinental Railroad) lesson planBear River Massacre Commemoration Women’s History Month: Mae Timbimboo Parry Bring a Native Artist to Your ClassroomJoin our Native American Curriculum Initiative mailing list! Native American Curriculum Initiative Websitewww.advancingartsleadership.com/naciNative American Lesson Planswww.education.byu.edu/arts/lessonsAbout the BYU ARTS Partnership https://advancingartsleadership.com/node/66Episode Notes:Heather Francis: Today I am introducing our content that was previously recorded at the end of 2022, when we filmed Brenda Beyal and some of our NACI team at a recording studio to capture some of the knowledge, experiences, and stories that we have to share with teachers, educators, and interested community members. We are asking questions about the Native American Curriculum Initiative and the principles and practices that have led our work up to this point. In today’s episode, Brenda answers questions about the importance of teachers asking questions with a genuine intent to understand. Then, after asking questions, she describes the importance of being prepared to listen attentively. Asking questions with genuine intent and listening attentively is one of the seven guiding principles that guide our work in the Native American Curriculum Initiative. You can listen to Episode 19, or check out the landing page on our website for NACI to learn more about our guiding principles. This specific guiding principle is really important to us as we work with Native partners and make sure that we're creating educational resources that not only amplify their voices and bring increased representation to the classroom, but also gain approval by their official voices and tribal councils. Listening attentively is really important. That's why we asked Brenda to explain some of her thoughts on this principle. In this podcast, Brenda invites Stephanie West to discuss this topic. Stephanie West is an instructional designer studying instructional psychology and technology at Brigham Young University. She's on our NACI team, and she and I designed the online PD course. Another podcast episode focuses just on the PD course. Since she has been doing a lot of the grading in the online course, she knows a lot of the questions that teachers are asking, like “Why is it important to ask questions with genuine intent and to listen attentively?”Why is it important to ask questions with genuine intent and to listen attentively?Brenda Beyal: One of our guiding principles that has been so important for us as we've done our work with NACI is the idea of asking questions and listening attentively. When a teacher asks me a question, I don't ever think a question is too small or insignificant, especially when it comes to culture. Because when a teacher asks a question, it makes me feel like this teacher really wants to know more, and possibly wants some guidance. That's how I feel when a teacher asks me a question. I want to ask you, Stephanie, since you are the creator of the PD course, what kind of questions do you get from teachers who are taking the PD course?Stephanie West: That's a great question. I think that a lot of teachers really want to know what's appropriate. I think that's the biggest question that we get: “What can I teach? What can I not teach?” Those are the biggest questions. Other questions that they might ask are: “How can I teach this? And do it in a respectful way?” I think those are probably the most frequent questions we get.Brenda Beyal: Sometimes we've gotten questions about very specific parts of the curriculum, whether it's a dance or a song, or or even a book. Teachers want to know: “Is there cultural appropriation with this project I'm going to do or with this story?” Is that what you have found also?Stephanie West: Absolutely. I think those questions that you're talking about are more specific questions, but they still fall under that same umbrella of the more general question: “What is appropriate? What is respectful? Am I appropriating?Brenda Beyal: Yes. As we were creating the timelines, we wanted to make sure that ...
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    16 分
  • Native American Series 4 | Native Voices & Tribe-Approved Lesson Plans

    Native American Series 4 | Native Voices & Tribe-Approved Lesson Plans
    2023/03/02
     Episode Keywords:Native American pedagogy and the arts, indigenous pedagogy, Native American lesson plans, authentic voice, Artful Teaching podcast, Native American, intuition, classroom, artist, indigenous pedagogy in the classroom, lesson plans, Native American, tribe, NACI authentic experience, teachers, culture keepers, share, curriculum, lessonsEpisode Resources:BYU ARTS Partnership YouTube channelAmplify Native Voices PD CourseI Love the Mountains–Damen Doiya lesson planThe Great American Bison lesson planGeneral Native American lesson plansNative American Curriculum Initiative Websitewww.advancingartsleadership.com/naciNative American Lesson Planswww.education.byu.edu/arts/lessonsAbout the BYU ARTS Partnership https://advancingartsleadership.com/node/66Episode Notes:Building Partnerships With Native Groups & Distinguishing Among Authentic Native Voices Heather Francis: Welcome back to the Artful Teaching podcast. This episode includes recording with Brenda Beyal from the end of 2022. These recordings document and archive some of her wonderful thoughts about Native American curriculum and indigenous pedagogy and their relationship to arts education. In our last episode, Brenda talked about what indigenous pedagogy is and how it's connected to the arts and arts education. We asked her about the Native American Curriculum Initiative, who it benefits, and why teachers, administrators, parents, PTA members, and community leaders are interested in this work. We design arts-integrated lessons about Native American lived experiences and cultural practices and we do it with tribe approval. Brenda discusses why tribe approval is so important to all of the educational products that we develop. We do a lot of partner-building with tribal members and cultural representatives. We build partnerships with Native artists and personal contacts who have Native heritage. We have learned that a broad spectrum of different voices represent the Native American experience. In this episode, Brenda distinguishes between authentic Native Voices—culture bearers or knowledge keepers, who are the keepers of native knowledge—and official voices. Official voices are those that can officially speak for a tribal nation or Native group.  Who is the Native American Curriculum Initiative for?“Who is NACI (or the Native American Curriculum Initiative) for?” Brenda invites Emily Soderborg, who is the NACI Project Coordinator, to answer this question. Emily is non-Native, and she speaks about her non-Native experience creating materials for the Native American Curriculum Initiative, and how the initiative has benefited her. Brenda adds her experience and how the vision of this initiative to amplify Native voices has benefited and impacted her in her own life. Brenda Beyal: The Native American Curriculum Initiative, otherwise known as NACI, is for non-Native and Native people alike. Emily, how do you feel like NACI has helped you as a teacher and an educator?Emily Soderborg: Working with NACI has opened my eyes to so many new ways of seeing things and doing things. I feel more self-confident. I feel like I've been able to immerse myself more in understanding and sharing things in appropriate and accurate ways. I'm not Native, and I grew up with a lot of stereotypes in the learning that I was given. I think it's changed how I approach things and how I teach others around me. It's made me more empathetic and more willing to try new things.How NACI Amplifies Native Voices in Schools Brenda Beyal: I think NACI is for Native teachers and Native people, because we strive to amplify our Native voice. Having that feeling of being recognized and acknowledged is a way of reconciling some of the hard struggles in the past that have been invisible to so many people. We as a group–especially Native Americans–have been invisible because of other people's stereotypes, or overgeneralization of culture. I feel like NACI just helps to bring greater authenticity to Native people in general. I think what we're doing with lesson plans, curriculum building, and resources is that we are helping students to see themselves within the curriculum. They can see themselves in the books that teachers read; non-Native children can have a window into other perspectives and ways of living and knowing and doing other than what they were raised with.Emily Soderborg: What I have loved is that as we have worked with the eight sovereign nations, the biggest thing they say is, “We are still here. We want to be seen.” NACI is amplifying those voices. Students, teachers, and Native artists’ voices all matter: everyone has a voice, everyone has a right to be heard. As we work together, we can create awareness of others without lessening our own culture. NACI is for us all, so that we can all recognize how we can learn from others and how we can share with others.A Safe Place for Asking Questions about Native CultureHeather Francis: I would like to...
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    16 分
  • Native American Series 4 | Indigenous Pedagogy and the Arts

    Native American Series 4 | Indigenous Pedagogy and the Arts
    2023/02/23
    Heather Francis: What we have for you in this series is really special. At the end of 2022, we took Brenda Beyal into a studio to video record an interview. When Brenda presents for teachers, a whole flock of teachers gather around her at the end of her sessions. And, our sessions don't always end on time, because there's so much that Brenda has to share with teachers—teachers just keep raising their hands. They have so many questions. Even when the session is over, they don't leave without getting a chance to talk to Brenda face to face, one-on-one about their particular questions. She's really grown to be a thought leader in our community, and a great representative of many native and indigenous voices that are to be shared. She's an authentic voice. She is a Navajo/Diné woman. She is an educator of over 35 years, she has worked in educational and native communities for a really long time. You've heard her on the podcast before: she just has such a gentle, humble and genius way about her. We took Brenda to the studio and recorded her answering some questions that we thought would be really important to have documented and answered. These videos are now published on our YouTube channel.  Today, we're sharing two of the questions Brenda answered in the recording studio. 1. What is indigenous pedagogy? 2. How do the arts support indigenous pedagogy? Brenda and many of our NACI team members who design our tribe-approved lesson plans speak about the relationship between arts, arts, education, native culture, and native or indigenous pedagogy. Brenda gives a fabulous answer to that question in this episode. Let’s start with the first question that Brenda will answer: what is indigenous pedagogy?What is indigenous pedagogy?Brenda Beyal: Indigenous pedagogy is a framework that uses cultural teachings of indigenous peoples. There are structures within that framework that can be used by teachers to help them to become more culturally responsive in their classrooms. Storytelling:One of the very first frameworks I can think of is storytelling, using story to help children learn a concept, or putting across an idea or even using story for correcting behavior. There are many ways that indigenous people use stories, but it is threaded throughout all of their cultural ways. Place-based learning: Another I would say structure and indigenous pedagogy is place-based on the idea that you use the historical, the environmental, the cultural place from where students come from. To help teach content, another indigenous structure would be learning by doing, using all of your senses, to help you to learn things that you should be learning. Within that structure, you could have side-by-side coaching, you would have time when you are able to reflect and listen in such a way that it helps you to just learn and do. That's an indigenous structure. Learning from mistakes: Another structure that I feel strongly about is that mistakes are to learn from and not to be graded on. Cooperative learning: Within all of these structures learning through collaboration is important. Indigenous pedagogy contains the idea that people have responsibilities within a group. As children learn, through play-space learning, through learning by mistake, side-coaching, all of those share the idea of collaborating and cooperating together.Heather Francis: I want to recap and honor what Brenda recognized as part of indigenous pedagogy. She talks about how storytelling is a part of indigenous pedagogy and place-based learning where the historical, environmental, and cultural background of the students is used to help teach content in the classroom. She also talked about how indigenous pedagogy includes experiential learning, learning by doing, using all of your senses to help you learn. This includes side-by-side coaching, and I love how she focused on reflection and listening. Brenda is so good at modeling reflection and listening while sitting in Zoom meetings—I can just see her lying back in her chair and nodding her head and thoughtfully taking in what people are saying during conversation. She's so good at listening. I also love that mistakes are to be learned from and not to be graded on. And that indigenous pedagogy includes cooperative learning. Learning through collaboration with others and taking responsibility for the part you play in a group is important. These are all great examples of how a teacher, like she said, could be really culturally responsive in their classroom by including these indigenous pedagogical strategies. The next question that I asked Brenda is about the connection between the arts, arts education, and indigenous pedagogy. She actually uses all of these elements of indigenous pedagogy and uses storytelling to teach us about how the arts and these pedagogies are connected. I hope you enjoy this answer as well.How do the arts support indigenous pedagogy?A previously recorded interview with Brenda ...
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    13 分
  • Native American Series 3 | Mathematics and the Hoop Dance: Venn Diagrams, Proportion, and more | Terry Goedel

    Native American Series 3 | Mathematics and the Hoop Dance: Venn Diagrams, Proportion, and more | Terry Goedel
    2022/11/23
    Terry Goedel, World Champion Hoop Dancer and retired Math Educator shares how he sees mathematical patterns in the hoop dance, the importance of this Native tradition to his family, the story he performs with his hoops, and his individual journey to hoop dancing.
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    17 分
  • Native American Series 3 | Observing, Experiencing, and Researching the Bear Dance | Emily Soderborg

    Native American Series 3 | Observing, Experiencing, and Researching the Bear Dance | Emily Soderborg
    2022/11/17
    35. Native American Series 3 | What I learned about the White Mesa Community Bear Dance | Emily SoderborgEpisode SummaryIn this episode, Emily Soderborg shares her experiences attending the Bear Dance with her family on the Ute Mountain Ute Reservation. Emily shares what she learned about the White Mesa Community and their Bear Dance stories and traditions.Episode Keywords:Native American, classroom, arts, artists, teachers, culture, authentic voices, students, indigenous pedagogy, Native American art, Native American Curriculum Initiative, elementary arts education, fry bread, arts integration, Bear Dance, community, White Mesa Community, Native American pedagogy.Native American Curriculum Initiative Websitewww.advancingartsleadership.com/naciNative American Lesson Planswww.education.byu.edu/arts/lessonsAbout the BYU ARTS Partnership https://advancingartsleadership.com/node/66Follow Us:Native American Curriculum Initiative Mailing ListBYU ARTS Partnership NewsletterAdvancingArtsLeadership.comSubscribe on Apple PodcastsSubscribe on SpotifySubscribe on Amazon MusicInstagramFacebookPinterestDon’t forget to peruse the bank of lesson plans produced by the BYU ARTS Partnership in dance, drama, music, visual arts, media arts, and more. Search by grade-level, art form or subject area at www.education.byu.edu/arts/lessons.Episode Notes Cally Flox Welcome to the Artful Teaching podcast. We are back again in our Native American curriculum initiative series. Today we are talking to Emily Soderborg, who is one of the researchers and writers on our team as the project manager in the Native American curriculum initiative. As part of her research, Emily recently attended a Bear Dance, and she's here to share her story. Emily SoderborgThe Bear Dance is done at different times of year with the different Ute nations. So just so people are aware, there are three federally recognized Ute nations. One of them is the Ute Indian Tribe of the Uintah and Ouray Reservation, sometimes also known as the Northern Ute. Then you have the Southern Ute, and then you have the Ute Mountain Ute. The Bear Dance travels from different communities. It starts in Randlett, in the Uintah area, and then it goes to Whiterocks, and then Fort Duschene. Then it goes down to Ignacio, in the Southern Ute area. Then it goes to Towaoc (toy-yak). In Towaoc, by that time, because they do the dances on different weekends, it's around June.The dance is performed in sequential order. Each Bear Dance has its own Bear Dance chiefs. So not just one, but they have multiple chiefs that are in charge of knowing the songs of organizing the events. Out of those, each of them has specific people that sing different songs, but they also call it the Bear Dance circuit. Because the Ute people, no matter which nation they're from, some travel with and go to every single Bear Dance. They feel like the bear is actually traveling with the Bear Dance. As the dance is performed in Randlett, with the first thunder, the bear starts to wake up, the bear is growing, it's waking up—coming up out of hibernation. And it stems from this story. This is the story I heard. I talked to Jack Cantsee Jr., who is one of the White Mesa community’s Bear Dance Chiefs. He said, ‘There were two boys lost in the forest. A mother bear found them and she raised them. As they reached adulthood, she sent them back out. She taught them this dance. Then, they went and taught the dance to the communities that they were in.’ This is part of a ceremonial dance, but it's also a social dance. When the White Mesa Community was trying to figure out how they were going to fit their Bear Dance in with all of the other Bear Dances, they turned to their elders. This was Jack Cantsee Junior's grandpa and his great grandparents. They said, ‘We haven't had a chance to do our Bear Dance.’ As a community, they decided that their Bear Dance would be done in the fall, and instead of bringing the bear out of hibernation, their Bear Dance was to send positive energy with the bear to put it back to sleep as the last Bear Dance of the season. There are no Bear Dances from June until Labor Day. On Labor Day, I went down to witness the White Mesa community Bear Dance. They were sending the bear to go back to hibernate.Heather FrancisBear Dances only happen from September to June?Emily SoderborgNo. They happen from the first thunder in the spring, which is usually March. So you have Randlett, Whiterocks, Duchesne, Ignacio and Towaoc. All five of those happen in the spring, in March, April, May, and June on different weekends. The White Mesa communities’ dance is on Labor Day weekend.Heather FrancisThere's a big break there in July and August. Brenda BeyalMy understanding is that there are times that the Bear Dance Chief decides whether the Bear Dance is going to be held or not.Emily SoderborgYes. Jack Cantsee Jr. said that the Bear Dance chiefs, he, and three others decided to cancel the dance the first ...
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    24 分