1 / 24

FINDING A VOICE A TEACHING AND LEARNING MODULE FOR MIDDLE AND HIGH SCHOOL

Explore the theme of finding one's voice through the powerful performances of Asani and Buffy Sainte-Marie. Learn about their cultural heritage and how they use music to express their identity. Discover the issues faced by Indigenous women today and the importance of empowering others. Engage in activities like researching, listening to songs, and exploring throat singing.

farleyr
Télécharger la présentation

FINDING A VOICE A TEACHING AND LEARNING MODULE FOR MIDDLE AND HIGH SCHOOL

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. FINDING A VOICE A TEACHING AND LEARNING MODULE FOR MIDDLE AND HIGH SCHOOL

  2. FINDING A VOICE

  3. Asani performing O Canada at an Athabasca University convocation

  4. Reflection • What surprised you? • Who and what is included? • What is left out? • What is the message of this performance? • How did it make you think and feel?

  5. Asani • Asani are an Aboriginal women’s trio from Edmonton. They are Debbie Houle, Sarah Pocklington and SherrylSewepagaham. This circle of First Nations and Métis women have performed across Canada and internationally at such venues as Carnegie Hall in New York, The Kennedy Centre in Washington D.C. and the Saddledome in Calgary…. They have performed for the Dalai Lama, Her Majesty Queen Elizabeth II and at the 2010 Olympics in Whistler, BC. • Asani seek to use the inspiration of their cultural heritage to create music that is accessible to a wide audience, but deliver a powerful message from their hearts. (from http://www.asani.org)

  6. Finding a Voice • Today we’re learning about women whose people lost their voices for more than a generation in residential schools set up to erase their cultural identity. When they make music today, there is a special resonance, an awareness that they are asserting a right they always had, but could not always exercise, to express who they are and how they feel about the world.

  7. Carry it on • LINK to video: https://www.youtube.com/watch?v=08gyjR0Sk4s • LINK to lyrics: http://buffysainte-marie.com/?page_id=1597#12 Look right now and you will see,We’re only here by the skin of our teeth as it is,So take heart and take care of your link with life …

  8. Reflection • Do you notice any themes in common with our first performers?

  9. Buffy Sainte-Marie • Buffy Sainte-Marie looks fabulous and sounds amazing. At 75 years old, she has just released her newest recording, Power in the Blood. We’re going to learn about her extraordinary life – from Native American rights campaigner and protest music icon to hit songwriter, amateur astrologer, Sesame Street star, teaching co-ordinator and electronic music pioneer. Photo of Buffy Sainte-Marie used with approval. Photo credit: Matt Barnes

  10. Finding out about Buffy Sainte-Marie • Appoint a recorder. • Read about Buffy Sainte-Marie using the WEM Catalogue. • Write information about Buffy on separate stick-on notes. • Decide as a team where each note gets placed - trailblazer - empowered- empowering others. • You have _____ minutes to complete this task.

  11. Finding out about Buffy Sainte-Marie – going deeper • Read about Buffy using the resources, sharing and making jot notes on information which fits the role you are researching. Each group member consults one source on the next slide. • Listen to associated songs (Youtube) and consult lyrics athttp://buffysainte-marie.com/ • Identify a single song recorded by Buffy which illustrates her work in this role. • Prepare a short presentation to explain to another group why you chose the song and how it shows Buffy in this particular role. • Presentations will take place on ________________________________

  12. Research resources • Each team member consults ONE: • Article about:http://www.cbcmusic.ca/posts/12073/buffy-sainte-marie-75-things-you-need-to-know-abou • Interview:https://www.theguardian.com/music/2009/jul/31/buffy-sainte-marie • Audio interview: http://www.cbc.ca/radio/unreserved/buffy-sainte-marie-wab-kinew-and-how-dna-remembers-trauma-1.3242375

  13. Tanya Tagaq • Rosanna Deerchild interviews Tanya Tagaq on CBC Radio’s Unreserved: LINK: http://www.cbc.ca/radio/unreserved/creativity-that-challenges-the-status-quo-as-it-changes-the-landscape-1.3774044/tanya-tagaq-seeks-retribution-with-new-album-1.3775135

  14. Tanya Tagaq • What types of issues does Tanya refer to here? • What are the big issues today for Indigenous people/women? • Are some of these the same or related to the causes feminists fought and fight for?

  15. Finding out about Tanya Tagaq • Finding Out about Tanya Tagaq in the WEM Catalogue

  16. Music from Tanya Tagaq • LINK: https://www.youtube.com/watch?v=e87jGWvbLsg&list=RDe87jGWvbLsg&t=25 • What do you SEE – HEAR – FEEL ?

  17. Learning about throat singing • Tanya uses a traditional form of singing called throat singing in her music. Let’s find out a bit more about it, and have a go at doing it too! • LINK: http://icor.ottawainuitchildrens.com/node/25

  18. Throat singing basics! • Get into partners and try it out: • Face each other and make contact. You can even hold each other’s arm(s) if you want. • The leader starts saying, “hum-ma” slowly and rhythmically. • The follower acts as an echo, fitting the echo into the spaces after the leader speaks. • One person can voice “humma” while the other one does not voice (use breath only). • One person can sing “humma” while the other one speaks. • One person can sing low while the other one sings higher. • Now try speeding up until you’re going so fast you both laugh. • Take turns being the leader. • For a slightly trickier pattern, try “i-u-a” instead of “humma.”

  19. Throat singing basics • Face each other and make contact. You can even hold each other’s arm(s) if you want. • The leader starts saying, “hum-ma” slowly and rhythmically. • The follower acts as an echo, fitting the echo into the spaces after the leader speaks. • One person can voice “humma” while the other one does not voice (use breath only). • One person can sing “humma” while the other one speaks. • One person can sing low while the other one sings higher. • Now try speeding up until you’re going so fast you both laugh. • Take turns being the leader. • For a slightly trickier pattern, try “i-u-a” instead of “humma.”

  20. reflecting • Why is throat singing such an important expressive tool for Tanya, and how has she adapted the traditional art to fit her own music?

  21. Mystery music • What do you hear? • LINK: http://crisderksen.virb.com/ • Orchestral Powwow, CrisDerksen

  22. CrisDerksen • CrisDerksen is a two-spiritJuno Award–nominated Canadian Indigenous cellist from Northern Alberta. On this recording, she combined audio of traditional powwow music with her own composed accompaniments for symphonic instruments.

  23. Finding a voice • Come up with a single word to describe the women you learned about in this lesson.

  24. Drawing comparisons • How may Indigenous music be different from “first world” music in terms of its focus on relationships and culture?

More Related