Clarice Smith National Teacher Institute 2009

1. Clarice Smith National Teacher Institute 2009 Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Visualizing American Literature Through the Eyes of Portraiture

2. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Day 1  - First day of school Students enter and see the portrait “Shapes of Fear” – hear Native American music in the background to set the tone! Students will be introduced to the standard English 10 syllabi. Show students by example that Native American literature often absent from instruction, and ask them why they think Native American literature is undervalued in American society. Students will each have a handout guide at their desk with inquisitive questions regarding the painting, as well as directed questions towards metaphor, personification, allusions, all subtle hints towards symbols.  They will take a moment to ponder/consider questions, then the student will be presented with a modeled version of how these elements could be depicted in “Shapes of Fear”. Students will prompted to add additional information at will. Corn Dance, Taos Pueblo 1934 Norman S. Chamberlain Born: Fennville, Michigan 1887 Died: Orange, California 1961 oil on canvas 50 1/4 x 40 1/4 in. (127.5 x 102.1 cm.) Smithsonian American Art Museum Transfer from the U.S. Department of Labor 1964.1.77 Smithsonian American Art Museum2nd Floor, North Wing

3. Shapes of Fear 1930-1932 Maynard Dixon Born: Fresno, California 1875 Died: Tucson, Arizona 1946 oil on canvas 40 x 50 1/8 in. (101.5 x 127.3 cm.) Smithsonian American Art Museum Bequest of Henry Ward Ranger through the National Academy of Design 1956.10.1 Smithsonian American Art Museum, 2nd Floor, North Wing

4. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE • Title: Visualizing American Literature Through Portraiture • Goals: Students will utilize strategies to interpret works of art, as well as on a literary platform using metaphor, allusion, and personification of Native American • Objectives: Students should be able to: • Acknowledge the existence of and acquire a working knowledge of literature involving Native Americans and Native American Art. • Create and edit an ongoing in class blog based on one Native American artwork while tying this to the period of Native American Literature as it leads to Colonialism, and students will see changes from one period to the next. • Demonstrate a knowledge of literary strategies such as metaphor, personification, and allusion through art criticism and formal literary analysis, both platforms, different disciplines. • Participation of Video Conference with Native American/Art & Literature themes.

5. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Standards: Delaware English Literature Education Standards 1-4 Grade Level / Subjects: 10th grade American Literature Art Images / Resources Required: Corn Dance, Taos Pueblo 1934 Norman S. Chamberlain Born: Fennville, Michigan 1887 Died: Orange, California 1961 oil on canvas 50 1/4 x 40 1/4 in. (127.5 x 102.1 cm.) Smithsonian American Art Museum Transfer from the U.S. Department of Labor 1964.1.77 Smithsonian American Art Museum2nd Floor, North Wing Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington 1837-1839 George Catlin Born: Wilkes-Barre, Pennsylvania 1796 Died: Jersey City, New Jersey 1872 oil on canvas 29 x 24 in. (73.6 x 60.9 cm) Smithsonian American Art Museum Gift of Mrs. Joseph Harrison, Jr. 1985.66.474 Smithsonian American Art Museum 2nd Floor, East Wing Story Teller ca. 1925-1935 Velino Shije Herrera Born: Zia Pueblo, New Mexico 1902 Died: Santa Fe, New Mexico 1973 gouache and pencil on paperboard sheet: 10 x 15 in. (25.6 x 38.2 cm) Smithsonian American Art Museum Corbin-Henderson Collection, gift of Alice H. Rossin 1979.144.76 Corn Dance, Taos Pueblo 1934 Norman S. Chamberlain Born: Fennville, Michigan 1887 Died: Orange, California 1961 oil on canvas 50 1/4 x 40 1/4 in. (127.5 x 102.1 cm.) Smithsonian American Art Museum Transfer from the U.S. Department of Labor 1964.1.77 Smithsonian American Art Museum2nd Floor, North Wing

6. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Technology Components: Smithsonian Art Museum (SAAM), American Archives site, blog forums through our school website, podcasts through Sony digital recorders, Dell Handhelds, turnitin.com. Background: The lesson will draw upon the student’s knowledge of the struggles of the Native American people as they were forced from their land by white settlers. Starting with Native American myths from text, students will discover the literary and artistic elements of the earliest American period. Lesson Process: Critique both Native American Artwork and Literature, leading to Colonial/Puritanism Literature. Students will accomplish a final Podcast that compares and contrasts these two literary periods, Native American to Colonial Period. Before Class Preparation: Create Power Points, scaffold guides, blog forum for discussion, links to various Native American works, identify Native American texts for students.

7. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE • Essential Questions: • Why are Native American so often left out of the American Literature Syllabus in various schools? • How do you interpret a work of art? • What impact did Native Americans have on early Puritan/Colonialism Literature? • What characteristics in Native American Literature can be seen in later literature? • What art and artists coincide with the first American writings? • How do you define American Literature? • How do you define Colonialism/Puritanism? • How does Native American writing compare/contrast to Puritanism/Colonialism? • Activity or Activities: • Beginning the first day of school through the end of September, students will have examined Native American Literature, Colonialism Literature, as well as paintings that represent these two periods. • The month long unit will include viewing an artwork daily and weekly formal critique of artwork. Students will analyze Native American Literature for metaphor, simile

8. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Long term goals/activities: After the initial day - what will we do?     - After looking at a specific piece of art - and beginning to look at a piece of literature with similar questions/similar characteristics - students will be given 2 weeks in Native American genre to get across the literary devices of metaphor, allusion, personification, touching in symbolism and foreshadowing.  After experimenting in 3-5 days with other Native American portraits, and studying a Native American story for 2-3 days orally, students will begin to define the next unit that ends Native American literature, and begins Colonialism.  Students will search the web being introduced to meta-search engines (not Google or Yahoo!) - and find what makes up Puritanism/Colonialism Period documents.  .

9. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Assessment • Blog: In order to assess the skills of art critique, identifying literary strategies, and representing a combination of visual/analytical skills, students will be expected to produce a blog at the end of a four week unit that will represent one Native American work of art and one Native American myth. This blog will be posted on the Seaford High School American Literature site to represent students and exiting into the Colonialism/Puritanism period. (Rubric provided). • Leading up to the final project, students will be engaged in class discussion and analysis based on readings and guided exercises. They will assessed on their extent of participation and quality of answers. • Podcast • Active participation in Smithsonian Web Conference

10. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Assessment:

11. Clarice Smith National Teacher Institute 2009 Harry Brake and Dana Paternoster Seaford High School, Seaford, DE Enrichment Ideas for Further Connections: • In the class library, provide students with Native American texts from such as poems, speeches, and small sections of dialogue that could enhance blogs as well as descriptions of art work. • Using quotes from various films, students could match quotes that could represent allusion, metaphor, personification, and foreshadowing, as well as elements found in specific artwork shown. • In an exchange of skills, literature students could pair up with art students who would assist in analysis of artwork, while literature students could assist with literary analysis information for art students. • An exhibit could be displayed at the school that includes artworks based on Native American artwork, and written literary analysis of or myths created in the tradition of Native American Literature.

13. Metaphor: a figure of speech in which a word or phrase is applied to a person, idea, or object to which it is not literally applicable. It is an implied analogy or unstated comparison which imaginatively identifies one thing with another. This device is used by an author to turn or twist the meaning of a word.

14. Personification: a figure of speech in which abstractions, animals, ideas, and inanimate objects are endowed with human form, character, traits, or sensibilities. An entirely imaginary creature or person also may be Conceived of as representing an idea or object.

15. Allusion: a reference, usually brief, often casual, occasionally indirect, to a person , event, or condition thought to be familiar (but sometimes actually obscure or unknown) to the reader. This holds true especially for the characters and events of mythology, legends, and history.

16. Shapes of Fear, 1930-1932 Maynard Dixon Born: Fresno, California 1875 Died: Tucson, Arizona 1946 oil on canvas 40 x 50 1/8 in. (101.5 x 127.3 cm.) Smithsonian American Art Museum Bequest of Henry Ward Ranger through the National Academy of Design 1956.10.1 Smithsonian American Art Museum, 2nd Floor, North Wing

18. Corn Dance, Taos Pueblo 1934 Norman S. Chamberlain Born: Fennville, Michigan 1887 Died: Orange, California 1961 oil on canvas 50 1/4 x 40 1/4 in. (127.5 x 102.1 cm.) Smithsonian American Art Museum Transfer from the U.S. Department of Labor 1964.1.77 Smithsonian American Art Museum2nd Floor, North Wing

20. Story Teller ca. 1925-1935 Velino Shije Herrera Born: Zia Pueblo, New Mexico 1902 Died: Santa Fe, New Mexico 1973 gouache and pencil on paperboard sheet: 10 x 15 in. (25.6 x 38.2 cm) Smithsonian American Art Museum Corbin-Henderson Collection, gift of Alice H. Rossin 1979.144.76

22. Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington 1837-1839 George Catlin Born: Wilkes-Barre, Pennsylvania 1796 Died: Jersey City, New Jersey 1872 oil on canvas 29 x 24 in. (73.6 x 60.9 cm) Smithsonian American Art Museum Gift of Mrs. Joseph Harrison, Jr. 1985.66.474 Smithsonian American Art Museum 2nd Floor, East Wing

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