Artful Teaching

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 experiences from what we have learned as we've worked with Native groups. I was somewhat hesitant to put these different values in as being Native values, because we know that each Native nation and tribe are all very distinct. But these were some values that we found that did cross over multiple different Native groups. The values that we found were: community. Community is so essential with Native communities. Then there is the value of relationship. Relationships are essential to the ways that we learn. When you think about Native communities, they usually learn through multiple different individuals coming together, as well as through different ages. It's often a side-by-side learning, and it's more as a community. Native individuals come together, not just for the benefit of, “What am I going to learn as an individual?” but, “How does what I'm learning benefit the community?” which is related to both community and relationship. Another value is responsibility. When we receive knowledge, we have to recognize that there's a responsibility that comes with that knowledge, and that's a very Indigenous perspective. Another value is reciprocity. As we receive something, we don't just receive it and say, “Oh, it's mine. I can do whatever I want now.” Instead, we realize that with that responsibility comes also a need to use it in a way that will benefit the community. Creating this sense of reciprocity. There are also those ideas of looking back to your ancestors and looking forward. It's this deep connection. Another element of this is the idea of holism, that you're not just educating a mind, but you are educating a whole entire person. There's this attention to “What is this person becoming as a result of the knowledge that they're receiving?” Those are some of the Native values that came out. Stephanie West 7:50There are a lot of different Western values that we could have highlighted, but we highlighted these ones because these are the ones that are very evident in our educational systems, and strongly influence the choices that we make. Sometimes these influences have been present for years and years. Many teachers are influenced by the education they received, and they carry it forward.Heather Francis 8:20What was modeled for us is often what we adopt.Stephanie West 8:23Yes. So some of the Western values that came out – these are not bad values. Many of these are very good values. Such as scientific skepticism. That's a great thing, right? It's very essential in research. But it’s the idea that we don't just accept something, we are skeptical about it. Another one is this idea of singularity. When we're in school, there's this need to get the right answer, or that there is only one right answer. That can be very different from an Indigenous perspective that may believe multiple answers to be true. There's also individualism, and we, as a society as well as an educational system, definitely emphasize the individual, often over the community itself. You can see this in our standardized testing and in all the different ways that we assess students.Heather Francis 9:19Graduation, honors, awards, scholarships.Stephanie West 9:23Exactly. When we assess students, we don't usually assess them as a group and take that as a whole. No, it's individual. Another piece of this is also compartmentalization. When we bring knowledge into the classroom, we often will teach it in its own different subjects. Many teachers try to bring things together, because we're coming to understand the value of making the connections between different subjects. But in general, most of our subjects are taught by subject. Then you learn math or science totally siloed. So those are the different values that came out as I was looking at these. The other piece I described was that circle of people who are connected together. For me, this was really important to include. We feel this when it comes to cultural things, especially a culture that may be different from us, where we wonder, “Do I have a place here? What is my role here?” I felt it was really important to keep that connection there, so teachers could not only see themselves there, but also see the importance of all the different interconnected people that play a role in that. Heather Francis 10:45Integrated subjects, integrated people, yeah, I’m getting the idea. Native VoicesStephanie West 10:49That's the base layer. The next level is those Native perspectives, those Native voices. We had already shared a lot of content about this over time. We had three different categories that we used. I don't know if you remember when we added the fourth category? Heather Francis 11:06Oh yeah, I totally do! Stephanie West 11:07Do you want to describe that?Heather Francis 11:09Yeah! We were publishing our online course, which has a recorded presentation that Brenda and Emily did for teachers in our endorsement program. It covers the official voices, the people who get to speak for the tribe. Then the culture bearers

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 genuine questions and then how to listen. We want to get to know every student in our class. So, we should be asking these questions of everybody: “What do you relate to?” “How do your grandparents feel about this?” “Where does your language come from?” I love how you ask those questions. When I went to a couple of different powwows, the Native people there are in full regalia and are with their people, and that culture is different—I was the outsider. That was a different way of getting to know them. It's one thing when we're in the majority, but then there's another thing when we're in the minority. Emily Soderborg: I've had that opportunity often to be in the minority. You recognize how uncomfortable you might feel, and how, since Native Americans are in the minority most of the time, how they have to approach things differently. Being in the minority helps you recognize how they feel most of the time, and helps you know how you would want to be reached out to how you would want to be responded to. Having those experiences helps you be more able to be the one open and welcoming when you are in the majority. Finding Commonality Within Our Native and Non-Native Communities Brenda Beyal: As an indigenous person, if I see someone at an event, or if I invite someone to participate, I welcome questions. I always hope that they do not come into an environment thinking us and them, but rather us as humans that are having shared experiences, and that we have more commonalities than differences. Going into a situation and looking for commonalities helps in any situation, whether it's talking with somebody that is from a different race, or who comes from a different life experience, or comes from maybe a different point of view, religion, that we look for the commonalities Cally Flox: When we find those commonalities, we see that we are more alike than we are different, that we can learn from one another, and see that together, we make a community. I think that that puts everyone at ease. Brenda, typically when we start a podcast, you start by introducing yourself in your native tongue, right? Because we've jumped right over that today, could we stop and acknowledge one of the beautiful ways we're different is your ownership of your culture through your language.  Brenda Beyal: Yá’át’ééh Shí éí Brenda Beyal yinishyé, 'Áshįįhi nishłį́, Kinyaa'áanii bashishchiin, Tó'áhani dashicheii, Tó'aheedlíinii dashinalí, Ákót’éego asdzáán nishłį́. I just shared with you that my name is Brenda Beyal. I am born into the Salt Clan. I'm born for the Towering House people. I shared my maternal and paternal clans. At the very end, I said, “This is the kind of woman I am.” That's how I ended it.Cally Flox: Beautiful. Thank you so much. Each time I hear you introduce yourself I reflect: What is my maternal lineage? What is my paternal lineage? What kind of woman do I want to be?I learned so much in these reflections. We find our common ground as I let you express your individual voice. Remember the day you taught me how to make frybread out in the in the driveway, getting ready for one of our gatherings? I realize we are both cooks for a family. We have both done family reunions and large gatherings before for our different clans. And we did that together that day based on your recipes and your heritage, but it's aligned perfectly with the times that I spent learning cinnamon rolls from one of my great mentors and cooking with my grandmother. Those things perfectly aligned! Observing Family Relationships at a Native PowwowOne of my most powerful memories when I was at the powwow here at BYU: I was brought to tears watching three different fathers. I sat quietly and just observed, because I love the dancing and the regalia and the interactions of the families. I love watching the families work. I watched three fathers standing in different places, helping their sons don their regalia for their dance: one was a toddler, one was maybe five or six, and one was eight or ten. I watched the caring of these fathers as they went through the ritual of putting on the regalia, getting ready to dance, and then watching these little boys follow their fathers out into the hallway and go down and line up to get ready to enter for their dance. I went, “Oh, my goodness, families are universal. Families are the same.” They had their rituals; my relatives have our rituals of baseball games or river rafting. But the emotional connection was just the same. I just saw the power of parenting in the time these fathers were spending with their children. Brenda Beyal: Cally, that just warms my heart because it brings me back to the commonalities: seeing how we're alike rather than looking for differences. I'm not saying that we don't acknowledge the vibrant diversity of people in general, but underneath that all we all have love for family, love for ancestors, and love for one another. Heather Francis: This topic made me think about recent Native American friends that I've made. I've been working with a woman in my neighbo

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 that perspective was definitely skewed.Emily Soderborg: Another thing to consider is that the song never brings Native Americans into the present. The song completely categorizes Native Americans as a historical people. Our discussions with Native families and Native educators show that the song has made many Native children feel uncomfortable and unseen, as to who they are today. So if they're being asked to sing this song, these Native children are not able to represent who they are today. The message of this song is not helping them connect to who they are right now.Cally Flox: A great example of that was Brenda's nephew. His teacher told students, “Draw a Native American house,” and he drew a teepee. And Brenda said, “Do you live in a teepee? And he said, “Well, no, but that's what the teacher wanted me to do.” If a Native child can't find themselves in a song about Native Americans, that's interesting.Teaching Children About Eight Sovereign Nations in Utah Instead of Five Tribal GroupsEmily Soderborg: This song teaches the five tribal groups; it goes through each of their names. In our work with the eight sovereign nations, we know these groups want to be known as the eight sovereign nations. We are hoping to help perpetuate their identity as eight sovereign nations rather than just the five tribal groups within Utah. Teachers can help with this concept by using the great “Five Tribal Groups, Eight Sovereign Nations” resource that Brenda and Cally have created with UEN as a performance resource instead of this song. I think a lot of times, the reason why teachers want to continue using the “Utah Indians” song is because it's part of a performance. Teachers want something that they can have students do for parents. But if you want songs to sing, we have also been given permission to sing several Native American songs from the specific tribal nations. Brenda Beyal: I want to talk about how a teacher can approach a team or an administrator who is encouraging them to continue to sing the song. The song “Utah Indians” not only maintains the stereotype of relegating Native Americans to the past, but also the perpetuates Native American stereotypes through the very beat of the song. It has a strong–weak–weak–weak pattern that is often labeled as the “Hollywood beat.” It's the beat that many movies use to depict Native Americans. It’s definitely not a Native American beat. That sometimes feels jarring when you're a Native American and you hear that beat.Emily Soderborg: That beat is used to create stereotypical Native American music written by people that are not Native American. With a vocalization, it might sound like, HI–yah–yah–yah, HI–yah–yah–yah, HI–yah–yah–yah. This is not anything you're going to find in any Native American music. And I grew up with music like that, and I know now that it is stereotypical. When we know better, we do better—we change. Knowing Better, Doing Better: Listening to Marginalized VoicesCally Flox: I think that's a really important point. Brenda generously said at the very beginning of the episode that people thought this song was okay, in the 90’s when this was written, this was how the culture saw things. But I do want to acknowledge that there were people who knew it wasn't okay. There were people who felt marginalized every time the song was sung. So what I'm really grateful for is that as a culture, we've come to a place to start listening to those marginalized voices and saying, “Oh, this makes you uncomfortable. Teach me why.” Now, we can know better and do better. We're not faulting anybody who wrote this beautiful program that's been used in schools for 30 years, one that many children have embraced and loved and grown up doing. We want to acknowledge how important this “This is the Place” program has been in the development of many children learning the history of our state. We're trying to say, “Yeah, this is a great program. Now, how can we make it better based on some of the understandings that we have right now? How can we be sensitive to this particular marginalized group, bring them into the present, and strengthen our communities today?” Indigenous Experience is an Essential Part of Utah HistoryBrenda Beyal: I love that this teacher is asking this question because they want to be inclusive. Someone may say, “Well, let's just not do anything with Native Americans.” It’s impossible to talk about the history of Utah without talking about indigenous people within the state. If you're nervous, and you just say, “Well, let's just not do anything,” then you're creating a greater void in all children's narrative of how Utah became a state. Another point that one could bring up in seeing the need for the song to be replaced is that some of the lyrics use the terms “Great Spirit” and some lyrics say that Native Americans worshiped wind, fire, and water and different entities. As a Native American, I've never worshipped those elements. I may have a strong relationship or see reciprocity with those elements, but I've never worshiped them. Those lyrics can be confusing t

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 we were truly amplifying the Native voice. Can you tell me how the guiding principle of listening attentively and asking questions has helped us produce a wonderful timeline for each of the Native tribes?Stephanie West: I think that listening (first asking), but then the listening part is really, really key to that. I think that Native individuals have not felt heard for so many years, or if they have been heard, they have been misheard. Listening—it's not just asking the questions, but it's also the listening—and creating the timelines has been an incredible experience. I feel like I have learned so much. When I met with some of the Native groups, it was slightly uncomfortable at first. Their discomfort likely came from a place of distrust of us, at the beginning. It took time for us to establish any kind of relationship. Our listening was key to that relationship because at first they didn't trust us to actually listen. Going back to another principle, some Native groups didn't trust us to honor their ‘no’ if  the answer was a ‘no’ for some of the things that we asked about. What's been really interesting for me is that we have a large amount of silence in our conversations:  we'll ask a question, and then we don't get a response for a while. We don't get a ‘yes,’ or a ‘no,’ or any specific answer. Then, through a very indigenous way of teaching, they'll tell us a story. Instead of answering directly, they tell us a story. Through that story, we come to understand the answer to the question that we asked.Brenda Beyal: Using reflective listening and making sure that we're telling the story, or what they're telling us, in an authentic manner—not inserting ourselves into the story, and not allowing our way of viewing life to skew what they're saying.Stephanie West: There are lots of reflective questions that go into that. Once they share a story, or share a perspective, then we reflectively question to make sure that we've clearly situated the information that we're creating in the timelines. It's a very reflective process. We continue to go over and over one particular piece, one event in the timeline, until we know that it is exactly worded the way that this native group would like it worded.Brenda Beyal: It's interesting that we started our NACI project with the question, “What would you like the children of Utah to know about your cultural ways, your history, your tribe?” We use reflective listening to help develop all of these resources that we are developing now. Questions are always invited and welcomed. Questions are the foundations of our projects.Stephanie West: I think one piece of advice that I would give is that no question is offensive if it's truly, sincerely asked with the intent of amplifying a Native voice and really coming to a sense of understanding. Sometimes as teachers or individuals, we're afraid to ask a question. But if we are truly sincere, I think that the individual that we're talking with understands that.Brenda Beyal: There are some specific questions that were asked such as, “Can I do this dance without having a Native American in the classroom? Or it might be, “I've always done this art project, and now that I've taken the course I'm wondering if this is an appropriate art project. I feel like it might be verging on cultural appropriation.” There might be another question, something simple, like, “Why do you call traditional dress regalia? Why don't you call it a costume?” There have been questions such as, “Do you call yourself a Native American or American Indian? Or, “What is the best term to use?” All of those questions vary, and we welcome them. If you have questions that you would like to have answered, please email us. Hopefully, we can give you some answers. If not, we will definitely send you to people or organizations that can help you. [See Episode Resources for a list of blog posts that provide helpful answers to some of these questions.]Heather Francis: In this next clip, Brenda shares the importance of looking at history from multiple perspectives. She talks about how she believes that history is often told from one perspective and that there's danger in “the single story.” She describes why multiple perspectives are important to her and how working on some of our general Native American lesson plans, like the one on the transcontinental railroad are really important because they offer multiple perspectives on events in history and other events that impacted the lives of those living here in the state of Utah or the territory of Utah. Whether you're teaching Utah social studies or not, understanding history from multiple perspectives, and including Native perspectives on history, is really important.Brenda Beyal: Often I feel like history is taught from one perspective, and there is a danger in just that one perspective or in that single story, because you lose the complexity of that historical time. When we take a look at other ways of seeing things, the world opens up for us and for students. T

 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 add my own voice to theirs and talk about the impact NACI has had on me. I am also non-Native. I'm very interested in other cultures, and I want to understand people with different experiences better. NACI has been really enlightening for me, because I didn't know very much about the Native American experience before this initiative. I've spoken in past episodes about some misconceptions about Native American experience and Native American people that I had in the past, when I was an educator. I think I shared the story of a student that I had in my dance class: I taught middle school and she was quiet in class, she didn't really like to move, and she seemed a little resistant. At an assembly, she performed a jingle dance with the Native American students at our school. I had no idea about her cultural experience that had this rich embodied movement practice. I felt sad that I hadn't known that information yet. I'm loving being a part of this initiative and learning from Brenda, Emily, our designers and our native partners. But I also want to add that this initiative has provided an emotionally safe place, because some cultural questions are very sensitive, and I am not sure if I'm asking the cultural questions correctly. I don't know if I'm even allowed to ask. Brenda, Cally, and the whole NACI team has developed an environment where no question is a bad question and where curiosity is applauded: every time I have a question, it's like, “Thank you for asking, I would love to clear that up. I'd love to tell you more.” That just feels really good. This initiative has provided a really safe place to ask hard questions, questions that are hard for me. If you're a teacher who's interested in learning more about the Native Americans, in your classroom and in your community, come join us for a workshop, come look at our lesson plans, email us, talk to Brenda—this is a really great place to ask your questions. Another great place to ask your questions is our online course, Amplify Native Voices, a one-credit PD course on Canvas—feel free to sign up. The next question is, “Why is tribal approval on our educational materials so important?”Why is Tribal Approval on Our Educational Materials Important?Brenda Beyal: From the very beginning, when we started writing lesson plans, we knew that we wanted to go right to the source. We asked the question, “What would you like the children of Utah to know?” We went to the tribes, and we asked them these questions, all of the tribes gave us something different. When we wrote the lesson plans, it was important to us that we captured authentic voices. So, we went back to the tribes. We worked with them. We read the lessons. Every word was approved by the Native tribes and the reason why, when a teacher is teaching Damen Doiya (which is from the Northwestern Band of the Shoshone Nation), and they are teaching the song that has been approved to sing by the Northwestern Band of the Shoshone Nation, they can feel confident. If someone comes in and says, “I don't think this is appropriate for you to be singing this song,” the teacher can say, “I am using this lesson from this lesson plan, and right here, it shares the tribal seal. It shows that this lesson was developed in partnership with and in collaboration with the Northwestern Band of the Shoshone Nation. They reserve the right to be able to share this song with the children of Utah.” That says a lot: that shows that you are being sensitive, you are trying to be authentic and as accurate as possible, and you have given your due diligence to teaching indigenous content in such a way that you are creating an environment where you are being inclusive in an authentic manner.Heather Francis: Like Brenda described, we spend a lot of time building relationships with our Native partners to make sure that they read every word of our educational products, that they approve, and that they confirm that it is the story they want shared about their tribe or their nation. As an educator, I love knowing that the tribes have approved this content—that approval does give me confidence. If you experience using one of these lesson plans and feel that confidence, we would love to hear about it! Please share your experience with us through email or social media. Distinguishing Among Native Voices Brenda Beyal: In our work, we have included authentic voices, culture bearers and knowledge keepers, and official voices. There are distinct differences between these three:An authentic voice is someone who has that lived experience. I'm going to share the example of my husband: my husband has the lived experience of going to a Native American boarding school at the age of five. His voice is authentic in that experience. I cannot speak to that; I do not have an authentic voice about boarding schools, other than that I live with a man who has experienced some historical trauma. Lived experiences are authentic voices.Knowledge keepers and culture bearers are those within a tribe who are usual

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 Beyal, Heather Francis, and Cally Flox. Brenda Beyal:The arts and indigenous pedagogy pair well, they tell hard stories. They reach children—the arts reach children—because the structures in the arts are so inviting. That's why our NACI program is a part of the BYU Arts Partnership. We went on a tour yesterday to an art department. As we were traveling through the different spaces within it, I noticed indigenous pedagogy just genuinely and authentically being used. We went into an art gallery, and it was a faculty art show. Each of the faculty members was telling a story through their art and through their medium. It started with maybe their own cultural story, their own historical way, or it was place-based in that environment. We went to another space. There were students who were doing printmaking; there was one student who had the same prints. There were just so many prints on her table. We asked her, what are you doing? And she said, I'm trying to get my print to look like this. Somewhere, she had a model, and someone had shown her, but now she was learning through her mistakes. She didn't stop. She just continued to learn. She was becoming resilient in her art. She was also learning by doing. Another place that we went, they were oil painting, and there was a still-life there. As the girl painted, she kept looking at the still life, looking at her colors. There was a teacher right there in the middle of the room who was right there, willing to side-coach, willing to model, and she was in a safe space where she could experiment and learn. I feel like the arts naturally have indigenous pedagogy embedded in them. Now, if you don't believe me, let's invite an artist in and see if my indigenous structures match up to what they were taught in their art form. So, Heather, can you come in? Can you tell me about your world of dance? And how you see indigenous pedagogy: side-by-side coaching, cooperative learning, learning by mistakes, that we learned from our mistakes?Heather Francis: First, I want to point out, I think there's one more indigenous pedagogy that just happened, which is the inclusion of family.Brenda Beyal: Intergenerational learning! Yes, definitely. Thank you for reminding me.How Dance Incorporates Cooperative and Embodied Learning as Indigenous PedagogiesHeather Francis: We're not blood, but you, you are like my auntie. And now you are doing this with me? Yes, mentoring me, but also including me—thank you. In dance, there's lots of storytelling, we use movement to express what either happened, is happening, or what we hope will happen; or, how we're feeling, how we felt, or how we hope to feel. We use movement, which is very sensory. You talked about how indigenous pedagogy is embodied: it's learning by doing, it's using all your senses. So I include intuition, that sixth sense. When an artist is creating, they'll often get to a part in their process where they have a problem that they've identified: “Oh, I want it to be this way,” or, “ Oh, that didn't work out how I wanted.” You have to use your intuition to make the next right step. Sometimes it might be a tool you do know that a mentor taught you. Or, you might have to create it yourself. But you have the intuition to make that choice. The ability to make choices like that is something you learned as an artist. And what was another one? Oh, cooperative learning. There is lots of cooperation in dance, especially when you're dancing with a company. Or if you're co-choreographing, making the decisions with other people during productions, you have your lighting designers, stage set, costumes, programs, marketing—the whole production team has to cooperate together.Brenda Beyal: So do you see how I feel like indigenous pedagogy pairs so well with the art forms? Absolutely. Can you tell me about this in your art form? Can you tell hard stories through dance?Heather Francis:Oh, yes! We do tell hard stories through dance. I've seen women who've lost babies express their pain and grief. I've seen Native groups express the pain of land acquisition from outsiders. I've seen people express the pain of not being understood, feeling like an outsider. There are hard stories that the arts do tell. Some are narrative and tell hard stories that happened historically. And I've seen that in Australia, some Maori people did a dance that seemed….at least from my perspective; it's all about interpretation too, right? So they might have been having a great time, and I thought they weren't.Brenda Beyal:But that's okay. Because you have different perspectives. Thank you for joining me. Our lesson plans are built on an indigenous pedagogy paired with the arts. There are many activities and art experiences that you can use to help your class become more culturally responsive. You can see them built into our lesson plans found on our website.Heather Francis: There you have the first two questions and answers that Brenda recorded at the video studios last semester. I hope you learned something about

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.

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 year of COVID, which they hadn't done in a really long time. Last year, they decided that it would only be Ute members of the White Mesa Community that were allowed to participate. It was very small. Prior to that, and then this year, for the first time in two years, the Bear Dance was open to the public: anyone was able to come and watch and participate. As I went down there, I didn't know exactly where I was going. I had talked to the education director, and I told her I was coming. She's the only one from the White Mesa Community that I've actually met in person. So I was going—not knowing where we were going. They just had big signs that said, ‘Bear Dance this way.’ So I just followed them. I was going partly because I was doing research. But I was also just going with my family over Labor Day weekend with my husband and my two little girls. We were giving our girls this opportunity to experience something new and different. Just because in my work with NACI, it's kind of changed the way I view things, I want to give my children more opportunities to see things through different perspectives. That's part of the reason we went. I had no idea where I was going, what I was doing, I just followed signs, because I knew that it was happening on Labor Day weekend. Thankfully, they didn't start on time, which happens as people are setting things up. I had 45 minutes to talk to Jack Cantsee Jr. I am not in any way, shape, or form an expert, I am just sharing my one experience talking with Jack Cantsee Jr. and then watching what was going on. He explains the dance. The Bear Dance is done in a corral that they've built. It's a round circle, with an opening facing the east. They framed the corral with wire, and leaned juniper trees up along the wire, all the way around this huge circle. Jack was telling me that as you enter from the east, and you go to the left, that that's like the circle of life. It is birth. As you get around to the back, directly across from the entrance, is the stand where the singers are singing with their notched sticks. They didn't use any drums, they were just using the notched sticks. That part of the circle represents adulthood. As the dance keeps traveling around, it goes to the elders. It's just this cycle of life happening. Being there and seeing the corral that they were in made me recognize this dance is a really, really simple dance. It's easy to do. But—the setting, and the symbolism can't be replicated without the Bear Dance chief. It can't be replicated without the tribal members building that corral and having those specific things in place. I recognize that, even though this dance might want to be replicated by teachers, because it is a very, very simple dance, it's just walking forward and backward—without the setting that it's in, it would totally change the feeling of the Bear Dance.Heather Francis You had a family member who got to experience the Bear Dance?Emily SoderborgYes. As I was talking with Jack Cantsee Jr., I was asking him, “So who is allowed to dance in this?” He said, “Well, anyone can dance.” But I was wearing shorts and a T-shirt because it was 103 degrees. It was really, really hot. He told me, “Well, you would need to be wearing a skirt. And you would need to have a shawl to be able to dance.” As a female, I wasn't participating. But, it is a female-driven dance. The females are the ones that ask the males to dance. Jack Cantsee Jr. said, “If your husband's here, he needs to be ready and willing to dance because if he gets asked, he can't say no.” It's just part of the dance that males have to dance. I asked Jack, “Do males need to wear something specific, like the females need to wear skirts and shawls?” He said, “The only stipulation is that he shouldn't be wearing shorts.” Well, my husband was wearing shorts. But since we'd stayed overnight, he actually had pants. I said, “Hey, would you be okay changing into pants in case anyone asks you to dance?” He changed and he was wearing pants. I had my five-year-old and my three-year-old, and we were just watching. We took our camp chairs with us. We had a big umbrella. We were just sitting. You just sit right on the edge of the corral. Most of the time, three or four women dancers would go ask men that were sitting in a certain area really near the singers to dance. But they did a special memorial dance for someone who had passed away. And Jack, who was one of the Bearer Dance chiefs, invited all of the women who were ready to dance to ask someone to dance. Then, 40 or 50 women were dancing instead of four or five. Almost every single male there was asked to dance. My husband got asked to dance. He went out, and they lined up men across from women. Then, there is someone who taps them on the shoulder. That tap tells him that he can break away from the lines, so he can start moving forward or backward. Thankfully, they actually did a song first with him just standing in line. My husband was able to watch. Since he was in the middle of the

34. Native American Series 3 | How to Support Native Families Connections to School | Brenda Beyal In this episode, Brenda Beyal and members of the Native American Curriculum Initiative team offer ideas for supporting Native families' connections to schools. This conversation responds to several questions submitted by a teacher who desires to help Native families find a cultural space in their school district.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 Keywords:families, monthly meeting, people, Native American, teachers, education, arts-integrated education, school, curriculum, trauma, Native, experiences, salt lake city, lesson plans, Paiute, title, boarding school, Utah teachers, Native teaching artists,  Utah, communityEpisode Notes:Heather Francis Welcome to the Artful Teaching Podcast. Our guests, Brenda Beyal and Emily Soderborg, are here with us. They are the program coordinator and project manager of our Native American Curriculum Initiative. Today, Brenda is answering questions that teachers have submitted about including native content in the classroom. The question we have for this discussion comes from a high school social studies teacher in the Salt Lake City School District. This teacher is aware of the Title VI Native American parent committee that meets monthly, but is concerned that they don't have a lot of attendance. They're struggling with funding and staffing and advocate positions and wants to offer more at the meeting to encourage attendance and engagement. I think the teachers’ main question is, “Is there information or curriculum that I can bring to this parent committee to enhance engagement?” What are your ideas, Brenda, for connecting Native families with a cultural space that connects them with their schools?Brenda BeyalThis is a really good question, because we are all about creating curriculum, and I'm hoping that Emily will help me with that particular part. The Title VI program is a fantastic program. It’s a federal program specifically to help Native American families connect or reconnect to school, culture, and language. Every district in the state of Utah should have a Title VI coordinator. The Title VI coordinators are the key to bringing families to monthly meetings and it's exciting because there are a couple of things that you can think about when thinking about Native American families. Many times we think that the Native American family should leave their children at home. But in indigenous culture, we take our children with us everywhere. We take them to the powwows, we take them to go eat dinner with us, we do everything with our children. We even go to dances with our children, you know, pack them with us and have them dance and play with us while we also enjoy ourselves. It is definitely a family event. So looking at it as a family event and seeing the positivity of intergenerational relationships would be an important component that needs to be acknowledged and validated. A monthly meeting definitely should include multiple generations. You know, food always brings people together and we can learn a lot from one another.Salt Lake City is home to many different indigenous people that come from differing tribal nations across the United States. I am just thinking in my mind right now, friends of mine in Salt Lake, some of them are Diné, which is Navajo. Some of them are Hopi. Some of them are Ute. Some of them are Choctaw. Some of them are Lumbee. I have friends who are Paiute, who live in Salt Lake City and Goshute. Bringing those families together and helping them to understand that community is also about learning about one another's culture within Indian country. I think that another way of helping families come together is maybe connecting with different organizations within Salt Lake City. The Urban Indian Walking Center has wonderful resources, and they honor multigenerational families, they honor traditional ways and learn from them. Partnering with them might be a good thing to do. Having a meeting at their center might be a good place to start. I know that the Red Butte Garden has wonderful classes and wonderful programs that welcome indigenous communities. The Museum of Natural History also is very welcoming. Those are just a few off the top of my head that I can think of.Cally Flox A lot of times when we bring people in the community together, people don't know how to serve or what they have to contribute. I'm wondering if when these families are brought together, the question can be asked: “Who are you and what do you have to offer? You're an important member of this community, do you have skills or stories or things that you can bring into the school and get to know people?” I wonder if they shared our lesson plans on our website or if they shared the Utah artist roster, and it gave people a vision of, “Oh, you mean people want to learn those stories?” “Oh, my grandmother sang me that song” “Oh, I know that person on the artist roster, maybe I have something to offer.” Perhaps sharing the resources that we've offered to teachers with the parents and families will help inspire them to realize they have indigenous art forms happening right within their own families. They have their own stories, their own oral traditions, and they may have some wonderful things to offer their school community.Brenda BeyalTying it to culture, I think is important. Coming together as Indigenous people is always such a good feeling, especially if you're far away from ancestral homes. I really like that idea, Cally. When I was teaching school—many, many years ago—Eileen Quintana showed up in my classroom, and she introduced herself as the Title VI coordinator. As she helped me learn about Title VI, and the impact it can have on Native children, and Native families within our district, I became excited. Now Eileen’s office–she didn't have an office…she was hired as a Native American program manager of Title VI, so her office was in the trunk of her car. And maybe that was a good thing because what she did is she started traveling from school to school and the first people I think she sought out were Native teachers within the community, and within our district. When she told me about what she wanted to do, I was on board, I wanted to participate. She gathered a few core groups of people who have the same vision and passion and through the years has built an amazing program for the Nebo School District.I want to go back to the part where the meetings are poorly attended by the Native American parent committee. I want to offer another lens into why that might be happening. My husband had to go to boarding school when he was in Kindergarten. He went to boarding school, the first couple of years of his schooling and his experience has been something that he's had to deal with for many, many years. Knowing this, I realized that maybe there are children whose parents or grandparents are products of boarding school experiences, and therefore may have reactions or may not see school as a welcoming place. If you look at boarding school history, there are some, I'm sure, who thrived. But there are many who could not speak their language, who had their hair cut, and their way of living just completely constrained; they were no longer able to be the person that they wanted to be. Some of these experiences have possibly created behaviors, such as not liking being in a school environment. I think I would say, taking the time to look beyond that they're not coming to monthly meetings, maybe looking to see that there can be some historical trauma that might be impeding their willingness to come into a school would be beneficial. So, how about holding a monthly meeting or trying to hold a monthly meeting somewhere else, other than in a school?Cally FloxI think to help our listeners really understand the depth of what you're saying, Brenda, it's important to recall a phrase that was common in that day and age, which is, “Kill the Indian, save the man.” When we can put it into the blunt terms of what the thinking was of those leaders—those leaders thought they were to assimilate the Native Americans into white culture. And they did set out to annihilate everything about them that was Native American, or Shoshone, or Paiute, or Ute. That kind of systemic trauma leaves very deep wounds and scars and when people don't know their personal identity and when they're shamed for their personal identity, that is a deep-rooted kind of trauma that requires awareness. Where you were using careful language, I wanted to bring that phrase back into people's awareness: “Kill the Indian, save the man.”Brenda BeyalThank you, Cally. General Richard Pratt is the one who said that. Native American people were taken from their families, specifically. I think I should ask Stephanie to give us what she's learned about boarding schools, or give us a little history of it.Stephanie WestI don't have a lot of specific knowledge about boarding schools, so I can tell you some of the conversations that we've had with the native groups here in Utah, and I think it's a lot more individual perspectives. When we talked with the Paiute, Indian tribe of Utah, that was a very sensitive topic for them. It is a trauma for them, it's been a major trauma. I think that there are many individuals who, and even talking with the Navajo Nation about their experiences, they look back at them and they see that this was a tearing apart of families. Families were so integral to Native populations, to indigenous beliefs about themselves, their culture, and their connection to the land. It tore them away from their homes, it tore them away from their land and their communities, and so that's a lot of the trauma that's associated with that. However, there were multiple

Brenda Beyal and members of the Native American Curriculum Initiative team answer teachers questions about Native content in the classroom. In this episode, the question is "I want to teach Native American art projects but don’t want to appropriate. Any tips on this? Also, do you know of any Native Americans near Utah county that would be willing to come to my classroom?" Transcript coming soon.

Links Mentioned in this Episode:University of Utah’s Marriott Library Book Arts Program for TeachersPeter and the WolfFlight of the BumblebeeWilliam Tell OvertureArts Express Summer ConferenceThree STEM + Arts Research Participants Share Their Educational Experience and BackgroundsToday’s guests are arts integrators in the research practice partnership through BYU and the Provo City School District: a visual art teacher, a teacher from a Title 1 school, and a teacher in a dual language immersion program (DLI). Welcome to Elicia Gray, Lisa Galindo, and Jennifer Hildebrand. To learn more about this research partnership, please listen to episode 28. (Elicia Gray) I'm Elicia Gray, and I teach K-12. I mostly spend my time at elementary school teaching art integrated with other subjects, but visual art is my primary subject. I was interested in this research project because I seek collaboration with other teachers who know more about science than I do. I wanted to understand authentic science connections that I could make with visual art projects in the classroom.(Lisa Galindo) I'm Lisa Galindo. I teach third grade at Provo Peaks Elementary. I just finished my masters of STEM education. I have always loved the arts, was invited to the group, and want to learn how to integrate arts with STEM.(Jennifer Heldenbrand) I'm Jennifer Heldenbrand and I teach sixth grade at Canyon Crest Elementary. I have been teaching for several years and have always enjoyed doing art projects with my kids, but wanted to have a better understanding of how to pull art and science topics together.  (Tina McCulloch) Okay, well,  what a nice diversity of backgrounds. . All of us together really do have some interesting backgrounds. But also that idea of I can take my STEM core and add some arts or as Elicia says I can take my arts and add some STEM  into it. It's all for the betterment of our teaching and to engage our students. So I would just like you to share a story of an experience that you've had in your classroom where you engaged your students in an arts integration and what extra outcomes happened. Whether it was you got to know your students a little bit differently or the content really came alive.Engaging Students in Arts Integration Creates Deeper LearningMoon Phases Cyclical Bookmaking(Jennifer Hildenbrand) Our class looked at the phases of the moon. One of the things that I did was show a picture of the moon, probably a vintage 1930’s or 1920’s picture of the moon, maybe with a scarf around its head as if it were not feeling very well and looking a little pensive. That visual opened the door to a lot of discussion. One student in particular said, “I think I'm seeing a crescent moon. I think it's a waxing crescent moon.” The class stopped and thought: “Where does this come from? What's giving you this idea?” There was a shadow around the edge of that picture that was able to help the student think through tha ideat. From there, we learned the moon phases; we talked about why they occur; and students’ questions became quite intricate. The students wanted to know more—they were practicing inquiry-based learning. From there, we created some lovely, cyclical books that allowed them to create their own version of the moon phases.Create your own  Bioluminescent Fish to Adapt to the Deep Sea Environs(Elicia Gray) I think people forget that artists and scientists have a lot in common. When I was thinking about what I wanted to do with my students, I tried to approach these scientific principles the same way as I would approach art principles. For example: “Let's discover something new. Let's notice something new. Let's try to solve a problem.” Both artists and scientists are problem solvers. During the unit on ecosystems, my students studied deep sea fish. We started with this question: “What would keep an organism alive in the deep sea?” I was really fascinated by the idea of bioluminescence. That's one of the fun things that I get to do as an art teacher: I get to just really explore something that I want to know about and then share what I find fascinating with the students. I wanted to learn about  bioluminescent fish: Why do they light up in the dark? What artistic principles would be similar to or evident in that process? We watched a lot of videos about what deep sea organisms did. We found out why they glow in the dark. Sometimes it was to attract food or to attract mates or to defend themselves. The fish had all these really interesting, different reasons why they would light up. I had the students design their own bioluminescent fish that reflected one or more of those survival adaptations. The students got to decide what parts of the fish would light up. Other considerations were the size of the fish, the environment it lived in, and how it survived.After considering these factors and making these decisions, the students designed and painted their own fish. We painted with fluorescent things, fluorescent tempera paints, and anything that was fluorescent. We put them in a dark room and lit it with a black light, and it was bioluminescent! Just like it is in the deep sea. That was fascinating.I loved seeing the kids' reaction to that moment when the lights went out: “Whoa!” That “A-ha!” moment of creative ownership is priceless as a teacher—”We made that! We did that!” More importantly, each artwork was completely different, because it was something that they invented. Each fish was based on scientific principles that help them understand how something would survive in an environment that the students are totally unfamiliar with. This project was a way to really just explore a different medium, try out something new, and students had a blast. Those peer-to-peer conversations were very rich, because the students had all that science evidence for the artwork they were seeing.Students’ Showcase Substantial Scientific Learning in Art Class(Elicia Gray) We displayed their bioluminescent fish as part of an art show. Ironically, my art classroom is completely devoid of windows. It's black, it's a deep hole. It was perfect. I put a little label outside the classroom door and we called it “The Deep Sea.” The rest of the art show was in the hallway, the gym, and other open areas at the school, and we had arrows going to the deep sea. All the overhead lights were off, and we turned on the black lights to allow the kids and their families to enter the deep sea. It was a riot, they loved it, and so did I.Parents were genuinely surprised their kids were learning something substantial in the art classroom. We research ideas, and we talk about really important things and students  are given an opportunity to solve real-world problems in a format that they design. It's a really creative space if we make room for it.Using Music in the Classroom to Identify Animal Traits(Lisa Galindo)  As a generalist classroom teacher, I mostly focus on reading, writing, math, science, and social studies. My experience with integrating the arts  is typically a culminating activity at the end of a unit to show what we have learned. After reviewing the third-grade arts standards, I found a musical standard about composers and how they paint a picture with music and sound. I thought, “How could that tie into what we're learning in science or math?”I remembered, “We're learning about animals.” I remembered listening to Peter and the Wolf as a child. The composer used music to show certain traits about the animals, a topic that fits in with our science exploration of animals: we are learning how these traits help animals survive, etc. A lot of kids aren’t exposed to classical music, so I turned it on. The students were so excited. They were so engaged. They exclaimed, “This is fun!” The video I played had orchestra members dressed up as the animal character their musical instrument was being represented by. I was surprised how excited they were to listen to it. We cut it into two days, because it was too long. The next day at the door they asked, “Are we gonna finish Peter in the Wolf?” “Yeah!” They were really excited.  I said, “We will stop every once in a while and analyze what animal we hear.” “Well, that's the duck.” “What's happening?”“He's swimming.”“What makes you say that?”“Because of the sounds, they were really fluid and flowing.” “What is the bird doing?”“Oh, he's chirping?”“What makes you say that? How does the composer get us to think that the bird is chirping? What sounds do you hear? Or with the wolf? How do you know that’s the wolf?”“Well, it has kind of scary low sounds, and it sounds really scary, right?”After that, I gave them two pieces of music and had them draw a picture of what they were hearing, using visualization skills. The first one we did was the Flight of the Bumblebee. I didn't give away the title of the musical work. Next, we did the William Tell Overture. I wanted students to think of an animal that those pieces of music reminded them of. I was really surprised that only two students drew a bumblebee for the Flight of the Bumblebee. Others drew a rabbit, or a mouse, or a squirrel, or a bird. One student said, “I couldn't think of anything, any animal, but I thought of the wind. That music made me think of a wind storm.”I said, “Why did you think of a wind storm?” He said,  “Because it was really fast and strong.” I said,  “I can see where you're coming from. I really like your windstorm.”I told the students, “Nobody’s ideas are wrong.” Then, we listened again. This time I told them, “The name of this piece is Flight of the Bumblebee.” They responded with, “Oh my gosh, I can hear it. I can hear the wings flapping and buzzing.” We repeated the experience with the William Tell Overture. Several kids drew a picture of a horse. Several other kids drew pictures of other animals. I said, “You know, it's all your interpretation of what the artist is painting in your mind. Nobody's wrong.”Seeing their engagement, excitement, and their artwork

Links Mentioned In This Episode:The Brain Dance by Anne Green GilbertUtah Teaching Artist RosterBuilding an Arts-Rich SchoolPerformances & ExhibitionsFirst Steps in Teaching Creative Dance to Children by Mary JoyceDance Integration—36 Dance Lesson Plans for Science and Mathematics by Kaufmann & DehlineJana Shumway Dance Lesson Plan - Utah AnimalsCreative Dance Integration Movement ResourceTricks for Using Picture Books for DanceWater Dance by Thomas Locker (Bookshop.org)Art Should Be a Habit, Not a Luxury by Arthur C. BrooksWho is Mr. Dance? Meet Provo City School District’s Arts Coach, Chris RobertsHeather Francis and Tina McCulloch have been working with Mr. Dance for over 10 years. Chris gave Heather her first teaching job out of college at Rees Elementary. Chris taught Tina the Brain Dance, which created a big change in her third-grade students. Now retired, Chris was the Beverley Taylor Sorenson (BTS) arts integration coach for Provo City School District for over 20 years. He worked to facilitate the BTS grant through collaborating with principals and supporting BTS arts educators. As the Provo City School District arts coordinator, Chris supported arts-integrated classroom activities and professional development for Pre-K–12th-grade drama, music, visual art, and dance teachers. Mr. Dance Supports the Arts in Schools by Teaching Students in Classrooms and Teachers in Professional Development Beginning with no job description, Chris made a flier of skills and activities he could offer to teachers as a district arts coach. He went to all 13 elementary schools, and hand-delivered a flier in every teacher’s box. He “had a few bites.” Those few initial interactions rapidly snowballed: now, Chris is a high-demand educator, packing as much Pre-K-6th grade dance integration as he can into his limited 30-hour workweek. Learn and share informationHighlight BTS educators across the district to promote the artsSupport educators in creating and publicizing school arts nights, performances, and exhibitions.For example, Chris recently assisted in planning a district-wide dance concert involving all the students in all Provo’s secondary schools and two elementary schools. Ballroom, creative, and modern dance were included. It was an incredible experience for the elementary students—“just amazing that they got to go to Provo High School and dance in front of a full house of families and friends.” This was a magnetic performance bursting with positive energy that was felt by each participant and audience member. Tina recounts, “Chris planted in the hearts of these little elementary students that this is a lifestyle. This is a way I can carry the arts throughout my life, and the positive energy feeds on the arts and makes a positive cycle for artful living.”“Chris is amazing. He has a way of working with students and teachers to help them become more aware of their bodies and minds. And to integrate core content into his kinesthetic dance activities. He didn't come from a dance background originally, which makes his story even cooler. And I think it's helpful because he knows how to approach students who also don't come from a dance background.”Mr. Dance Wasn’t a Dancer: Dance Integration is for EveryoneChris was the carpool dad for his daughter, who joined BYU’s Children’s Creative Dance Program beginning at age 3. Chris’ wife supported his hobby of teaching by  working in the business world. Instead of sitting in the car, Chris observed his daughter’s dance class and corrected papers. He listened and watched Miriam Bowen teach the class for three years and witnessed his daughter develop creativity, communication, and problem-solving skills. Finally, it clicked: “Well, that's exactly what I want for my students.”Chris wrote a grant. Doris Trujillo, who is a teaching artist, visited his school for 10 days. As a parting gift, Doris gave Chris First Steps in Teaching Creative Dance to Children by Mary Joyce. The following week, Chris went to class holding that book—with ZERO experience teaching dance. He explains: “I read what Mary Joyce wrote in the book to tell the students. I read it, and they did it. Then I read the next thing, and then they did it, and  then I read the next thing, and they did it. It was amazing!” Chris’ positive momentum kept on dancing: he attended dance integration workshops sponsored by the State; traveled to Seattle to learn from Anne Green Gilbert’s two-week dance workshop; began teaching dance workshops to teachers. The “powerful women” who taught Chris to dance have been a momentous source for growth and influence for his development from a carpool-dad-turned-novice-dancer to ‘Mr. Dance.’What Happens When Teachers “Let the ego go.”Chris’s advice to teachers out there: “Do not be afraid of being the fool. You have to let your ego go. It's so important to bring dance to these kids.” Letting the ego go helps create an atmosphere of “Yes! I can do this!” for every student, no matter their dance experience or level of self-confidence, even the reluctant students who cling to the classroom walls. Chris’s lived experience learning to integrate dance—his journey of transforming from a ‘regular’ classroom teacher to ‘Mr. Dance’—models this very “Yes, I can. I can do it!” attitude. Additionally, listeners, the way Chris held his posture as he described the way he used Mary Joyce’s book—holding his hand out in front of him as if reading aloud from a book—was full of energy and purpose. For the teachers who believe, “I am not a dancer. I am not comfortable in my body or expressing things using my body,” Chris’s example as a teacher who began as a complete novice serves as a totally attainable inroad toward dance for teachers who are uncomfortable with this art form. Dance is for everyone. Unexpected joy can happen when teachers set aside their ego and move their bodies. Chris relates an example of the unique experiences teachers have when they first dance with their students—a second-grade teacher wrote him a lengthy message explaining the feelings and emotions she embodied when she danced. She “felt freer than she's ever felt in a long, long time.” Collaboration Tips for Arts Educators and Classroom TeachersBTS educators in Provo District reach out to every teacher and ask: “What's the best way that I can communicate with you? How often? And how can I best serve you?” This way, classroom teachers decide what fits their teaching needs best: face-to-face meeting, email communications, or collaboration during Friday PLC time. The point is that arts educators honor the needs of the classroom teacher, and vice-versa.Research shows the most effective learning happens in co-teaching environments between classroom and BTS teachers. Chris encourages principals—especially those with first-year BTS arts educators—to create this specific type of collaboration: put the classroom teacher together with the arts educator, to co-teach. Typically, BTS educators initiate conversations with classroom teachers. For those educators not in a BTS school, teachers can reach out to a visual art planning time technician—or other arts educator— and say, “Hey, I'm studying the water cycle in a couple of weeks. Is there anything you can do to help me with that?”The research is clear: the more arts are integrated into the classroom—regardless of the art form—student retention and engagement are much higher. For example, let’s say a school has a visual arts BTS educator, and a non-visual arts/generalist teacher needs support with integration. That generalist teacher can reach out  to that BTS educator and collaborate on what is happening in each others’ classrooms to support learning in both classrooms. “Mr. Roberts has been working with my class since 2016. Eight years now, wow. He is amazing. He finds books about all different subjects, such as science, literacy, or social skills. He is so creative in designing ways for the students to dance to the books and learn something at the same time, from how plants grow to the rain coming down, rhyme scheme, and being kind, he finds ways to incorporate movement into these lessons.”How to Plan Dance-Integrated Lesson Plans  Find a Children’s BookChris spends lots of time reading children’s books because they offer a rich starting place for integrating science, math, social studies, and language arts. Chris describes his process: “As I read a children's book, I may exclaim, “Wow, this says all kinds of verbs in it! Just look at these images. We could dance to these verbs and images! So, when I see a children's book that has a lot of movement potential I buy it and I use it. Consider Content StandardsConsider the grade; what is developmentally appropriate for the grade; consider what they're studying in their science, and in their math, and in their language arts and in their social studies. So I use books like that, that way, picture books mainly. Use Available Lesson PlansUse the lesson plans on advancingartsleadership.comJana Shumway’s (Jordan School District) lesson plans Dance Integration 36 Dance Lesson Plans for Science and Mathematics by Karen Kaufman and Jordan Dehline. This book contains incredible lesson plans. Innovate: Make It Up Chris walks in nature—listening, observing, paying close attention to that environment. His mind quiets and ideas come to him. Enlivening STEM Subjects by Integrating Dance in SchoolsNotice that most scientists, mathematicians, neuroscientists, Nobel Prize winners—they all have hobbies in the arts: violin playing, or watercolor painting, or dance. This illustrates why arts integration into STEM subjects is critical: the arts bring those subjects to life. It's hard to imagine doing science without adding a visual, musical, literary, and/or physical movement component. Handing students a math or science book to read doesn’t enliven these content areas: inviting students to express learning through paint, creating a mind map, or getting out of their seats and m

Links Mentioned In This Episode:The Arts Educate the Whole ChildAn Unusual Route to Becoming a Visual Arts Educator“Being in the arts endorsement course saved my life.”Marie Mattinson, visual arts educator at Edgemont Elementary School, is this week’s guest. Marie graduated with a bachelor's in psychology. She worked as a PE teacher and loved working as an aide for an autistic student. She completed the requirements for a teaching license while teaching part time (including special ed math, third-grade, and after-school programs). After teaching third-grade full-time for 12 years, Marie hit burnout because of testing and expectations. ColleaguesLisa Gardner and Diane Ames convinced her to enroll in the BYU ARTS Partnership’s Arts Integration Endorsement program. “Being in the arts endorsement course  saved my life, really. I was happy again. I was happy to be with the kids and as I was happier, and we were creating things together in all art forms the kids were happy, and it created a cycle of everybody being better and happier.”After being hired as a visual art teacher, Marie earned her master's in Art Education. She works to integrate science and math into the visual arts curriculum in all kinds of ways. Marie is a recent recipient of the Beverley Taylor Sorenson’s Legacy Award for Excellence in arts education for elementary visual arts instruction in the state of Utah.An Arts-Integrative Pedagogy Actively Engages Struggling StudentsMarie shares how the arts deeply impacted the learning of her own child: “My son was struggling with long-term memory, retrieval, processing and comprehension. His comprehension is really low. He has ADHD and I just watched him crumble as a first grader. As a second grader, he struggled to write and stay engaged; he hated school, he cried every day. PJ day was the best day because it was the one day we didn't have to have a tantrum about clothes. We had tantrums about everything else.When he learned his vowels, he was in Miss Gardner's class. They learned through songs, so he can decode and read so well because of music. Then in third grade, our music teacher taught him multiplication through songs, and he can do multiplication because of songs. His French third-grade teacher used movement and dance, (she was also in the Arts Integration Endorsement class) and he learned French that way, because he's in the French immersion program. Then, I realized that I needed to be more patient and engage all the kids because if my kid was struggling, I needed to be a better teacher and be more patient. I watched him do so many things that he couldn't control. Instead of, ‘Why won't you just sit and listen?’ ‘Why won't you just do this?’ He can't. Before my lived experience with my son, I didn't realize that kids who struggle with ADHD and other things, they can't. They don't mean to be like that. Yet, the pedagogy that creates confidence in learning, connections, and success are the arts.”Educate the Whole Child: Teach Social-Emotional SkillsMarie is passionate about educating the whole child. Students need to learn the skill of knowing how to care for other people, be empathetic and good listeners. Marie believes these skills are just as important as any academic curriculum you could ever put in front of them. Many lessons in her third-grade classroom focus on people: “Let’s look at cultures, let’s look at who is in our class. How can we learn more about them? How can we represent their beliefs and their interests in an authentic, empathetic way that celebrates them?” For example, including this social-emotional learning during math class: students can practice empathy and listening skills, collaboration skills. When students start breaking down or showing frustration because the math concept isn’t landing, teachers can help support that student’s emotions first, then work together on the math concept: “It all matters.”Using Art to Celebrate Diversity and Create Culturally-Responsive Classrooms: Puzzling Out Students’ Ancestral CountriesMarie’s school is extremely diverse: the French dual-immersion teachers hail from Rwanda, Spain, Austria, Ukraine, Switzerland, Morocco, and two are from France; students are comprised of all different socio-economic backgrounds and neighborhoods, and include a lot of second-language learners, and students from Columbia, Brazil, Uruguay, Congo, and Haiti. Second graders are given a puzzle piece made from paper. They find out which country their ancestors came from. Students learn about their ancestors, where they came from: students find a picture of a monument or landmark from that country. Marie helps each of her 650 students—some of whom are first-generation immigrants—make a contour line of the monument on their puzzle piece, paint a value-scale, and fit all the puzzle pieces together. A discussion is next: “students talk about how different and diverse we all are, and yet! We all fit together, and we live together. We can share these great things with each other.”Arts Educator Collaborates with Classroom TeachersBecause Marie was first a classroom teacher before becoming a visual art educator, her collaboration with classroom teachers carries weight: “When I say, ‘I promise, trust me, this is going to work and it's going to engage your kids and you will be happier,’ teachers believe me. I do a lot of the work for them in the beginning. In fact, I dragged them. I've dragged a lot of people along. I'm happy to do it, because it takes a few years. I think one of the fifth-grade teachers, she took over one of the integrated projects that we'd been doing and did it on her own in her classroom. I mean, how great is that? She's doing it herself now.”Successful STEM Arts-Integration Collaborations: The Importance of Planning AheadAs the arts educator who chooses projects and curriculum and teaches visual art skills Monday-Thursday, sometimes teachers ask Marie, “Hey, we're learning this in science, do you think you could do that in your classroom? and I'll respond, “I'll see if I can fit it in, or no, we've got to do that on a Friday.” Fridays are for integrated projects—sometimes students spend two hours in the art room making clay ocarinas as part of an integrated project to complement the classroom curriculum.Co-teaching is an effective way to integrate the arts with STEM: the classroom teacher reminds the students what was talked about in science or math and asks, “Why is that working?” Marie asks questions to relate the science or math topic to a visual art theme, so that the kids find the connections between the art and the science, or the art and the math.  Marie explains the value of co-teaching, planning, and arts integration with STEM: “Why are we doing this? We could make a pretty picture if we wanted to, but that's not our goal. Our goal is to help students understand science. What is art doing to help you understand science or social studies? As other teachers see the artwork go up around the school, they talk and they're like, ‘How do we get in there? How do we get scheduled?’ And I say, ‘Well, we have to sit and plan because if we don't sit and plan, it ends up being me doing a whole bunch of extra artwork.’”Strengthen Student Learning by Inviting Various Art-Form Educators to Co-Create with Classroom TeachersProfessional development with arts integration strengthens student learning by cultivating arts skills and offering resources to teachers. The BYU ARTS Partnership sends a music educator, a drama educator, a dance educator, or a different visual art educator, to Marie’s school. The school’s teachers decide which units are not as strong or lacking some sort of integration with any art form. We send those ideas to those arts educators and they come with prepared lessons and ideas on how to integrate those. The arts educators work with each and talk them through the lesson and help create the unit’s lessons. The educators practice the lessons so that the classroom teachers feel more confident. Ideas start flowing from the teachers: “Oh, maybe I could do this!” “This gives me a little bit of a start.” The best part about this process is that the classroom teachers didn't have to come up with it all on their own, since classroom teachers are always short on time. The synergy among the classroom teachers, whole grade-level teams, and the arts educators creates a beautiful synergy of ideas and a product that is greater than the sum of its parts.Amy Rosenvall is the district science educator who is part of this research. Amy says, “Well, the science piece actually means this. So how can we really make it authentic science and art?” So integration isn’t, “Here's this art project that represents the science, but the art is actually doing the science.”Research Shows 100% Engagement in Science + Arts LessonsFor Marie’s master degree, she created a capstone study focusing on the ecosystems unit from the sixth-grade curriculum. She integrated every art form into that entire unit. Marie explains: “The data showed 100% engagement, every single time, whenever we integrated with an art form. This is a class that had 70% low economic status, seven IEPs out of 18 students, three students with autism. I think maybe three were gifted, which has their own needs to be challenged. So very, it was a really challenging class with 100% engagement. One particular student struggled with depression—his head was down on the desk all the time. Yet, he danced with Mr. Roberts, he painted with me, he did music with Mrs. Lee, and he did drama with Mr. Roberts. Even if the effort had been to engage this one depressed student, it is totally worth it.” Classroom Teachers Do Not Have to Be Arts ExpertsMarie shares a story about her experience with an art form she isn’t strong in: “In the Arts Integration Endorsement, I loved the singing—I struggle with singing, I'm not confident. I remember one time when I was teaching third grade, I was trying to teach my students a song. They s

Links Mentioned In This Episode: Elementary Lenses of Integration & Visual ArtsSEEd Science Standards One-page Summary Elementary Lenses of Integration MusicElementary Lenses of Integration DramaElementary Lenses of Integration DanceElementary Lenses of Integration ALL FINE ARTSDraw the Name of Your Favorite Animal Lesson PlanBob Smith, Alpine School District Elementary Arts CoachThe last episode featured Mr. Dance, Provo City School District’s Arts Coach. This time, we highlight the Alpine School District. Bob Smith works with all the district’s arts educators in all 62 elementary schools. Arts coaches support these teachers in their development and growth and coach classroom teachers who are new to the arts. Coaches like Bob help teachers understand meaningful ways that they can connect to their students through the arts.From Teacher & After-School Drama Director to District Arts Instructional CoachLike Mr. Dance, Bob stumbled into the arts. His teammate said, “Hey, the principal signed me up for this weird program. It's got a lot of art stuff, I don't really understand it. Would you take it for me?” Bob came to the BYU ARTS Partnership Arts Academy and “found [his] people.” “We were drawing, we were dancing and singing and playing drums, and connecting to a really awesome curriculum. At the same time, we were diving into books, looking deeply into science, exploring different social studies topics, all in day one at the Arts Academy, and I was hooked.” Bob finished the Arts Integration Endorsement and continues his work with the BYU ARTS Partnership. The arts enlivened Bob as a teacher and after-school musical theater program director. He has always used the arts in his teaching: turning on music for writing, drawing every day—discovering a whole group of people who were teaching in an arts-integrated way, helped him become a better teacher and then a coach.Artful Tip for Classroom Teachers: Draw Everyday With Your KidsOnly half of Alpine schools are privileged to have the Beverley Taylor Sorenson Arts Learning Progra, grant. In order to increase access to the arts, Bob creates simple resources that teachers can easily see, connect with, understand and apply to  transform their classroom.Bob creates lesson plans, sends them through the arts teachers, and sends an invitation to classroom teachers to co-teach with Bob in their classrooms. For example, recently he sent out a lesson called “Draw the name of your favorite animal” with an invitation: “If you would like me to come and demonstrate this for you in your classroom, send me an email.” Since then, and after visiting five or six schools, similar projects in other classrooms are popping up. Other teachers are emailing, “We decided to take it on.” “We decided to give it a try.” Find the lesson plan here.Arts Integration is the LearningBob describes the magic that happens in these art rooms and these dance and music and drama rooms. Someone who is trained in art forms—like dance, music, drama, and visual arts—can make magic almost effortlessly. The Arts Integration Endorsement offers teachers just enough to know it's important to know that it can be magic, but when they get back to the classroom by themselves, it feels… “Oh, what did they say?” “What did they do?”  “What was that exactly? I don't know that I'm super skilled yet.” Making bite-size chunks means that integrating the arts feels easy to use: draw every day! Turn on a video tutorial—teachers don’t have to be an artist or the teaching artist for this skill—students can work on developing hand-eye coordination, creating visual connections to a topic, and from there teachers can move right into writing. Instead of only drawing on Fun Friday, begin each week with a meaningful drawing project centered on a learning topic for the week, and add details to it every day. Then, when the class gets to Friday, students can write a paper about the week’s topic. Because they will have drawn out connections already, students will have so much more to write about. Bringing Creativity, Problem Solving, and Collaboration into STEM Through Arts STEM means that teachers demonstrate the inherent overlap between multiple content areas: students really understand the application of math, they can visualize effects of science on evolving societies, they can comprehend a cause and effect visually and environmentally. By adding the arts to those content areas, connections light up. Teachers can give students an arts tool and a topic to discuss or explore or create. For example: when studying measurement, teachers can help students incorporate math through musical rhythms or visual patterns; incorporate science as students define words and sing vocabulary. The arts enliven STEM.  STEM subjects are inherently creative: adding the arts creates added value to understanding STEM. Building arts skills helps students think about questions like, “How can I represent this idea?” “How can I show my thinking?” “What tools can I use to communicate my ideas to others?” These are 21st century skills: successful adults are able to represent their ideas and communicate them with others. One-Page List of SEEd and Arts Standards to Facilitate Arts Integration Bob shares an important example about his experience coordinating with his science team about the new SEEd standards in Utah: “Many of the arts integrators who are doing amazing arts integrated projects were curious about the alignment. ‘Can I still do landforms with fourth grade?’ So I asked our science educator, “Break these down for me.” And she started breaking them down. I still kept thinking, Oh, this is like 100 pages of standards. So I kept working, breaking it down until I just had a one page summary of each grade’s science curriculum. I put the science standards side-by-side with that grade’s arts standards, so now teachers can see a clear summary of the big objectives of the SEEd and arts standards alignment.”Bob offers a single takeaway for teachers regarding SEEd standards: choose a specific phenomenon and use the arts to explore it. For example, look at animals that change color and ask a question.“What's the science behind it?”“What meaning is there behind it?”“How can we capture that and represent different aspects of that in the art form?”Once students find their passion, curiosity, and excitement and after they have “embraced it in their body through movement or through drama, through visual art, or singing about this interesting thing,” teachers can add in the teaching elements.Collaboration between Arts Educators and Classroom Teachers is Key for Arts Integration in STEMBob explains, “Share those big rocks and those big essential standards that you are trying to really hit home in your classroom with your arts educator. The job of your arts teacher is to build skills in your students. In your collaboration with them, the arts teacher will make visible what your students are capable of in that art form. Then you are going to see some natural connections.”He continues, “It's so amazing to see principals giving time to the arts educators to collaborate with the classroom teachers. If you're a classroom teacher who wants the support of an arts teacher, or an arts teacher who wants to connect more deeply in the classroom, make a plan together. Talk to your principal and say, “Can we set up a regular time to meet so I can check in regularly to see how my kids are evolving in this art form in the art room.” When the arts educator and classroom teacher have that opportunity for side-by-side time, they can really make it purposeful with these big rocks—the essential standards—to really make connections and nail inquiry-based learning for the students.Bob shares an example of what this arts collaboration looks like using the SEEd phenomena of rocks. For example, a classroom teacher wants to use watercolor for different types of rock like sedimentary, igneous, and metamorphic. This teacher thinks, “Watercolor would be a great way to explore a type of rock. But I don't have time to teach them how to watercolor. That will take extra time.” The arts educator can (or already has) built those skills in the visual arts classroom, then the classroom teacher can get right to the integration part because those art skills are already the foundation for the exploration. A Story of How the Arts in the Classroom Allow Teachers to Truly See a Student's Point of View The arts are fun, plain and simple. For example, put a box of scarves in the middle of the classroom: colorful, beautiful scarves. Teachers can say, “Kids! Explore these for just a minute.”  Students fiddle with it for just a second. Pretty soon, they're tossing it high in the air and catching it, and laughing and giggling.Then teachers can say, “Now, I want you to show me the water cycle through these scarves.” Or, “I want you to show me the plant life cycle through these scarves.”Bob shares what might happen: “Students look at this play thing. They have to reimagine it as a seed, a sprout, a leaf, a flower; or they have to somehow turn it into clouds, precipitation, rivers and oceans. That critical thinking is huge. But it's fun! It's so amazing to see teachers light up when their kids get it when they are smiling and having fun and creating and coloring and they're having a blast.”The arts are good for the soul. In Bob’s words: “I was sharing drawing skills and telling teachers to ‘Draw with your kids all the time!’ One teacher did a typical Valentine's activity. Each student had a paper heart. Inside the heart, the teacher wanted them to draw meaningful things: what the students loved, what they cared about. The teacher drew her dog, she drew her kids, she drew her family, she drew her favorite place to go. She told her first-grade kids to ‘Go ahead!’ A boy started scribbling black and brown.He was always the kid who was told,  ‘Be quiet.’ ‘Stop touching other things.’ ‘Stop touching your neighbor.’ ‘Sit back down in your

Links mentioned in this episode:Rocky Mountain Arts and STEM Think TankSupporting Teachers with STEM and Arts Integration in the Classroom**Listeners, take note: this is not a STEAM podcast series, but a series of episodes focused on STEM and the arts.Today’s host Heather Francis, with co-host Tina McCulloch, introduces a series on STEM and the Arts. This podcast is important because teachers need practical, applicable examples of what STEM plus the arts or the arts plus STEM look like in the classroom. The experts and teachers in this and future episodes offer insight and experience to our listeners.Dr. Heather Leary is today’s guest and is a professor in the Instructional Psychology and Technology department at Brigham Young University. This episode explores the distinctions of STEM and the arts, and discusses Dr. Leary’s collaborative STEM and arts project.Tina is an elementary school teacher with 13 years of experience who integrates the arts into her classroom because the arts create connection, are part of her teaching persona, and help students “recognize the interconnectedness of our learning.” Dr. Leary has a bachelor's degree in fine arts and began her career as a photographer. Over time, her STEM-focused personal and professional lives overlapped (doing research, working with classroom teachers, and doing professional development). STEM offers a powerful, systemic way to consider content, think about critical thinking and problem solving: STEM is a holistic and simultaneously fun, creative, and engaging approach to learning.Definition of STEM + Arts — Reaching for TransdisciplinarityIntegrating STEM with the arts helps teachers move towards transdisciplinarity, or emphasizing the natural connections and overlap from arts into science, arts into math, and arts into technology. Arts + STEM ←→ STEM + ArtsThe relationship between STEM and the arts is symbiotic: the relationship goes both ways. Classroom teachers can integrate the arts into STEM-based content, and arts teachers can include science, math, engineering and technology into their lessons. Arts educators do just as much as STEM in art classrooms, and not in a superficial way, but in a powerful way—these connections show up in very deep, problem-solving ways, compelling teachers and students to think critically. The arts aren’t limited to just visual arts, but include all the art forms—theatre, music, dance, visual—and choosing an appropriate artform can support students as they work through problems.As a dance math teacher, Heather Francis describes an example of a classroom application for using dance as a way to teach mathematical patterning to build the skill of mathematical visualization. In practical terms, students’ math problem might be: given the length of a flagpole’s shadow, calculate the length of a flagpole. Students likely have difficulty understanding that a flagpole has a shadow. Teachers can choose the artforms of visual art and/or dance: students can draw a flagpole and include its shadow, and/or perform shadow dances. This practice of artform-based patterning translates into larger applications, when students have their own interesting problem due to their experience with an art process informing their mathematical learning and the math informing their creative expression. Supporting Utah Elementary Teachers’ Implementation of SEEd The SEEd standards are the new science standards for Utah elementary schools. The greatest influence in the classroom is the teacher, so effective professional development for teachers really spreads to the students. Dr. Leary describes how her research-practice collaboration with Provo teachers is influenced by the district’s emphasis on STEM education. STEM + the arts are mutually inclusive. Together with Dr. Leary, the arts and classroom teachers are exploring and defining what SEEd-focused teaching looks like using STEM and the arts. They have identified the following needsTeachers need to understand the SEEd standards.Teachers need collaboration to create arts adaptations to SEEd-focused lesson plans.Teachers need continued support as they work to implement the STEM and arts lesson plans.Teachers ask questions like these:How can I integrate this using _____art form?What are the standards I am responsible for?When do the SEEd standards overlap with the arts standards?In order to build capacity for teachers and develop students’ skills and knowledge, Dr. Leary and the classroom and arts teachers collaborate to design and implement lesson plans, and collect data from these classrooms. This research-practice partnership is unique because it brings together teachers from different schools and different grade levels. Tina McCulloch works with Dr. Leary both as a classroom teacher and as a graduate student project manager, experiencing the project from both lenses.Their project is a design-based research project. In design-based research, the practitioner and the researcher work together. The practitioner’s experience changes over time, and is used as a foundational place for theory development, resource creation, future research questions, and necessary shifts for application and practice. Considering the needs of classroom teachers is essential for a participant like Tina, who participates in this research as a practitioner (teacher) and researcher.Lessons Learned from the STEM + Arts Research Practice PartnershipThis research collaboration began in 2019, with Dr. Leary initiating conversations with three classroom teachers and one art teacher. These simple but powerful conversations, which offered these educators time and space to think deeply about the intersection of STEM and art, and what they could do, created an impetus for more collaboration.Teacher & Arts Educator Collaboration is Key to Create Meaningful STEM + Arts Student Learning Experiences Dr. Leary describes how teachers are really hungry to learn how they can do more transdisciplinary work. Teachers want to be able to teach in a very authentic, real-world, holistic way: when students walk out into their communities, they hear things, see things, and interact with things, and can start to form a larger, comprehensive perspective and picture of the world: “The world isn't just math, or just science, or just engineering, or just art or just technology, right? All of the disciplines are necessary for something to happen.”This STEM + arts research work is designed to help teachers create that learning environment, that curiosity, that transdisciplinary approach to seeking information. STEM + the arts is a way to do that; it’s an iterative way to teach: learning by doing, making mistakes, creating a growth mindset with curious thinking and skills development.Cross Grade-Level Communication About Arts and Science MattersElementary SEEd standards are designed so that third grade aligns with fifth grade; fourth grade aligns with sixth grade. Teachers from these aligned grades talk to each other with these questions in mind:As a sixth-grade teacher, what do fourth graders learn that I can expect to build on?What should students know by fifth grade?As a fifth-grade teacher, how can I support your work with third-grade students?Cross grade-level communication is essential for building teacher collaboration and laying a foundation for efficient teaching and supporting student success in their inquiries.District support also means that teachers who have never talked with their arts coach, or art educator, or the science educators, are now having productive and meaningful conversations and input about long-term planning and overall learning goals. The Arts Help Create Meaning in Inquiry-Based LearningA teacher in Provo District has a master's degree in STEM. At first, her approach to the new SEEd standards looked like this: “I know all about how to do the engineering process and how to have this phenomenon in my classroom.” Soon, she realized, “they [my students] need something more.” As a member of the STEM + arts research partnership, she understood that the ‘something more’ was the arts, but she had no idea how to implement the shift toward the arts. As she continued learning about arts integration, and because of the arts skills she learned because of her involvement with the partnership, she said, ““Now I can do a little bit more.” When Tina came into her classroom, she said, “Look what my kids did!”They had done some watercolor painting of clouds. She said, “Because you were willing to show me what wet-on-wet looks like, and how to put some dry brush in there, and then how to sponge some parts off, we have this wall where the kids can talk about their cloud formations and they refer to it all the time.” The best part? The students want more. They are asking when the class will be doing the next arts-integrated activity. Because of this small success, this teacher has an intrinsically-motivated drive to learn more and invest more fully in deep learning through STEM + arts.Together, Teachers Create Grassroots Momentum for Artful LearningMore on this idea of reciprocal symbiosis: Teachers are creating momentum by gaining new dispositions and realizing opportunities to access the full capacity of their school’s arts educator through artful conversations, opening the door to an arts-integrated curriculum: when classroom teachers get support from the art educator in their school, they work together to build a strong foundation of positive momentum for both other teachers and the art educator. These relationships and conversations are effective because they create multi-lateral momentum and movement: not just change from the top-down, but also—and more importantly—a bottom-up and multidirectional ribbon of change that creates sustainable longevity. Just like STEM + Arts ←→Arts + STEM, teachers + arts educator ←→ arts educator + teachers. District Support is Essential for Sustainability and Building Teacher CapacityIn order to create longevity, sup

Links Mentioned In This Episode:Piet Mondrian’s Broadway Boogie WoogieVisual Thinking StrategiesCritique as a part of Visual Thinking StrategiesDon’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.How to Integrate STEM + the Arts Heather Francis and Tina McCulloch discuss a specific arts strategy that Tina uses to help her students substantively inquire about different scientific phenomena. As a classroom teacher, Tina was experiencing rapid changes in classroom education: new theoretical models, new curricular materials, new state standards; she noticed herself and others losing their teaching identity. Arts integration proved a lifesaving practice. Her goal for this podcast series is to create a comfortable environment for teachers to move forward in STEM and inquiry-based learning through the arts. How to Teach to the New Utah SEEd StandardsIn 2015, Utah adopted new SEEd standards for the K-12 classroom. The rollout for materials distribution and testing has been slow: state standards testing for fourth and fifth grades didn’t occur until 2021. Previously, teaching STEM was based on a more formulaic model: teach facts, present worksheets, answer multiple-choice questions. The teacher presented content and found out what the students’ misconceptions were, then planned another lesson to correct learning or memorize new facts.Now, students lead the investigation: they ask questions, create their own models, and the teacher facilitates class discussions. Students and teachers are both uncomfortable; the teachers’ instinct is often to jump in and try to rescue the struggling student, but the value of inquiry-based learning rests in the process of student exploration, struggle, perseverance, discovery, and making connections as a class.To get started with SEEd concepts, teachers can ask students:“What are you curious about?”“What questions do you have?”“How can we construct knowledge together?”Teaching SEEd Phenomena: A Real-Life, Local ExampleTina shares an example of her experience teaching to the new standards using the principle of presenting a phenomena. She explains:“I showed them this flash flood coming down. People could hear it and they could hear the rumble. They knew that it had rained and you could hear the people talking in the background. Then the flash flood comes through carrying big tree trunks or rocks and just muddy, muddy water. My students didn't understand why that was such an unusual event. They didn't understand what precipitated it and why it was flowing the way that it was flowing; they had never been witness to this type of event. The video wasn’t enough—the students didn’t have enough context and experience to understand the magnitude of what it means to witness a flash flood. Yet, for the people down in San Juan County—and only one of my students who had hiked in that area and seen one—they see flash floods often. So when those flash flood warnings come out of those slot canyons, it's an important thing to make sure you know. So that's when I thought, “Oh, I really have got to come local,” and find better phenomena for my students to see by using events they could witness right here in their backyard that would drive their questions.”Tina brought the phenomena home by incorporating the knowledge that many of her students’ fathers are involved in construction. She drew their attention to the east bench of the Wasatch mountain range by showing a news clip of a new-build home that slid off its foundation and landed in the street. She also shared how a local high school is sliding off its foundation every year that it’s a wet winter—it’s being rebuilt now. Her students realized that that’s the high school they will attend. Linking two local events that directly impacted her students’ lives made the difference for their learning. The questions began: “‘Now, Mrs. McCulloch, we live down here in the valley. We're okay. Right, my house isn't gonna slide if I leave the garden hose on?”“I said, “No, your house isn't gonna slide.” Then we talked about why their home was safe. As we finished the whole unit, one kid said, “I'm always going to make sure that I never live on a mountainside.”’Being Uncomfortable: The First Step Toward Rich ConversationsMoving from earth science phenomena—a topic where students can clearly understand the impact—to other types of science proved tricky to maintain a high level of student curiosity. Often, phenomena were just a picture students would observe. Tina explains: “The last one I had was looking at a patch of grass, a single blade of grass, then grass underneath a microscope. I got very generic, boring answers (green, green and pointy, maybe three inches long). I wanted them to go deeper. They needed to go deeper. But I, as a facilitator, did not know how to do that.”Students’ uncertainty played a role in their silence—students don’t want to let their peers know that they don’t know, even as teachers work to increase the equity in classrooms, encourage every voice, and validate each comment. Students want to have divergent views, as well as convergent views. Uncomfortableness is something that we need to become comfortable with. Teachers can learn to facilitate discussion, which becomes a rich opportunity for students to develop a whole bunch of inquiry-based questions: “How do we figure out how this phenomenon works?” Allow students to take their own questions and solve that scientific problem. In each classroom space, teachers can make sure students know that it is acceptable to throw out any idea and access your own schema, or reference the evidence in the picture or video by saying what you see.Using Arts-Integrated Strategies to Help Students Articulate Rich ObservationVisual Thinking Strategies (VTS) help take students out of a scripted, right-or-wrong answer framework into a place of imagination and critical thinking. Typically used with works of art, Tina used VTS to create a bridge between observing artwork and studying science phenomena. To warm students up, Tina used Visual Thinking Strategies with Piet Mondrian’s Broadway Boogie Woogie, creating a great discussion in the classroom. Topics of discussion included agreeing to disagree, building curiosity and practicing observational skills. Students can use sentence stems, like “I noticed,” or “I think,” and then another person will make a connection with that and say, “Oh, and I see.” What Are Visual Thinking Strategies?Philip Yenawine, an art educator at the Museum of Modern Art (MoMA) in New York City, began bringing in classes of patrons and students to view curated artworks. Together with a cognitive psychologist, Abigail Housen, Philip developed Visual Thinking Strategies. This series of open-ended questions expand students’ interpretation of artwork. Using Piet Mondrian’s Broadway Boogie Woogie as an example, the class discussion might look like this (teacher-asked questions are bold; potential student answers are italicized):“What do you see?” (Crickets)“Anybody, what do you see?”“I see some yellow and red squares.”  “I see some blue and black lines.” “I see some big blotches of colors.”“What makes you say that?” (Students get more descriptive in their answers)“I think it looks like city streets.”“What makes you say that?”“Well, it looks like all those red and yellow, small squares are at intersections.”“What more can we find?”(This passes the question baton to a different student, inviting someone else to share their observations. At the very beginning, this process can be really slow (and uncomfortable). Teachers need to wait for students to answer. As Tina explains, “All of a sudden, once students realized I'm just paraphrasing what they're saying, they're getting more and more accepting of divergence.”)“I wonder…”(This bridges the gap between VTS in art and VTS in science phenomena.This question helps ready students to take the next step once they are facing a science phenomena question. Visual art is a comfortable place to start using VTS and practicing classroom dialogues; once science phenomena are introduced, teachers can use the same questions to guide students toward self-directed inquiry and investigation.)Practical Classroom Tips for Effectively Using Visual Thinking Strategies Students move from ‘reading’ a work of art toward ‘reading’ a phenomena. Here’s what that looks like in Tina’s classroom: When observing water condensation, students really couldn't see what it was. Tina asked “What do you see?” and always followed up with “What makes you say that?” with the same student who offered an observation. This helps students think deeply about the why, create a “because” statement, and generate text evidence for their observational claim. After observations are made, teachers use reflective listening to paraphrase student statements—this helps the rest of the class understand what others observed, if they couldn't hear them that well, and it validates students’ observations.Visual Thinking Strategies are most effective in an environment of non-judgement. This means that when students offer an idea, value-laden statements like, “That’s right!” “Good job!” are less effective in spurring a whole-class discussion. Validating students’ ideas looks like repeating back to the student what they said and adding, “What makes you say that?” This non-judgemental approach encourages all students to participate. In order to pass the baton to the next student, teachers can say, “Now, what more can we find?” and another student will speak. This strategy allows the eager students to talk, then after they have had a chance, the more reticent students will start talking. Tina reiterates the importance of teachers waiting: “If you are smart enough, you'll just pause. Usually, you can get that one reluctant speaker to finally m

Dovie Thomason at the Arts Express Summer Conference 2022 Today, we have a treat for you—-a sneak peek of what you’ll get at Arts Express Summer Conference from one of our fabulous presenters, Dovie Thomason, a Native American storyteller and author. After we tell you a bit more about Dovie and her experiences, we will share a recording of one of the stories she performed and recorded for the Utah Division of Arts and Museums in 2020, titled “Frog’s Teeth.” The Story Behind the Story “Frog’s Teeth”This story comes from a series titled “Stories Grandma Told Me.” This is not a story Dovie heard from her grandma. It was a story given to her when she was the mother of a child beginning to lose their teeth. The person who gave Dovie this story received it from her father’s traditions as part of the Oneida First Nation in Ontario, Canada. We thank Jean Tokuda Irwin and our partners at the Utah Division of Arts and Museums for granting permission to use this recording and for introducing us to Dovie and sponsoring her at Arts Express this summer as a keynote speaker and presenter. https://www.youtube.com/watch?v=dGD_KkI4IbgDovie Thomason Biography Coming from the rich oral tradition of her Lakota and Plains Apache family, Dovie Thomason has had a lifetime of listening and telling the traditional Native stories that are the cultural “heartsong” of community values and memory. Both wise and mischievous, Dovie unfolds the layers of her indigenous worldview and teachings with respect, sly humor and rich vocal transformations. When she adds personal stories and untold histories, the result is a contemporary narrative of Indigenous North America told with elegance, wit, and passion. Her programs are a heartfelt sharing of Native stories she has had the privilege of hearing from Elders of many nations and are woven with why we need stories, how stories are a cultural guide in shaping values and making responsible choices, how stories build communities and celebrates our relationship with the Earth and all living beings. The oral tradition she gifts to listeners inspires delight in spoken language arts, encourages reading, supports literacy, can be used in classrooms to motivate better writing as students experience storytelling techniques, literary devices and effective communication. All of this takes place while they are exploring their own narratives and family values. Dovie has represented the U.S. as the featured storyteller throughout the world. In 2015, she was honored as the storyteller-writer in residence at the Centre for Creative Writing and Oral Culture at the University of Manitoba in Canada. Dovie has used her storytelling to advise the UCLA Film School on narrative in modern film, NASA on indigenous views of technology, the Smithsonian Associates’ Scholars Program and the premier TEDx Leadership Conference. Her role as a traditional cultural artist and educator has been honored by the National Storytelling Network’s ORACLE: Circle of Excellence Award and the Wordcraft Circle of Native Writers’ Traditional Storyteller Award.Links Mentioned: Register for Arts ExpressDovie Thomason’s WebsiteMore stories by Dovie on the Utah Division of Arts and Museums YouTube Channel“Turtle Learns to Fly”“Dog’s Tails”“Bear Child”Follow Us: BYU ARTS Partnership NewsletterAdvancingArtsLeadership.comSubscribe on Apple PodcastsSubscribe on SpotifyInstagramFacebookDon't forget to peruse the bank of lesson plans produced by the BYU ARTS Partnership Arts in dance, drama, music, visual arts, media arts. Search by grade-level, art form or subject area at www.education.byu.edu/arts/lessons.

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Amplify Native Voices in the Classroom is an asynchronous and interactive online course developed by the BYU ARTS Partnership. The course includes approximately 14 hours of instruction, two projects, and several discussion board activities. Teachers can earn 1 USBE credit for successful completion of the course. The course is open to all educators from Pre-K to High School.By the end of the NACI PD course teachers will be able toHonor and analyze their own culture and Native American cultures by creating a [artistic artifact] that explores culture and identity;Empathize with Native American Tribes in Utah by reflecting and synthesizing what they learned while exploring interactive timelines that represent the past and present context of each socially and politically distinct tribeSelect accurate and authentic resources by practicing strategies for identifying culturally responsible resourcesArticulate their own principles/framework for culturally responsive teaching that elucidates the connections they have made between their own culture, their student’s cultures, their teaching practice, and the NACI model through a written reflection, artistic work, or video presentation.Each course will be moderated by a facilitator from the BYU ARTS Partnership Leadership Team. You are given one year to complete the course.The course is available for teachers publically beginning June 7th, 2022. You can register for the course on MIDAS for USBE or relicensure credit or email artspartnership@byu.edu for more details. 

Turtle Island Art CollectiveHeather Francis and Brenda Beyal speak with two artists from the Turtle Island Art Collective, Crystal Begay and Alan Groves. Crystal is an artist who specializes in Plains Indian-style moccasins. Alan is a teacher and artist who works with quilt work and beadwork. The Turtle Island Art Collective’s mission is to empower Indigenous artists, showcase Indigenous artists, and inspire Indigenous youth.How Did the Turtle Island Art Collective Come to Be?In a suburban or urban area, it can be difficult for native children to learn about their traditional culture and develop an identity as an Indigenous person. Art is a non-threatening way that they can learn about their traditions and cultures.There are two parts to the Collective’s Mission Statement: One is to provide a space for Indigenous, specifically Native-American, artists in the digital realm. The second is to try to empower native kids and connect them with artists who have similar stories.“It is hard growing up in an urban area where you are removed from your cultural heritage,” Crystal said. “Children do not see it every day. They don’t learn it in school. They’re not learning the language in school. Through the creation, sharing and learning about Native American art, they are better able to live their cultural heritage. The Turtle Island Art Collective is a vehicle for this exposure and empowerment.”How Art Helps to Connect to Our CultureAlan describes how difficult it can be to grow up where there are not many other Indigenous people. He was drawn to art. His first love was graffiti art. “It had meaning. They were saying something,” he said.As he began having his own children, he and his wife talked about what they want for their children and they came to the conclusion that art is the way they could help them connect to their people and to their culture. “That’s my draw to Native American art. There is a story behind the colors you use and the patterns you use and the images you use. There is a definite story there.”Offerings and ReciprocityHow does reciprocity occur between Native American artists or between artists and those who enjoy and learn from their art? Is it possible to exchange artistically in a way that is mutually beneficial to both parties? Can artists truly reciprocate by responding to a positive action with another positive action?There is a lot of effort, love, and pain that goes into the creation of Native American art. Supporting artists can be a way to reciprocate – supporting financially and, in return, obtaining a piece of culture and art. But, a question comes to mind, “What is appropriate to pay Native American artists?”Alan acknowledged that some create art and are desirous and able to make a living from it and that the decision to do so is up to each individual artist. Because of the time and care that goes into creating these works, Alan generally chooses to gift his art, after he gets to know somebody, at least to some extent. “And that’s been one of the blessings of actually doing it through digital means is that people can message me from around the country and share their story with me,” he said. The reciprocity comes from the learning about each other and creating from those stories.  Trading can also be a meaningful and rewarding way to experience reciprocity. One artist may trade work for the work of another artist. One artist may trade natural goods to be used in art for the works of another artist. Lives and stories are shared.When Alan first started creating two years ago, somebody traded him a box of porcupine quills that were already dyed. “A big giant box had thousands and thousands of quills in it. But they're all mixed up. There's thirteen colors, and they're all mixed up. And so I'm sitting there at my table sorting quills. And my daughter just sits down next to me. She's in high school. She just sat down next to me and she's like, ‘Do you need some help?’ And I'm like, ‘Sure.’” He recalled that his daughter sorted the whole box, taking her the entire summer, “We would just sit down and I would start making stuff and she would start sorting stuff. And then when we got done, we had all these bags full of quills. And then we got done and I said, ‘Okay, what do you want?’ And she said, ‘I want one of these medallions you've been making.’ Well, that was two years ago and so I finished it yesterday and I gave it to her today and she was so excited. But the idea is this idea of offerings, that when somebody does something for you, that you can't do for yourself, then you provide them with an offering. And it can be big and it can be small.”Native-Inspired vs The Inspired NativeIt has been a widely accepted idea to be inspired by Native art. We have seen beaded garments at Walmart, geometric designs inspired by Native symbols on pottery and homes, mass-produced dream-catchers, figurines, and t-shirts with pan-tribal representation of Native culture. But, times have shifted. Crystal said, “I think it’s important for Native artists to have a voice.” Now, we are inspired ourselves. We don’t just need representation in media or consumer products, we need space to represent ourselves the way we want to be represented. There was a time when the United States tried to take the Native American culture away through legislation during the period of allotment and assimilation. This period of Native American relations in the United States was a huge failure. Following this failure came the period of self-determination beginning in the 1970s. At this time, representation of any Native American idea, person, or tradition—authentic or not—in American life may have been applauded. But again, times have been changing, according to Alan. Now, we are realizing it is important to not just represent the culture, but to represent it in accurate and authentic ways—the way native individuals and distinct tribal groups would like to be represented. “It’s not enough to be a mascot of a team,” he said. Alan said he wants to share what it means to be him through his art. “The story I’m telling is my story now,” he said.Communal SuccessEven those of us who are non-Native can feel connected to and inspired by Native art. Communal success comes when artists and those who support the artists are working together so that the art benefits all of our lives, whether we are Native artists or not.According to Alan, this success comes when you find your right way to give to your community. This goes beyond purchasing a t-shirt with a Native American print on it: “You’re just taking the art without taking the lessons to go with it,” he said. When teaching art to students, the teaching is more about just the art: it is about the stories and lessons that live with the art. It is about the interaction that comes with the process of creating art. Communal success can occur when artists are engaging in positive ways with Native communities. Supporting the Turtle Island Art Collective can also help create this communal success. As native and non-native children get more exposure to Native art,  this success and connection will carry over to them and their stories.ResourcesTurtle Island Art Collective Website https://turtleislandartcollective.square.site/Turtle Island Art Collective Instagram https://www.instagram.com/turtle_island_art_collective/?hl=enTurtle Island Art Collective Facebook https://www.facebook.com/TurtleIslandArtCollective/Alan Groves Instagram @al_groves https://www.instagram.com/al_groves/Crystal BegayeInstagram @creativenativeboutique https://www.instagram.com/creativenativeboutique/Follow 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.