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In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.
In 1884, the Canadian government enacted a ban on the potlatch, the foundational ceremony of the Haida people. The tradition, which determined social structure, transmitted cultural knowledge, and redistributed wealth, was seen as a cultural impediment to the government’s aim of assimilation. The tradition did not die, however; the knowledge of the ceremony was kept alive by the Elders through other events until the ban was lifted. In 1969, a potlatch was held. The occasion: the raising of a totem pole carved by Robert Davidson, the first the community had seen in close to 80 years. From then on, the community publicly reclaimed, from the Elders who remained to share it, the knowledge that has almost been lost. Sara Florence Davidson, Robert’s daughter, would become an educator. Over the course of her own education, she came to see how the traditions of the Haida practiced by her father—holistic, built on relationships, practical, and continuous—could be integrated into contemporary educational practices. From this realization came the roots for this book.
Indigenous oral narratives are an important source for, and component of, Coast Salish knowledge systems. Stories are not only to be recounted and passed down; they are also intended as tools for teaching. Jo-ann Archibald worked closely with Elders and storytellers, who shared both traditional and personal life-experience stories, in order to develop ways of bringing storytelling into educational contexts. Indigenous Storywork is the result of this research and it demonstrates how stories have the power to educate and heal the heart, mind, body, and spirit. It builds on the seven principles of respect, responsibility, reciprocity, reverence, holism, interrelatedness, and synergy that form a framework for understanding the characteristics of stories, appreciating the process of storytelling, establishing a receptive learning context, and engaging in holistic meaning-making.
Based on Haida artist Robert Davidson's own childhood experiences, this beautiful story highlights learning through observation, as well as the role of Elders in sharing knowledge and mentorship. Learning to carve is a lifelong journey. With the help of his father and grandfather, a boy on Haida Gwaii practises to become a skillful carver. As he carefully works on a new piece, he remembers a trip to Slatechuck Mountain to gather the argillite, as well as his father’s words about the importance of looking back to help us find our way. Written by the creators of Potlatch as Pedagogy, this book brings the Sk'ad'a Principles to life through the art of Janine Gibbons.
Based on Haida artist Robert Davidson's own experiences with Tsinii (his grandfather), this tender story highlights intergenerational knowledge and authentic learning experiences. Off the northern tip of Haida Gwaii, a boy goes fishing with Tsinii, his grandfather. As they watch the weather, jig for halibut, and row with the tides, the boy realizes there’s more to learn from Tsinii than how to catch a fish. Written by the creators of Potlatch as Pedagogy, this book brings the Sk'ad'a Principles to life through the art of Janine Gibbons.
"A gem of a book. Its topics are timely and provocative for cultural studies, sociology, English, literary theory, and education classes. The authors are brilliant thinkers and clear, penetrating writers." -Peter McLaren, UCLA, author of Capitalists and Conquerors: A Critical Pedagogy Against Empire Class in Culture demonstrates the power of moving beyond cultural politics to a deeper class critique of contemporary life. Making a persuasive case for class as the material logic of culture, the book is written in a double register of short critiques of life practices-from food and education to race, stem-cell research, and abortion-as well as sustained critiques of such theoretical discourses as ideology, consumption, globalization, and 9/11. Surpassing the orthodoxies of cultural studies, Class in Culture makes surprising connections among seemingly unrelated cultural events and practices and offers a groundbreaking and complex understanding of the contemporary world.
Based on ancient Haida narratives, this vibrantly illustrated children's book empowers young people and teaches them to live in harmony with nature. Haida Gwaii is home to a rich and vibrant culture whose origins date back thousands of years. Today, the Haida People are known throughout Canada and the world for their artistic achievements, their commitment to social justice and environmental protection, and their deep connection to the natural world. Embedded in Haida culture and drawn from ancient oral narratives are a number of Supernatural Beings, many of them female, who embody these connections to the land, the sea, and the sky. Magical Beings of Haida Gwaii features ten of these ancient figures and presents them to children as visually engaging, empowering, and meaningful examples of living in balance with nature. Developed by renowned Haida activist, lawyer, performer, and artist Terri-Lynn Williams-Davidson and Haida educator Sara Florence Davidson, this book challenges stereotypes, helps advance reconciliation, and celebrates Indigenous identity and culture.
In Teaching to Diversity, Dr. Jennifer Katz synthesizes the research, and 16 years experience of teaching in inclusive classrooms and schools, to provide answers to several questions: How do I make inclusion work for ALL students? What are the foundational best practices of a truly inclusive learning community? How does one create such a community? The author pulls together, in an organized way, a three-block model of universal design for learning (UDL) and suggests a step-by-step approach for implementing it. This framework includes: Block One, Social and Emotional Learning details ways to build compassionate learning communities (K-12) in which all students feel safe and valued, and develop a positive self-concept, sense of belonging, and respect for diverse others. Block Two, Inclusive Instructional Practice includes a framework for planning units from K-12, and explains instructional and management practices for teaching, assessing, grading, and reporting in UDL Classrooms. Block Three, Systems and Structures suggests strategies for creating inclusive learning communities, and explores ways in which resource teachers, student services personnel, and school administrators can support and create socially and academically inclusive schools and classrooms. The three-block model of UDL can empower educators with the knowledge, skills, and confidence required to teach diverse learners in the same classroom--including those who have previously been excluded. Ultimately, it is about creating classrooms and schools that heal by teaching to the heart, mind, and spirit of every student.
In this tender picture book, Sara Florence Davidson transports readers to the excitement of a potlatch in Hydaburg, Alaska—her last memory of dancing with her late brother. It feels like my brother and I have always known how to sing the songs and dance the dances of our Haida ancestors. Unlike our father, we were born after the laws that banned our cultural practices were changed. The potlatch ban did not exist during our time, so we grew up dancing and singing side by side. The invitations have been sent. The food has been prepared. The decorations have been hung. And now the day of the potlatch has finally arrived! Guests from all over come to witness this bittersweet but joyful celebration of Haida culture and community. Written by the creators of Potlatch as Pedagogy, this book brings the Sk'ad'a Principles to life through the art of Janine Gibbons.
In 1935, a nine-year-old boy's family held a forbidden Potlatch in faraway Kingcome Inlet. Watl'kina slipped from his bed to bear witness. In the Big House masked figures danced by firelight to the beat of the drum. And there, he saw a figure he knew. Aboriginal elder Alfred Scow and award-winning author Andrea Spalding collaborate to tell the story, to tell the secret of the dance.