The Naked Truth. Discovery Dance, George Catlin George Catlin s view:
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1 The Naked Truth George Catlin s view: Discovery Dance, George Catlin 1835 The Discovery Dance has been given here, amongst various others, and pleased the bystanders very much; it was exceedingly droll and picturesque, and acted out with a great deal of pantomimic effect without music, or any other noise than the patting of their feet, which all came simultaneously on the ground, in perfect ect time, whilst they were dancing forward two or four at a time, in a skulking posture, overlooking the country, and professing to announce the approach of animals or enemies which they have discovered, by giving the signals back to the leader of the dance (Letters and Notes, vol. 2, p. 214, pl. 295).
2 Nonfiction Study Primary Sources Visual Representations
3 Unit Overview Background Information District: 1 st quarter = Nonfiction focus Audience: 100 students, split into 4 class periods Class time: one 60 minute period five days a week In this nonfiction unit, sixth grade students will develop skills and concepts in visual and language arts to allow them to effectively investigate primary source and secondary source documents, visual representations, and artifacts. Students will be looking into and analyzing representations of Native American life in the Northeast Woodlands in the early part of the 19 th century.
4 Essential Questions 1. How can you analyze a portrait or other visual representation as a historical document? 2. How is history recorded? (How is your social studies book created??) 3. Do primary sources agree on descriptions of the same events? 4. What are the pros and cons versus using either a primary source or a secondary source? 5. How do the eyewitness accounts compare and differ in visual representations and written accounts?
5 Objectives Students will be able to: 1. Analyze a work of art to discover information about the subject. 2. Ask questions about works of art to promote critical thinking skills and cultivate visual literacy. 3. Discover connections between visual art and language arts through analyzing artworks and primary and secondary sources. 4. Determine importance of facts by organizing information into the appropriate graphic organizer.
6 Objectives continued 5. Visualize facts based on nonfiction excerpts by illustrating events. 6. Organize information into a clear, detailed multi paragraph essay about the connection between a work of art and a primary source. 7. Compare and contrast a portrait and a biography or autobiography. 8. Examine the importance of the context in which the artwork or text was created in.
7 Massachusetts English Language Arts Standards 1.4: Know and apply rules for formal discussions. 2.4: Integrate relevant information gathered from group discussions and interviews for reports. 4.17: Determine the meaning of unfamiliar words using context clues 8.15: Locate facts that answer the reader s questions 8.17: Distinguish fact from opinion or fiction. 8.21: Recognize organizational structures (chronological order, logical order, cause and effect, classification schemes). 8.22: Identify and analyze main ideas, supporting ideas, and supporting details.
8 Massachusetts English Language Arts Standards 9.5: Relate a literary work to artifacts, artistic creations, or historical sites of the period of its setting. 9.6: Relate a literary work to primary source documents of its literary period or historical setting.
9 Lesson 1: Meet Black Hawk Overview Students will be introduced to not only Black Hawk, but the technique of reading a portrait. Students will then read excerpts from Black Hawk s autobiography. Portrait of Black Hawk, Indian Chief, George Catlin 1832 Essential Questions What information can we gain by treating portraits as historical documents? How do the visual and written representations of the subject support each other?
10 Catlin s words on Black Hawk Black Hawk (portrait) The Black Hawk is the man to whom I have alluded, as the leader of the Black Hawk war who was defeated by General Atkinson, and held a prisoner of war, and sent through Washington and other Eastern cities, with a number of others, to be gazed at. This man, whose name has carried a sort of terror through the country where it has been sounded, has been distinguished as a speaker or counselor rather than as a warrior; and I believe it has been pretty generally admitted that Nahpope and the Prophet were, in fact, the instigators of the war, and either of them with much higher claims for the name of warrior than Black Hawk ever had. When I painted this chief, he was dressed in a plain suit of buckskin, with a string of wampum in his ears and on his neck, and held in his hand his medicine bag, which was the skin of a black hawk, from which he had taken his name, and the tail of which made him a fan, which he was almost constantly using (Letters and Notes, vol. 2, p. 211, pl. 283).
11 Black Hawk s start as a warrior
12
13 Visual Representations of Black Hawk Black Hawk, Charles Bird King 1837 Black Hawk and His Son, Whirling Thunder, John Wesley Jarvis 1833
14 Visual Representations of Black Hawk Black Hawk, Charles Bird King Black Hawk and Five Other Saukie Prisoners, George Catlin 1861
15 Artifacts
16 Lesson 2: Step aside Matt Lauer, Catlin s in the house. Overview Students will look into the lives of the painters (Catlin, Bodmer, Miller) and determine the context in which they were painting. George Catlin s Indian Gallery Essential Question How does the background of the painter or his purpose for painting affect the eyewitness account?
17 Catlin s Eye Witness Reporting Come to my Indian Gallery!
18 Indian Gallery continued from Maximilian s Travels in North America
19 Lesson 3: Little House on the Prairie Overview Students will compare and contrast paintings and descriptions of Native American life from various primary and secondary sources. River Bluffs, 1320 miles above St. Louis, George Catlin 1832 Essential Question Before the days a photography and video, how did observers and historians record information to share with the masses?
20 Little House on the Prairie
21 Little House on the Prairie Visual Representations Sacs and Foxes: Canoeing, George Catlin Slave Dance, George Catlin
22 Catlin s observations Sac and Fox Sailing in Canoes I was often amused at their freaks in their canoes, whilst travelling; and I was induced to make a sketch of one which I frequently witnessed, that of sailing with the aid of their blankets, which the men carry; and when the wind is fair, stand in the bow of the canoe and hold by two corners, with the other two under the foot or tied to the leg; while the women sit in the other end of the canoe, and steer it with their paddles (Letters and Notes, vol. 2, p. 214, pl. 294). The Slave Dance The slave dance is a picturesque scene, and the custom in which it is founded a very curious one. This tribe has a society which they call the slaves composed of a number of the young men of the best families in the tribe, who volunteer to be slaves for the term of two years, and subject to perform any menial service that the chief may order, no matter how humiliating or how degrading it may be; by which, after serving their two years, they are exempt for the rest of their lives, on warparties or other excursions, or wherever they may be from all labour or degrading occupations, such as cooking, making fires, &c. &c. These young men elect one from their numbers to be their master, and all agree to obey his command whatever it may be, and which is given to him by one of the chiefs of the tribe. On a certain day or season of the year, they have to themselves a great feast, and preparatory to it the abovementioned dance (Letters and Notes, vol. 2, p. 213, pl. 291).
23 Little House on the Prairie Visual Representations Sac Warriors Dancing, George Catlin Sacs and Foxes: Begging Dance, George Catlin
24 tte agu an t r r u kr u Nt t anu s r ar te N r a e e t hus agt ( ) 2 t uan N
25 Little House on the Prairie Visual Representations Dance to Medicine Bag of the Brave, George Catlin 1835 Dance to the Medicine Bag of the Brave This is a custom well worth recording, for the beautiful moral which is contained in it. In this plate is represented a party of Sac warriors who have returned victorious from battle, with scalps they have taken from their enemies, but having lost one of their party, they appear and dance in front of his wigwam, fifteen days in succession, about an hour on each day, when the widow hangs his medicine bag on a green bush which she erects before her door, under which she sits and cries, whilst the warriors dance and brandish the scalps they have taken, and at the same time recount the deeds of bravery of their deceased comrade in arms, whilst they are throwing presents to the widow to heal her grief and afford her the means of a living (Letters and Notes, vol. 2, p. 215, pl. 297).
26 Little House on the Prairie Visual Representations Buffalo Hunt Plate 7, George Catlin
27 Little House on the Prairie Visual Representations Alfred Jacob Miller Buffalo Hunt, Karl Bodmer
28 Little House on the Prairie Visual Representation Artifacts, watercolor and ink on paper, Karl Bodmer 2. Hair Ornament, Fox 3. Lance, Sauk and Fox
29 Lesson 4: Battle On, Warriors Overview Students will gain insight into the recording of history by studying paintings, primary documents, and secondary sources about two battles in Black Hawk s War: the Battle at Wisconsin Heights and the Battle of the Bad Axe River. Essential Questions How is history recorded? (How is your social studies book created??) Do primary sources agree on descriptions of events? What are the pros and cons versus using either a primary source or a secondary source? How do the eyewitness accounts compare and differ in visual representations and written accounts?
30 Black Hawk s stand
31 War soon to come
32 War soon to come
33 War soon to come
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