EDUCATION AND STUDENT SERVICES COMMITTEE ADDITIONAL …

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EDUCATION AND STUDENT SERVICES COMMITTEE

ADDITIONAL PUBLIC AGENDA ITEM

June 16, 2021

UPDATED MATERIAL FOR SCHEDULED AGENDA ITEM:

6. DISCUSSION/ACTION ITEMS 6.1 Board/Authority Authorized (BAA) Course Proposals – Indigenous Art Studio 11

and 12 (Attachment)

of 2

Memorandum Date: June 11, 2021 To: Education and Student Services Committee From: Terry-Lee Beaudry, Deputy Superintendent of Schools Action Item: Board/Authority Authorized (BAA) Course Proposals – Indigenous Art

Studio 11 and 12

1.0 RELEVANT BOARD MOTION/DIRECTION New Board Authority Authorized Courses, Indigenous Art Studio 11 and 12, have been

developed and awaiting approval by the Board of Education. 2.0 BACKGROUND

The Ministry of Education's updated Board/Authority Authorized (BAA) course policy and procedures came into effect July 1, 2018. The new BAA requirements reflect the new graduation program.

3.0 INFORMATION STATEMENT The historic and current visual culture that our Indigenous communities have created is arguably the strongest visual arts form in our country today. Indigenous Art Studio is an advanced studio visual arts course based in the cultural context of Indigenous visual art. The main emphasis would be the visual artistic development of each student within that context. All of the visual art objectives that are in a regular visual art studio course would be the back bone of this course; composition, colour theory, line, shape as well as the skills of drawing, painting and sculpting. The cultural context would be the fuel and the purpose of the visual activities. To ensure a rich and diverse cultural experience, as often as possible, members from the Indigenous community will be relied upon to help create lessons and deliver project content through guest artist roles. The goal of this course is to honour and celebrate the Indigenous community through visual art and provide an opportunity for any student to learn and experience these visual art forms. Currently Indigenous content is now respectfully included in all courses; however, it is important for students to have the opportunity to connect with the Indigenous community in a deeper more meaningful way. This course creates pride and knowledge for both Indigenous and non-Indigenous students alike.

4.0 ADDITIONAL INFORMATION This new opportunity will be presented to the Mount Boucherie Secondary School Parent Advisory Council to seek their approval on June 14, 2021.

1040 Hollywood Road S. Kelowna, BC

www.sd23.bc.ca Phone: (250) 860-8888

Fax: (250) 870-5056

of 2

5.0 OPTIONS FOR ACTION a) Approve the new Board Authority Courses as presented. b) Amend the proposed Indigenous Art Studio 11 and 12 courses. c) Request additional information on the proposed Indigenous Art Studio 11 and 12 courses.

6.0 NEXT STEPS If the Board of Education approves the proposed BAA Indigenous Art Studio 11 and 12 courses, schools wishing to offer the BAA Indigenous Art Studio 11 and 12 courses in the 2021/2022 school year must follow the 2018 Graduation Program Board/Authority Authorized Courses: Requirements and Procedures.

7.0 STAFF RECOMMENDATION: THAT: The Education and Student Services Committee recommends to the Board:

THAT: The Board of Education approve the Board/Authority Authorized (BAA) Course Proposal – Indigenous Art Studio 11 (Mount Boucherie Secondary School), as attached to the Agenda, and as presented at the June 16, 2021 Education and Student Services Committee Meeting; AND THAT: The Board of Education approve the Board/Authority Authorized (BAA) Course Proposal – Indigenous Art Studio 12 (Mount Boucherie Secondary School), as attached to the Agenda, and as presented at the June 16, 2021 Education and Student Services Committee Meeting.

8.0 APPENDICES A. Board/Authority Authorized Course Indigenous Art Studio 11 B. Board/Authority Authorized Course Indigenous Art Studio 12

BAA Course – Indigenous Art Studio 11 Page 1 of 7

Board/Authority Authorized Course – Indigenous Art Studio 11

School District/Independent School Authority Name: Central Okanagan Public Schools

School District Number: SD23

Developed by: Jim Elwood

Date Developed: January 2019

School Name: Mount Boucherie Secondary School

Principal’s Name: Scott Sieben

Superintendent Approval Date: Superintendent Name: Signature: Kevin Kaardal

Board/Authority Approval Date: Board Chair Name: Signature: Moyra Baxter

Course Name: Indigenous Art Studio

Grade Level of Course: 11

Number of Course Credits: 4

Number of Hours of Instruction: 120

Board/Authority Prerequisite(s): None

Special Training, Facilities or Equipment Required: Standard secondary visual art classroom

Course Synopsis: The historic and current visual culture that our Indigenous communities have created is arguably the strongest visual arts form in our country today. Indigenous Art Studio is an advanced studio visual arts course based in the cultural context of Indigenous visual art. The main emphasis would be the visual artistic development of each student within that context. All of the visual art objectives that are in a regular visual art studio course would be the back bone of this course; composition, colour theory, line, shape as well as the skills of drawing, painting and sculpting. The cultural context would be the fuel and the purpose of the visual activities. To ensure a rich and diverse cultural experience, as often as possible, members from the Indigenous community will be relied upon to help create lessons and deliver project content through guest artist roles.

APPENDIX A


Goals and Rationale: The goal of this course is to honour and celebrate the Indigenous community through visual art and provide an opportunity for any student to learn and experience these visual art forms. Currently Indigenous content is now respectfully included in all courses, however, it is important for students to have the opportunity to connect with the Indigenous community in a deeper more meaningful way. This course creates pride and knowledge for both Indigenous and non-Indigenous students alike. Indigenous Worldviews and Perspectives: Indigenous Worldviews and Perspective are at the very core of this course, be it storytelling, connections to the environment, awareness of traditions or the learning process of apprentice/mentor. Another aspect of Indigenous Perspective is that there is often more than one answer or solution to a question. The nature and structure of art education is to present a visual question, set technical parameters and then allow students to create and experience their own answer. Most often each student will have their own unique answer. Also part of Indigenous Perspective is the understanding and awareness of the world around us. This awareness is the heart and soul of visual art. As well as creating a finished art piece, we teach students to understand the "What" and "Why" of what goes on around us. Traditional arts and crafts learning in Indigenous cultures has always taken the shape of how art education has always been delivered. The modern educational terms for this style of learning is Inquiry based and Project Based learning delivered in an Apprenticeship style model. This course and its projects have been created in conjunction with Westbank First Nation Elders and artists.

APPENDIX A


Course Name: First Nations Art Studio Grade: 11

BIG IDEAS An artist’s intention

transforms materials into art.

Visual arts reflect the interconnectedness of

the individual, community, history, and

society

Growth as an artist is dependent on

perseverance, resilience, refinement, and

reflection.

Artistic expression is an artist’s physical and

cognitive articulation of our humanity.

Artistic works offer unique aesthetic experiences in a variety of contexts.

Learning Standards

Curricular Competencies Content

Students are expected to be able to do the following:

Explore and Create

• Create artistic works using sensory inspiration, imagination, and inquiry • Explore artistic possibilities using a range of materials and processes • Intentionally select and combine materials and processes to convey ideas • Take creative risks to express thoughts and emotions through artistic works • Refine artistic skills from a variety of styles and eras • Demonstrate active engagement in creating artistic works and resolving creative

challenges • Explore contributions of traditional and modern Indigenous visual artists from a variety

of nations and contexts

Reason and Reflect

• Describe and analyze, using discipline-specific language, how artists use materials, technologies, processes, and environments in art making

• Analyze design choices in artistic works • Develop personal answers to aesthetic questions • Reflect on the influences of a variety of contexts on artistic works • Communicate and document • Document, share, and appreciate artistic works in a variety of contexts • Demonstrate awareness of self, others, and place through art making • Communicate ideas and express emotions through art making • Communicate about and respond to social and environmental issues through visual art

Students are expected to know the following:

• Elements of visual art • Principles of design • Image development strategies • Materials and techniques for visual art • Creative processes • Symbols and metaphors • Roles of artist and audience • Influences of visual culture in social and other media • Traditional and contemporary first peoples worldviews,

stories, and history, as expressed through visual arts • Moral rights and the ethics of cultural appropriation and

plagiarism • Health and safety protocols and procedures

APPENDIX A


Connect and Expand

• Create artistic works to reflect personal voice, story, and values • Explore First Peoples perspectives, knowledge, and protocols; other ways of knowing,

and local cultural knowledge through artistic works • Connect with others on a local, regional, or national scale through visual arts • Demonstrate safe and responsible use of materials, tools, and work space

APPENDIX A


Big Ideas – Elaborations • Materials: any visual arts materials, ranging from traditional to innovative. The spectrum of materials available to artists is open-ended and constantly evolving. • Humanity: for example, the capacity for love, creativity, and inquiry • Aesthetic experiences: emotional, cognitive, or sensory responses to works of art Curricular Competencies – Elaborations

• Sensory inspiration: ideas inspired by sensory experiences, such as the sound of an orchestra or the smell of a mechanics shop • Explore: learn through experimentation, to engage and challenge thinking • Take creative risks: make an informed choice to do something where unexpected outcomes are acceptable and serve as learning opportunities • Variety: could involve students choosing several styles or selecting one or two as they compile a personal portfolio • Styles: works of art that share common visual characteristics can be described as belonging to the same artistic style. • Environments: place-based influences on the creation of artistic work; art related to or created for a specific place • Aesthetic questions: questions relating to the nature, expression, and perception of artistic works • Variety of contexts: for example, personal, social, cultural, environmental, and historical contexts • Document: through activities that help students reflect on and demonstrate their learning (e.g., writing an essay or article, journaling, taking pictures, storyboarding,

making video clips or audio-recordings, constructing new works, compiling a portfolio) • Place: any environment, locality, or context with which people interact to learn, create memory, reflect on history, connect with culture, and establish identity. The

connection between people and place is foundational to first peoples perspectives on the world. • Respond: through activities ranging from reflection to action • social and environmental issues: including local, regional, and national issues, as well as social justice

issues • Personal voice: a style of expression that conveys an individual’s personality, perspective, or worldview • Ways of knowing: First Nations, Métis, Inuit, gender-related, subject/discipline-specific, cultural, embodied, intuitive • Responsible use of materials: using materials in an environmentally responsible way, including considering their level of biodegradability and potential for reuse and

recycling

Content – Elaborations • Elements of visual art: colour, form, line, shape, space, texture, tone, value • Principles of design: balance, contrast, emphasis, harmony, movement, pattern, repetition, rhythm, unity • Image development strategies: processes that transform ideas and experiences into visual images (e.g., abstraction, compression, distortion, elaboration,

exaggeration, gesture, figure, fragmentation, free association, juxtaposition, magnification, metamorphosis, minification, multiplication, point of view, reversal, rotation, simplification, stylization, thumbnail sketch)

• Technologies: in visual arts, any visual image-making technology, such as paintbrush, scissors, pencil, stamp; includes the improvisational use of miscellaneous items • Creative processes: the means by which an artistic work (in dance, drama, music, or visual arts) is made; includes multiple processes, such as exploration, selection,

combination, refinement, reflection, and connection • visual culture: aspects of culture that rely on visual representation • Moral rights: the rights of an artist to control what happens to his or her creations (e.g., preventing them from being revised, altered, or distorted); students should

understand when they can and cannot modify an image created by someone else • Cultural appropriation: use of a cultural motif, theme, “voice,” image, knowledge, story, song, or drama, shared without permission or without appropriate context or

in a way that may misrepresent the real experience of the people from whose culture it is drawn

APPENDIX A


Recommended Instructional Components:

• Large group instruction on cultural history, techniques and theories

• Guest Indigenous instructors

• Small group demonstrations of techniques

• One to one instructions during progress of practice, image development and summative artworks

• Individual student exploration of techniques and creative expression

Recommended Assessment Components:

• Formative assessment

• Summative assessment on technical practice as well as final artworks

• Self assessment of technical, cultural and purposeful exploration

Learning Resources: • WFN Elders

• WFN Cultural Museum Leaders

• WFN community artists

• m'ym'aytwix mntm i? sqilx tet, Stories of our sqilx ways:2016

• Various Indigenous artists interview, webpages, books, youtube interviews.

Additional Information: This is the first of two Indigenous Art Studio courses. The grade 12 course builds and expands on the framework created at the grade 11 level. This course is open to Indigenous and non-Indigenous students. This course follows the 7 Principles of Indigenous Art Education listed below.

7 Indigenous Art Education Principles of Teaching

• Acknowledge Where You Are – it is important to respect and acknowledge the culture and art forms of the Nation where you are teaching if it is different from the Nation that you are studying.

• Teach About Art Through People – it is important for students to always connect an art form with the fact that it is made by real people. Share information and stories about the people to foster a connection. Make sure female artists are represented in your teachings.

APPENDIX A


• Connecting Art to the Land – share imagery of the physical landscape where the Nation exists to acknowledge the connection between people, environment, and the art.

• Create an Understanding of Ownership – help students understand that the images/styles that they will be working with have been created by and belong to the Nation that created it. Therefore the Nation decides the way the images/styles can be interacted with.

• Some Imagery is Sacred – help students understand that some imagery is tied to special ceremonies and is sacred within the Nation and therefore is off limits even for learning purposes.

• Nations Exist in Historic and Modern times – students need to understand if they are learning about either historic art forms or traditional artists that there are also artists working in modern forms.

• Learning About Indigenous Art Is Not Just About the Art- as important as creating art is, the greater purpose for studying Indigenous Art is to create a "Gateway" of understanding and appreciation for a Nation and its people.

Financial Implications: None Course Alignment: Within all aforementioned coursework, anti-discrimination and anti-racist resources and initiatives will be embedded into curricula to reflect social justice issues and reconciliation practices. Consultation Process: This BAA course was presented to the Mount Boucherie Secondary School Parent Advisory Council (PAC), electronically, to seek their approval on June 14, 2021.

APPENDIX A


Board/Authority Authorized Course – Indigenous Art Studio 12

School District/Independent School Authority Name: Central Okanagan Public Schools

School District Number: SD23

Developed by: Jim Elwood

Date Developed: January 2019

School Name: Mount Boucherie Secondary School

Principal’s Name: Scott Sieben

Superintendent Approval Date: Superintendent Name: Signature: Kevin Kaardal

Board/Authority Approval Date: Board Chair Name: Signature: Moyra Baxter

Course Name: Indigenous Art Studio

Grade Level of Course: 12

Number of Course Credits: 4

Number of Hours of Instruction: 120

Board/Authority Prerequisite(s): None

Special Training, Facilities or Equipment Required: Standard secondary visual art classroom

Course Synopsis: The historic and current visual culture that our Indigenous communities have created is arguably the strongest visual arts form in our country today. Indigenous Art Studio is an advanced studio visual arts course based in the cultural context of Indigenous visual art. The main emphasis would be the visual artistic development of each student within that context. All of the visual art objectives that are in a regular visual art studio course would be the back bone of this course; composition, colour theory, line, shape as well as the skills of drawing, painting and sculpting. The cultural context would be the fuel and the purpose of the visual activities. To ensure a rich and diverse cultural experience, as often as possible, members from the Indigenous community will be relied upon to help create lessons and deliver project content through guest artist roles.

APPENDIX B


Goals and Rationale: The goal of this course is to honour and celebrate the Indigenous community through visual art and provide an opportunity for any student to learn and experience these visual art forms. Currently Indigenous content is now respectfully included in all courses, however, it is important for students to have the opportunity to connect with the Indigenous community in a deeper more meaningful way. This course creates pride and knowledge for both Indigenous and non-Indigenous students alike. Indigenous Worldviews and Perspectives: Indigenous Worldviews and Perspective are at the very core of this course, be it storytelling, connections to the environment, awareness of traditions or the learning process of apprentice/mentor. Another aspect of Indigenous Perspective is that there is often more than one answer or solution to a question. The nature and structure of art education is to present a visual question, set technical parameters and then allow students to create and experience their own answer. Most often each student will have their own unique answer. Also part of Indigenous Perspective is the understanding and awareness of the world around us. This awareness is the heart and soul of visual art. As well as creating a finished art piece, we teach students to understand the "What" and "Why" of what goes on around us. Traditional arts and crafts learning in Indigenous cultures has always taken the shape of how art education has always been delivered. The modern educational terms for this style of learning is Inquiry based and Project Based learning delivered in an Apprenticeship style model. This course and its projects have been created in conjunction with Westbank First Nation Elders and artists.

APPENDIX B


Course Name: Indigenous Art Studio Grade: 12

BIG IDEAS

An artist's intention transforms materials

into art.

Visual arts are an essential element of culture and personal

identity.

Refining artistic expression requires perseverance,

resilience, and risk taking.

Purposeful artistic choices enhance the

depth and meaning of artistic work.

Aesthetic experiences have the power to transform our

perspective.

Learning Standards

Curricular Competencies Content

Students are expected to do the following:

Explore and Create • Create artistic works using sensory inspiration, imagination, and inquiry • Examine artistic possibilities using a range of materials, processes, and technologies • Intentionally select and combine materials, processes, and technologies to convey ideas,

and justify choices • Take creative risks to express thoughts and emotions through artistic works • Refine artistic skills from a variety of different Nations styles • Demonstrate innovation in creating artistic works and resolving creative challenge • Examine contributions of traditional, innovative, and intercultural visual artists from a

variety of movements, periods, and contexts • Intentionally select and combine materials, processes, and technologies to convey ideas,

and justify choices

Reason and Reflect • Interpret and evaluate, using discipline-specific language, how traditional and modern

artists use materials, technologies, processes, and environments in art making • Evaluate design choices in artistic works • Reflect on personal answers to aesthetic questions • Reflect on the influences of a variety of contexts on artistic works

Communicate and Document • Document, share, and appreciate artistic works in a variety of contexts • Anticipate audience impact of design choices and artistic works • Demonstrate respect for self, others, and place through art making • Express ideas, emotions, and values through art making • Investigate and respond to social and environmental issues through visual art

Students are expected to know the following:

• Elements of visual art • Principles of design • Image development strategies • Materials, techniques, and technologies • Creative processes • Symbols and metaphors • Roles of and relationships between artist and audience in a

variety of contexts • Influences of visual culture in social and other media • Traditional and contemporary first peoples worldviews,

stories, and history, as expressed through visual arts • History of a variety of artistic movements, including their roles

in historical and contemporary societies • Moral rights and the ethics of cultural appropriation and

plagiarism • Health and safety protocols and procedures

APPENDIX B


Connect and Expand

• Create artistic works to reflect personal voice, story, and values • Explore First Peoples perspectives, knowledge, and protocols; other ways of knowing,

and local cultural knowledge through artistic works • Examine the reciprocal relationships between visual arts, culture, and society • Evaluate personal, educational, and professional opportunities in visual arts and related

fields • Connect with others on a local, national, or global scale through visual arts • Demonstrate safe and responsible use of materials, tools, and work space

APPENDIX B


Big Ideas – Elaborations • Materials: any visual arts materials, ranging from traditional to innovative. The spectrum of materials available to artists is open-ended and constantly evolving. • Aesthetic experiences: emotional, cognitive, or sensory responses to works of art

Curricular Competencies – Elaborations

• Sensory inspiration: ideas inspired by sensory experiences, such as the scent of pine needles or the sound of tires screeching • Take creative risks: make an informed choice to do something where unexpected outcomes are acceptable and serve as learning opportunities • Variety: could involve students choosing several styles or selecting one or two as they compile a personal portfolio • Styles: Works of art that share common visual characteristics can be described as belonging to the same artistic style. • Intercultural: pertaining to work that engages in the context of two or more cultures • Environments: place-based influences on the creation of artistic work; art related to or created for a specific place • Aesthetic questions: questions relating to the nature, expression, and perception of artistic works • Variety of contexts: for example, personal, social, cultural, environmental, and historical contexts • Document: through activities that help students reflect on and demonstrate their learning (e.g., writing an essay or article, journaling, taking pictures, storyboarding,

making video clips or audio-recordings, constructing new works, compiling a portfolio) • Place: any environment, locality, or context with which people interact to learn, create memory, reflect on history, connect with culture, and establish identity. The

connection between people and place is foundational to First Peoples perspectives on the world. • Respond: through activities ranging from reflection to action • Social and environmental issues: including local, regional, national, and global issues, as well as social justice issues • Personal voice: a style of expression that conveys an individual’s personality, perspective, or worldview • Ways of knowing: First Nations, Métis, Inuit, gender-related, subject/discipline-specific, cultural, embodied, intuitive • Responsible use of materials: using materials in an environmentally responsible way, including considering their level of biodegradability and potential for reuse and

recycling

Content – Elaborations • Elements of visual art: colour, form, line, shape, space, texture, tone, value • principles of design: balance, contrast, emphasis, harmony, movement, pattern,

repetition, rhythm, unity • Image development strategies: processes that transform ideas and experiences into visual images (e.g., abstraction, compression, distortion, elaboration,

exaggeration, gesture, figure, fragmentation, free association, juxtaposition, magnification, metamorphosis, minification, multiplication, point of view, reversal, rotation, simplification, stylization, thumbnail sketch)

• Technologies: in visual arts, any visual image-making technology, such as paint brush, scissors, pencil, stamp; includes the improvisational use of miscellaneous items • Creative processes: the means by which an artistic work (in dance, drama, music, or visual arts) is made; includes multiple processes, such as exploration, selection,

combination, refinement, reflection, and connection • Visual culture: aspects of culture that rely on visual representation

APPENDIX B


Content – Elaborations • Moral rights: the rights of an artist to control what happens to his or her creations (e.g., preventing them from being revised, altered, or distorted); students should

understand when they can and cannot modify an image created by someone else • Cultural appropriation: use of a cultural motif, theme, “voice,” image, knowledge, story, song, or drama, shared without permission or without appropriate context or

in a way that may misrepresent the real experience of the people from whose culture it is drawn Recommended Instructional Components:

• Large group instruction on cultural history, techniques and theories

• Guest Indigenous instructors

• Small group demonstrations of techniques

• One to one instructions during progress of practice, image development and summative artworks

• Individual student exploration of techniques and creative expression

Recommended Assessment Components:

• Formative assessment

• Summative assessment on technical practice as well as final artworks

• Self assessment of technical, cultural and purposeful exploration

Learning Resources: • WFN Elders

• WFN Cultural Museum Leaders

• WFN community artists

• m'ym'aytwix mntm i? sqilx tet, Stories of our sqilx ways:2016

• Various Indigenous artists interview, webpages, books, youtube interviews.

APPENDIX B


Additional Information: This is the second of two Indigenous Art Studio courses. The grade 12 course builds and expands on the framework created at the grade 11 level. This course is open to Indigenous and non-Indigenous students. This course follows the 7 Principles of Indigenous Art Education listed below.

7 Indigenous Art Education Principles of Teaching • Acknowledge Where You Are – it is important to respect and acknowledge the culture and art forms of the Nation where you are teaching if it is

different from the Nation that you are studying. • Teach About Art Through People – it is important for students to always connect an art form with the fact that it is made by real people. Share

information and stories about the people to foster a connection. Make sure female artists are represented in your teachings. • Connecting Art to the Land – share imagery of the physical landscape where the Nation exists to acknowledge the connection between people,

environment, and the art. • Create an Understanding of Ownership – help students understand that the images/styles that they will be working with have been created by and

belong to the Nation that created it. Therefore the Nation decides the way the images/styles can be interacted with. • Some Imagery is Sacred – help students understand that some imagery is tied to special ceremonies and is sacred within the Nation and therefore is

off limits even for learning purposes. • Nations Exist in the Historic and Modern times – students need to understand if they are learning about either historic art forms or traditional artists

that there are also artists working in modern forms. • Learning About Indigenous Art Is Not Just About the Art- as important as creating art is, the greater purpose for studying Indigenous Art is to create

a "Gateway" of understanding and appreciation for a Nation and its people.

Financial Implications: None Course Alignment: Within all aforementioned coursework, anti-discrimination and anti-racist resources and initiatives will be embedded into curricula to reflect social justice issues and reconciliation practices. Consultation Process: This BAA course was presented to the Mount Boucherie Secondary School Parent Advisory Council (PAC), electronically, to seek their approval on June 14, 2021.

APPENDIX B

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