TransformationThroughDrumBuilding:ALookatOneSchool’s

JourneyandLearningThroughCrafting

ByDaynaMuys

HowthedrumcamebacktotheOjibwePeople

Longagoandyetnotsolongago,theOjibweandSiouxpeopleswereatwarwith

eachother.Warriorsocietiesflourishedandaroundthevillagecampfiresthetalkwas

alwaysofwar.Thevillageswerebecomingemptyofmen,andthewomenmournedand

buriedtheirhusbandsandsons.Onlythewomen,childrenandoldmenweremakingupthe

village.Themenandavailableyouthwereonthewarpath,eventhoughmostofthepeople

forgotwhattheywerefightingabout.

Inoneofthemainvillages,therelivedalittlegirl,alittlegirltiredofwar.Shewent

intothelodgesofthegrandmothersandgrandfathersandtoldthemshewastiredofall

thistalkofwar,ofburyinghermalerelatives,andfriends,shewastiredofdeathanddying.

Sheaskedthat,“theremustsomethingthatshecoulddotostopthewars.”“You!”cried

thegrandmothersandgrandfathers,“you’rejustalittlegirl!”Aftersuchrudebehaviour

fromthegrandmotherandgrandfathersthelittlegirldecidedshewouldgoonafast.She

andhergrandparentsdidallthepreparations;shewouldbeginherfastonthenightofthe

fullmoon.Shetooknothingbutablanketandwentoutonthehillbyherselfdetermined

nottocomebackdownuntilshereceivedananswer.

Forsevendays,nothinghappened.Novisitorsorvisionscametoher,andthelittlegirl

wasgettinghungrierandhungrier.Withthemoonfullagain,thelittlegirlwascloseto

death,andfeelingabandonedandalone.Asshelayonherblanketdying,thebirchtrees

caughtthemoonlightandreflecteditbacktotheeartharoundher.Itwaslikedaylightout

onthehillside,sothelittlegirlwatchedthemoonandprayedtothecreator.Throughher

tears,itseemedtohershesaw7figuressurroundingthebrightballintheskythat

recognizedasGrandmothermoon.Itlookedasthoughthe7figuresweregentlycarrying

GrandmotherfromtheskytowardsMotherEarth,thelittlegirlknewthe7figuresandthat

7grandfathers.Shereachedherarmsouttoembracethegrandmother,withthefinal

strengthinherbodyshegotupandtookherblanketandspreaditonthegroundsothat

thegrandfatherscouldrestGrandmothermoononit.

Storiesofthedrumhavebeenfoundinculturesthroughouttheworld,

fromtheOjibwepeopleofCanadaastoldinthestoryabove,totheNigerianstoryof

TheSingingDrum(http://www.worldstories.org.uk/stories/story/21‐the‐singing‐

drum).“DrumminghasbeenanintegralpartofAboriginalculturessincetime

immemorial,asthedrumbeatrepresentstheheartbeatofMotherEarth”(Goudreau,

2008,p.73).Theactofbuildingadrumanddrumminghasnowbecomeanintegral

componentoflearning,ourcommunity,andtothestudentsoftheMapleRidge

EnvironmentalSchool.Thispaperintendstolookintothephilosophybehind

emergentlearning,crosscurricularlearning,fullcirclelearning,experientialtheory,

place‐basedandcommunitybasedlearningwhichallareevidentandintertwined

throughouttheprocessofdrummaking.Thecraftofdrumbuildingwaschosenas

Thegrandfatherssatwiththelittlegirlaroundherfirefor4daysandgaveherthe

teachingsofthe7grandfathers.TheGrandmotherbegantotalktothelittlegirltelling

herhowtocreateadrum,thecorrectwaytostretchtherawhideandlaceiton.Shetold

thelittlegirlthatthemenweresobusywiththewarthattheyforgothowtoconnectwith

theirhearts.Ifthelittlegirlwouldgivethemthedrum,theywouldonceagainconnect

withtheirhearts.Shesaidthatthedrumisanimateandhasaspirit,whenthelittlegirl

wasfinishedmakingthedrumshethoughtofhowmuchitlookedlikeGrandmother

moon.ThelittlegirltookthefinisheddrumtotheWarriorslodge,werethemenaccepted

thedrumandbegantousethedrumandusetheirvoicesasmedicineprayers.They

startedconnectingwiththeirhearts,andsoonallthoughtofwarlefttheirminds.With

theSiouxPeoplestillraidingtheOjibway,thelittlegirldecidedtomakeanotherdrum,

butonthefaceofthisdrumthelittlegirlpaintedonehalfredandtheotherhalfblue,

downthemiddleshepaintedayellowstrip.ThelittlegirlwentandpresentedtheSioux

Warriorswiththedrum,soonaftertheSiouxWarriorslaiddowntheirweaponsandthey

toostartedtoconnectwiththeirhearts.Peacecameintothepeoplehearts

(http://sheshdrumgroup.tripod.com/drumstory/drumstory.html).

drumsareaninstrumentthatareuseddailyattheEnvironmentalSchoolandthe

studentsthereforealreadyhaveastrongconnectionandrelationshipwiththem.

Havingthembuildtheirowndrumswasthenextstepincreatingadeepermore

meaningful,personalconnection.Thispaperwilldocumentthefullcircleof

learningthattakesplacewithinthebuildingofthedrums.Beginningwithlearning

aboutsmudgingandblessingofthematerialfromourKwantlenelder,tosawing,

sandingandputtingtogetherourframes,toshapingandattachingthehidetothe

frame,topaintingthehideandthenthestudentseventuallylearninghowtoplay

thedrum.Asthisprojectintendstobeverycrosscurricular,thispaperwillalso

focusondifferentcurricularcomponentsthatarecoveredandemergethroughout

theprocessofdrumbuilding.Thiswillbeshownthroughindividualstories,photos

andteacherreflectionsontheprocess.AsIpersonallyworkwithmainly

kindergartensandgrade1students,thisagegroupwillbethefocusofthiscontent.

Iwasextremelyinterestedinthepersonalandculturalgrowthwithintheschool

communitythatmayemergefromthisprojectandthispaperspeaksnotonlyofthe

growth,butalsotheprofessionalandphilosophicgrowththatIasaneducatorhave

gonethroughduringtheplanningandbuildingprocesswithmystudents.

TheprojectofdrumbuildingwasignitedbyClaytonMaitland,our

schoolprincipal.Hespoketomeabouthisprocessofgettingtoknowofthe

historiesandknowledgesofplace,hefounddrumtobequitesignificant.Hethought

thathavingstudentsbuildtheirowndrumswouldprovidethecommunitywitha

“connectiontothehistoriesandknowledges,asasensegainadeeper

understandingofMotherEarthandasaconnectiontosong.“Claytonthenshared

theseideaswithHearthKeepers(groupofteachers,parentsandcommunity

membersthatcometogethertocreateavoiceforthecommunitywheredecisions

aremadebaseduponconsensus).Hethensetupadrummakingandstorytelling

experiencewithKatzieFirstNationatSwan‐e‐setLonghouse.Thisexperiencethen

inspiredustocreatethedrumbuildingprojectforourstudents,whichthencould

openupmanydifferentpossibilitiesandopportunitiesforlearning.Then,asa

community,gatheredresourcesandonemotherfromourschoolappliedforagrant

fromAIC‐ArtistsintheClassroomthatwouldassistinthecosts.Wereceivedthis

grantlastfallandareusingthefundstocoverdrum‐makingsuppliesandtopayfor

thecostsofhiringLekeyten,aKwantlenelderwhoperformsinceremonies

throughoutthecommunity.“LekeytonhasbeenanElderinResidenceatKwantlen

PolytechUniversityandanAdvisortoSimonFraserUniversity.Heprovidescultural

teachingsattheLangleyChildDevelopmentCentreandhastaughtdrummingcircles

tochildrenasyoungaspre‐school”(Robertson,2014).InJanuary2015,88students

ages5‐13beganlearninghowtobuildtheirownindividualAboriginalDrumwith

helpfromcommunitymembers,includingGrandparents,parents,formersstudents

andtheirparents,teachersandLekeyten,whosharesstoriesofthedrum,teaches

localtraditions,provideculturalknowledge,teachdrummaking,drummingand

song.

WhyDrums?

Throughtheprocessofdrummaking,thestudentswillgainsomuchfrom

thenewexperienceandlearnmanythingsthatcannotbemeasured.Thissectionof

thepaperdiscusseswhyanactivitysuchasthis,isvaluableandimportantlearning,

coveringtheprinciplesandvaluestheEnvironmentalSchoolfollows,inspirations

fordrummakingandtheconnectiontoIndigenousEducation.

Asaschoolcommunity,westriveto“growrelationshipsandnurture

practicesoflearningandteachingthatembodythefollowingprinciplesandvalues”

(Blenkinsop,2012,p.5):placeandcommunity,nature,ecologyandsustainability,

inquiryandpossibility,interdependenceandflourishing,imaginationand

integration.Findingprojectssuchasdrummakingthatdrawuponandconnectto

theimportanceofeachprincipleandvaluearesoimportanttousaseducatorsand

toourstudents.Clayton,ourprincipalspeakstothefactthataseducators,wewant

tolookatlearninginadifferentway,

indeeperandbroadersense,beyondtheclassroomandschoolbuilding,

intoandwiththenaturalworldandexpandingonlearnerexperience,itis

essentialtoremoveconventionalpracticeandplacetheenvironment,

experienceandactivityintheforegroundoflearning.Wehavetocontinually

examine"learning"andencouragegrowthinamultipleofways.

Thecreationofmusichasbeenabigelementinthedailyactivitiesofthestudents

andcreatingmusicalinstrumentshasactedasalargecomponentofthis.Lastschool

year(2014),wehadourstudentscarveandlearnhowtoplaytheirownindividual

Aboriginalflutes,whichwasinitiallyinspiredbylisteningtothebeautyofthesound

andemotionthatthisinstrumentevokedwhenonewasplayedforusbyVickiKelly.

ThiswasagreatwaytoconnecttoandlearnaboutAboriginalcultureinourarea

andexploreallofthelearningopportunitiesthatcouldcomefromsuchaproject.

Notonlydidthestudentslearnsomuchfromthisprocess,weasastafflearneda

greatdealaswell.Itwasevidentthroughthisprocessthatthecommunitybecame

strongerandcloserastheyhadtospendagreatdealoftimeworkingtogetherto

buildtheirflutes,asolderstudentshelpedyoungerstudents,parentsand

grandparentscameintohelpandlearnhowtobuildtheirownaswell.Currently,as

LekeytenhasneverlearnedhowtoplayanAboriginalfluteormadeone,hehas

beeninspiredbysomeofourstudentstolearnhowtoplayfromthem.Wealso

learnedtheimportanceoftimeandslowingthebuildingprocessdownandthe

importanceandvalueofaproductthatcouldbeusedbecamequiteevidentaswell.

Anotheraspectthatbecameclearwhilecreatingourfluteswasallofthelearning

thatemergedfromthisexperienceandallencompassingproject.Becauseofthis,

wedecidedthatweneededtotakethistypeoflearningtothenextlevel.Drum

buildingbecamethenextstepandthenarealitywhenweattendedaprofessional

developmentworkshopheldattheKatzieLonghouse.Here,alongsideKatzieFirst

Nationmembers,parentsandothercommunitymembers,wewereabletolearn

howtoconstructourowndrum.RandyBates,afellowstaffmemberwasthenable

totakewhatwelearnedfromtheKatziemembersanddevelopedamethodofdrum

buildingthatwouldworkforourstudents.

Now,inthemiddleofmyfourthyearofteachingattheMapleRidge

EnvironmentalSchool,Ihavenoticedmanychangesandareasofgrowthinourstaff

andmyselfpersonallyinthewayweteach.Thisdrumbuildingprojectallowsfor

manyofthefoundationalcharacteristicsofIndigenousEducationtoberecognized

intheworkthatourstudentsaredoing.Theseweren’tnecessarilyreflectedonor

recognizedpriortothisproject.InLooktotheMountain(1994),Cajetespeakstoa

numberofelementsthatcharacterizeIndigenousEducationandmanyofthese

characteristicsarequiteevidentthroughouttheprocessofdrumbuilding.Below

showsalistofcharacteristicsofIndigenousEducationthatarerelevanttoour

processofdrumbuilding,whichIwillbereferencingthroughoutthepaper.

Thepedagogyandreasoningbehinddrummakingistoprovideholistic,

experiential,place‐basedactivitiesthatensureseachprincipleandvaluethatour

schoolstrivestoincorporateintoitsteachingsareseenthroughoutthisprocess.

ThefirstprinciplebeingPlaceandCommunityisdescribedas:

cultivatinglearning,inabout,withandfromlocalplaces.Thisincludes

spendingextensivetimeimmersedintheoutdoor,dialoguingwiththe

diversepeopleconnectedtotheseplaces,andexploringmeaningofplacesin

thecontextofthebroadercommunityassociatedwiththem,itspastand

future (Blenkinsop,2012,p.5).

Evidenceofthisprincipleisseenthroughoutourbuildingprocessasweare

connectingwithourbroadercommunityandKwantlenFirstNation.Buildingthis

TakenfromCajete’s,LooktotheMountain(1994,p.28­30):• Integrationandinterconnectedness.• Itpresentssomethingforeveryonetolearn,ateverystageoflife.• Artisavehicleofutilityandexpression.Itisrecognizedasan

expressionofthesoulandawayofconnectingpeopletotheirinnersourcesoflife.

• Itrecognizesthattruelearningoccursthroughparticipationandhonouringrelationshipsinbothhumansandnaturalcommunities.

• Itrecognizesthatwelearnbywatchinganddoing,reflectingonwhatwearedoing,thendoingagain.

• Indigenousthinkingrecognizesthatlearningiscompleteonlyifitstartsfromthebeginningandfollowsthrough.Oneskillbuildsonanother,butthebasicsmustalwaysbehonoured.Learningisstepbystep.

• Ithonoursthefactthattruelearningbuildsyourself­confidence.• Welearnthroughourbodiesandspiritsasmuchasthroughour

minds.• Indigenouspeoplerecognizethatpersonalpower,learningand

thinkingareexpressedthroughdoing.Therefore,learningthedoingisanessentialprocess.

connectionandlearningfromLekeytenhasbeenapowerfulcomponentofthis

project,whichwillbedescribedingreaterdepthfurtherinthispaper.Wearealso

formingdeeperconnectionstoplaceasweareusingelementsfromthenatural

worldincludingcedarwoodandanimalhideandspendingagreatdealoftimewith

themtocreateourpieceofart.The“holisticpracticeofmakingthings,encouragesa

senseofengagement,interactionandreciprocationwithallthatisaroundus”

(MacEachren,2000,p.187)andprovidesasomaticconnectiontothenatural

elementsofthedrumbecauseofthegreatdealoftimespentholding,workingand

physicallyconnectingwiththeseelements.Forexample,thetimespentsandingthe

roughcedarwoodofthedrumframe.

ThesecondprincipleisNature,EcologyandSustainability,whichcanbe

describedas:

cultivatinglearninginnaturalsettings,wherewelistenforwhatthemore

thanhumanworldhastoteachus.Throughthecycleoftheseasonsandthe

years,knowledgeofecosystemswillbebuiltgraduallysothatdiversity,

complexityandsustainabilitybecomepartofourunderstandingoftheworld

(Blenkinsop,2012,p.7).

Asweuseelementsfromthenaturalworld,thestudentshavelearnedmoreabout

theenvironmentaroundthem.Lekeytenhasspokentothestudentsonmany

occasionsaboutthenaturalworldandwhatitmeanstohim.Forexample,“onthe

dayofsmudgingLekeytentoldstoriesofthedirectinterconnectingofallthings,care

andrespect,andallbeingone.Heconnectedthosestoriestotheculturalstories”(as

toldtomebyClaytonasIwasnotpresentonthisday).Healsoisconstantly

referringtotheskinsandcedarasiftheystilllivedandthroughhisblessingofthem

withaneaglefeather,weshouldrecognizethemasstillaliveandthereforethedrum

becomingalivebeingconnectedtotheanimal,cedarandallthings.

InquiryandPossibilityarethethirdprinciplesdescribedas:

cultivatingaspiritofinquiryinvolvingeveryone:thenaturalworld,students,

parents,communitymembers,teachersandresearchersalike.Weare

committedtoexploringmultiplepathwaysoflearningandteachingthat

many differentwaysofknowingandformsofknowledge.Meaningful,

authentic,locallyinspiredindividual,groupandcommunityprojectsplayan

importantpartofthisprocess(Blenkinsop,2012,p.8).

Thisprojecthasdefinitelybeeninspiredbylocalandtraditionalculture,whichthe

studentsinturnlearnedagreatdealaboutandhaveplacedwithinourownschool

culture.Forexample,Hayčxʷq�ә`siem,whichLekeytendescribesasmeaningan

“equity,”everythingbeingequalfromanimals,toeachperson,toplants,totheir

drum.Thisconceptisspokenofdailyandhasbecomeabigcomponentinthe

student’sdailydiscussionandwaysofbeing.Thedrumbuildingexperiencecan

leadtomanydifferentinquirypossibilities.Firstly,wehavebecomeopento

differentopportunitiesandawareofthequestionsthatcanemergefromand

broadenthislearningexperience.Wethenhavetohelpthestudentsdevelopand

pushtheirquestionsdeeperandbeawareofthepossibilitiesandwheretheseideas

canlead.Forexample,manystudentshavebecomequitepassionateabouttheir

paintingsontheirdrums,thiscouldleadtonewprojectslookingdeeperintotheir

meaningstraditionally,scientificallyandpersonally.Formyself,drumbuildinghas

ledmedownapathofdeepinquiryintomyownpersonalpedagogyandteaching

philosophy.

ThefourthprinciplebeingInterdependenceandFlourishing,whichincludes:

cultivatinganappreciationofpeoplebothasuniqueindividualsandas

membersofnestedfamilies,communitiesandplaces.Weseektounderstand

thecomplexwaysinwhichwecanhelpeachotherflourish,andhowtobuild

relationshipsandsystemsthatcontributetosuchflourishing”(Blenkinsop,

2012,p.8‐9).

Thishasbecomeevidentwiththestudentscreatingandbuildingrelationshipswith

eachotherandcommunitymembersthroughoutthebuildingprocess.Thestudents

havebeengivenopportunitiestoconnectwitheachotherthroughouttheprocessas

olderstudentshaveusedtheknowledgethattheyhavegainedbybuildingtheir

drumsfirsttothenassisttheyoungerstudentswiththeirbuildingprocess.

Studentsthathavepreviouslynotconsideredthemselves“goodbigbuddies”have

gainednewfoundconfidenceintheirabilitytohelpandteachothers.Younger

studentsarenowseekingouttheirdrumbuildingbigbuddiesthroughouttheday

forhelpandcompanionshipindifferentareasorduringfreetimesuchasrecessor

lunch.Iwilldiscussfurtherinthispaperdifferentexamplesofhowthelearninghas

beensharedfurtherintoourlocalcommunitiesaswell.

ThelastprinciplebeingImaginationandIntegration,whichinvolveslooking

“forwaystointegratelearningacrosscurriculum,bridginglanguagearts,sciences,

histories,geographies,mathematics,physicalandsocialskills.Wedevelop

educationalpracticesandmaterialsthatnurtureasenseofwholenessinlearning

andteaching”(Blenkinsop,2012,p.9).Numerousareasofthegovernment‐derived

curriculumarecoveredthroughthelearningthathasemergedfromthecreationof

thedrums,whichwillbediscussedingreaterdepthlaterinthepaper.

TheDrumBuildingProcess

Thefollowingdescribethefull‐circlelearningprocessourstudentswentthroughto

buildtheirdrums.

Step1:Priortothestartofbuildingourdrums,Lekeyten,completedasmudgingceremony,whichtaughtthecommunityaboutthetraditionalculturalpracticesoftheKwantlenFirstNationgroup.HethankedthefourleggedforprovidinguswiththehideneededforthedrumandhegavethankstotheCreatorforallowingthecedartreetogrow,whichprovideduswiththewoodneededfortheframeofthedrum.Ashethankedandblessedthewoodandskins,astheKwantlendowhenevertheybuildthingsoutofitemsfromthenaturalworld,itgaveourstudentsanewunderstandingandexperienceoflocalculturesandtraditions.

Step2:Eachstudent,girlsandboysusedthechopsawwithhelpfromacommunitymember,inthiscaseaformerstudentofournowinhighschool,tocut12piecesofcedarwoodata15degreeangle.These12pieceswillthenmaketheframeofthedrum.Whileusingthistool,eachstudentlearnedaboutsafetyofthetechnologyusedandappliednumeracyskillswhilesubtractingpiecescut.

Step4:Eachstudent(sometimeswithhelpfromanolderstudent)sandedandfiledtheirdrumframeuntilitwassmoothandreadytobeskinned.

Step3:Eachstudent(sometimeswithhelpfromacommunitymember)gluedeachpieceofcedarwoodtogether,ensuringtheyarefollowingthepatternneeded.Theythenusedalargehoseclamptoholdtheframeinitscircularshapewhileitdried.

Step5&6:Oncethecircularshapeofthehidehasbeencut,eachstudentmarkedthelocationofwheretheskinneededtobepunchedandthenusedahammertopunchholesintheskin.Theseholesarethenusedtostringsinewthroughtoattachthehidetotheframe.

Step7:Theolderstudents,whohavepreviouslylearnedhowtoskinthedrum,eachpartneredupwithayoungerstudenttoteachthemhowtocompletethispartoftheirdrum.Thisisdefinitelyalessoninpatience,communicationandcooperation,aseacholderstudenthasbeeninstructedtoensurethattheiryoungerpartnerdoesmostoftheimportantworkthemselves.Thiscompletesthebodyofthedrum.

Step8:Thesecondpartofthedrumthatthestudentshavetocreateistheirowndrumstick.Thefirststepincreatingtheirdrumstickistospendtimeinthenaturalworldandfindastickthattheyareconnectedto.Lekeytenspeakstofindingyourspecialsticks,thatsomemayfinditfastandsomemayneedalotoftime,butitwilljumpoutatyouandyouwillbedrawntoitlikeamagnet.

Step9&10:Oncethestudenthasfoundtheirstick,theymustcarvethestickintothecorrectshape(includingnotchesononeendwherethehidewillbeattached)anddesiredsmoothness.Theyareassistedandcoachedinsafetyandtechniquebyolderstudents.Theythenhavetosandthestickuntiltheyfeelthatitisready.

Step11:Thestudentthenattachesapieceofdeerhidetannedleathertooneendoftheirdrumsticktocreatethemalletthatwillensurethattheirdrumisnotdamagedwhileplaying.

Step12:PaintingtheirdrumThissteptraditionallyisdoneoneyearafterthedrumiscompleted.Asofnowourolderstudentshavecompletedpaintingtheirdrums,buttheyoungerstudentsaregoingthroughamuchlongerprocess.Thisprocessinvolvedalotfinemotorwork,paintingandcolouringskills(Iwillspeaktothisprocesslater).Theolderstudentshavechosenanimagethatwasmeaningfultothem,eitherfromtheInternetorpersonallydesigned,learnedpaintingtechniquesandthentookmanyhourstofullycompletetheirpainteddesign.Belowaresomefinishedorontheirwaytobeingfinishedexamples.

CraftingandtheCreationofArt

“Theceremonyofarttouchesthedeepestrealmsofthepsycheandthe

sacreddimensionoftheartisticcreativeprocess.Thesacredlevelofartnotonly

transformssomethingintoart,butalsotransformstheartistattheverycoreofhis

orherbeing”(Cajete,2000,p.46).AsCajetestates,theprocessofcreatingartor

craftinghashadaprofoundimpactonmyownlifeaswellasmanyofmystudents.

Inmanyofmystudent’scases,thelargestimpactoftheirartworkorcrafthasbeen

theconnectionthatIhaveseenthembuildwiththeirdrum.Thisisevidentinthe

time,careandcompassionthattheyhaveputintothisprocess.

Timehasbeenoneofthebigrealizationsthatweasastaffhavenoticed

throughoutthedrumbuildingprocess.AsaneducatorIhavecometounderstand

theimportanceoftimeandnotrushingthroughsomethingasImayhavenormally

doneinthepast.AsDavidOrr(2004)states,“slowingthepaceoflearningtoallowa

deeperkindofknowing”(p.96).Timeallowsanhonouringofthepractice,process

andeachchild’snaturalrhythms,whichallowsthemtointurn,workattheir

authenticpace.Byallowingforandrespectingthetimeandprocess,itthenallows

moretoemergefromtheprocessthanifhadbeenrushed,newideasandthoughts

haveemerged.InitiallyIwouldhavepredictedthatbythisstageintheprojectthe

studentswouldhavebeenlearninghowtosingandplaytheirdrumsalongsideour

KwantlenElder,buttheartformhastakenanotherpath.Instead,wehavetaken

moretimeandcareintoeachindividualstepandfollowedlearningpathsthathave

emerged.Anawarenessthat“doingandrelatingtoartmakestheprocessand

contextofartmakinginfinitelymoreimportantthattheproduct”(Cajete,1994,p.

153),aswegrowandlearnsomuchaboutourselvesthroughtheprocess.Thishas

becomequiteevidentinthetimethatcertainstudentsaretakingonspecificsteps

whenbuildingtheirdrums.Forexample,ourolderstudentshavenowfinished

paintingtheirdrums,butthisprocesswasquitealearningexperienceforthe

studentsandteachers.Whileawayatawinterleadershipcamp,oneoftheir

activitieswastopainttheirdrum.Theteacherspresentprovidedthemwithquality

paintandpaintbrushesandhadthemstartpaintingtheirskins.Oneofthemnoticed

thattheyneededtotakeapauseandlookbackattheprocessofpainting,asmost

lackedtheessentialpaintingskillsneedtodoagoodjobandwereproducinga

productthattheyknewthestudentswouldnothavebeenproudof.Withmore

specificinstructiononhowtousethepaintbrushproperly,nottocrowdtheirdesign

andtobemorepatient,thestudentsthengotbacktowork.Studentswhowehave

notseentakeverymuchtime,careorinterestinartlikethisbeforehavespent

upwardsof8‐10hoursfinishingtheirpaintedpiece.MichelleBouchard(fellow

teacher)thinksthat,“manyofthempaintedforsolongbecausetheydidnotwant

thatprocesstobeover.”Ifeelthatmanyofthestudentswereperhapsinthestate

offlowthroughouttheprocess.NakamuraandCsikszentmilhalyidescribeflowin

detailintheirpaperTheConceptofFlow(2005)as:

experiencesduringwhichindividualsarefullyinvolvedinthepresent

moment.Duringtheseexperienceseachpersonentersasubjectivestate

withthefollowingcharacteristics:

• Intenseandfocusedconcentrationonwhatoneisdoinginthepresent

moment

• Mergingofactionandawareness

• Lossofreflectiveself‐consciousness…

• Asensethatonecancontrolone’sactions…

• Distortionoftemporalexperience(typically,asensethattimehaspassed

fasterthannormal)

• Experienceoftheactivityasintrinsicallyrewarding,suchthatoftentheend

goalisjustanexcusefortheprocess(p.90).

Shealsohadtomakeonestudentstop“becausehejustkeptaddingandaddingand

adding.Lovingtheprocesssomuchthat(she)wasworriedthatitwouldimpacthis

finalproductandtakeawayfromthepictureheinitiallywanted.”

ThistrulyfollowsoneofthemaincharacteristicsofIndigenousEducation

thatCajetespeaksabout:“Indigenousthinkingrecognizesthatlearningiscomplete

onlyifitstartsfromthebeginningandfollowsthrough.Oneskillbuildsonanother,

butthebasicsmustalwaysbehonoured.Learningisstepbystep”(Cajete,1994,p.

30).Forexample,firstlearningwhattheculturalsignificanceofthedrumandthe

processofbuildingonemeans,tothelearninghowtouseeachtoolspecificallyprior

tousingit,toeachindividualstepinthebuildingprocess,tothenlearninghowto

paint,tofinallypaintingtheirdrumskinandtheneventuallylearninghowtoplay

theirdrum.

Anothersimilarityisseenwiththekindergartenandgrade1students.To

preparethemandhelpthemacquiretheskillsneededtopainttheskinsoftheir

drums,weneededthemtoworkonfinemotorskillsandlearnpaintingtechniques.

Ourfirststepwastohavethempracticepaintingstraightlineswithoutmixing

colours.ThesecondstepwastohavemanydifferentAboriginalstyleanimal

drawings,copiedquitesmallwithintricatedesignsforthemtocolour.Thiswasan

amazingactivityformanyreasons.Firstly,studentswhowehaveneverseencolour

orenjoycolouringbeforeweretakingtheirtimetobeextremelycarefulandprecise.

Thiswasbecause“itwasfortheirdrums,”announcingwithpridethatthishastogo

ontheirfridgeathomeorthatitisfortheirmom.

Ourmostrecentstepwastotakethecolouringfinelinesanddetailsandcombineit

withthepaintingskillsthatwehavealreadypracticed.Michelle(afellowteacher)

providedthestudentswithasimplepicturewithlinesthattheyhadtopaintover.

Thisstep‐by‐stepissoimportantasitagainlookstothecharacteristicsof

Indigenouseducationandoneskillbuildinguponanotherandprovidesthestudents

withexperiencesthatwilldeepentheirknowledgeandhelpthemgainconfidence

willtheskillsneeded.Again,theallofthestudentscompletedworkthatwasfar

beyondourexpectations,alltakingthecareandtimeneededtoproduceamazing

workbecause“itwas

ExampleofaGrade1student’sprogressthroughoutour“gettingreadytopaintourdrums”process.

fortheirdrums.”Ithasbeenquiteevident

throughoutthepaintingprocessforbothgroups

thatthe“craftproject(s)developedpatience,care,

andcompassion”(MacEachren,2000,p.188),but

alsothatfactthat“truelearningbuildsyourself‐

confidencebycomingtounderstandwhoyou

reallyareandlivingtoyourfullpotential”(Cajete,

1994,p.30).

Fraya(9),oneofourstudentsexplainedtomeherexperiencewithdrumbuilding

andpaintingwhichspeaksfullytothemanifestationofthesevalues:

WhenIwasdonebuildingmydrumIwasn’treally happywithitbecauseIdidn’tlikehowIdidit,the choicesImadeandcomparedittoothers.Then whenLekeytencamehetaughtussomuchabout ourdrumsthatwhenIbangedonmydrumwith mydrumstickitfeltsoothingandthevibration bouncedoffmyear.Ibroughtithome,madeup somesongsonmydrumandplayedwith Lekeyton.Hetaughtmethateverydrumis different,buteverydrumhasaconnectionandIrealizedthatitdoesn’tmatterwhatitlookslike, it mattershowitfeels. Full­CircleofLearningandCommunityBuilding

AsinFirstNationsculture,many“teachingsaresymbolizedinthefull‐circle,

whichrepresentsinclusivenessandwholeness.Itisatraditionalsymbolof

continuousmovement;anactionwithnobeginningorend”(Robertson,2014).

Studentswillexperiencethefull‐circleoflearningwiththisproject,from

constructingtheirownsuppliestomakingthedrum,learningthetraditions,

rhythmsandsongsofthedrumandpassingontheirknowledgetoothers.AsIhave

outlinedabove,theprocessthatthestudentshavegonethroughstartsrightatthe

beginningofsawingthecedarwoodfortheframe,gathernottotheextremethat

MacEachron(2000)describesinherpaper,CraftingasaPracticeofRelatingtothe

NaturalWorld.Sheindicatesthat,“itmaynotbepracticaltomakeallouritemsby

hand,but(I)contendthateverychildshouldhavetheexperienceofwalkingout

ontotheland,gatheringsupplies,shapingthemintosomefunctionalitemandthen

usingthatitem”(p.191).Eachindividualpatientlyworkedoneachstepuntilhisor

herdrumwascompleted.Somestudentshavenowhadtheopportunitytopasson

theirknowledgetoothers,asthisisanotherstepinthecompletionofthecircleand

“recognizesthatwelearnbywatchinganddoing,reflectingonwhatwearedoing,

thendoingagain”(Cajete,1994,p.29).Firstly,olderstudentswheretaughtthe

drummakingskillspriortotheyoungerones,astheythenbecamementorstohelp

andassist.Secondly,agroupofolderstudentswerecallupontotakewhatthey

havelearnedandvisitaneighbouringschoolandpassontheirknowledgetothem.

Thirdly,otherstudentsbroughttheknowledgetootherareasofthecommunity.

Thisinturn,becameauniquecommunity‐buildingprojectinadditiontobeinga

culturalartproject.Notonlyhasthisprojectformedstrongerconnectionsbetween

olderandyoungerstudents,ithasbroughtinandconnecteduswithdifferent

membersofthecommunity.Grandfathershavehelpedintheinitialstagesofsawing

thepiecesofwood,formerstudentsandaparenthavecomebacktohelpandassist

intheprocessandbecauseofourhelpfromLekeyten,strongertieshavebeen

formedwiththeKwantlenFirstNations.Ournextgoalistohaveourstudentshelp

andteachtheirparentshowtobuildtheirowndrumaswell.Ithasbeengreatto

seethat“learningsometimesoccursmostthoroughlyandvividlywhendiverse

peoplepossessingdifferentkindsofknowledgepoolwhattheyknowandjoinina

commonefforttoaccomplishsomethingthatneedstobedone”(Orr,2004,p.98).

Aswecontinuetoshareourknowledge,ourcommunitywillcontinuetogrowas

well.ClaytonMaitland(principal)andLekeytonourKwantlenElderareplanning

ongoingtotheAboriginalEducationResearchForuminWinnipegtospeakand

shareourdrumbuildingexperiencewithallofthoseinattendance.

TeachingOthers: Forthefirsttime,ourschoolvisitedanotherschoolinourdistricttopassonandshareknowledgethatwehavegainedfromourdrumbuildingexperienceandfromourlocalKwantlenElder.Randy(fellowteacher)whoaccompaniedthestudentsonthisexperiencenotedhowfocusedourstudentswerenowthattheywere“pros”andtheconfidenceboostthataccompaniedputtingtheirunderstandingintoaction.Healsonoticedthatitwasagreatexperienceforthestudentswhenitcametodevelopingrelationshipswithotherstudents.Itwasgreattoseehowtherelationshipsandconversationswereeasilyinitiatedbetweenkidswhodidnotknowoneanotherpriortothisas,“doingsomethingtogetherisagreatwayofbeginningtotalkandgettoknoweachother”(Randy).

Storysharedbyoneofourstudent’smotheraboutherdaughters(age6)drumbuildingandculturallearningexperience: “ForoneofourSparkbadges,TheWorldAroundUs,thegirlshadtolearnaboutAboriginalculture.SoMekinavolunteeredtosharesomethings.Thiswasabigmilestoneforme,sinceIhadbeenhopingherwholelifethatdespitebeingadoptedintoaCaucasianfamily,shewouldbeabletolearnaboutandappreciateelementsofherCreeandMetisheritage. ForouropeningactivityatSparks,weusuallyhavecolouringpages,soshebroughtsomeleftoverpagesfromsomeofthePALSworkshopsshewenttoattheKatziereservelastyear.ShetoldthegirlsthatanAboriginalartisthadcometoherschoolandtaughtthemthatforaboriginalart,youhavetocolourslowlyandstayinthelines.Sheshowedthemsomeofherworkfromschool. ForCircletime,sheworehercedarheadbandthatcamefromherAboriginalheadstartPreschoolinMission,andstarteddrummingonthedrumIhadmadelastyearatthelearningworkshopwiththeKatzie.Shewouldhaveratherbroughthers,butitisn'tquitefinished. Amazingly,alltheSparkssomehowknewthatitmustbetimetostopcolouringandcometocircle!Thentheylistenedtoherforlike8or9minutesofdrumming!Itwassuperawesome. Afterthatsheshowedherfluteandplayedthatabit,thenItalkedabouthoweveryoneofushasauniqueheritage.FinallywewatchedacartoonofhowRavenStoletheSun. Mekinadidaterrificjobwitheverything,especiallyshowingherownlearningthathashappenedatschool!”

Ournextstepinthecontinuationoffull‐circlelearningwillbetolearn

traditionalsongsanddrumrhythmsfromLekeyten,ourlocalKwantlenElder.As

drummingisalreadyadaily,importantcomponentofourschool(drumsareusedto

callstudentsintogatherings,asopposedtoabell),thehopewouldbethatthe

traditionalsongsandrhythmsthatthestudentswillbelearningcouldbe

incorporatedintoourdailylives.Wearealsohopingtohavethestudentspresent

andparticipatewithLekeyteninAboriginalDayandthefirstsalmoncelebrations.It

isanamazingopportunityforthestudentstogainthisculturalknowledgeto

accompanytheirdrum.Wehavelearnedthattraditionally,womenwerenot

permittedtoplaythedrums,asacommunityweareawareofthepotentialgender

limitations,butarelookingbeyondthesewithpermissionfromLekeytonandhaving

allstudents,maleandfemalelearningtoplaytheirtraditionaldrum.Musichas

manybenefitsandthehopethatthroughthelearningandplayingoftheirdrums,we

willenableourstudents“togrowintellectually,emotionally,sociallyandspiritually”

(Grytting,2000,p.66).GhislaineGoudreauhaswritteninherpaper,Hand

Drumming:HealthPromotingExperiencesofAboriginalWomenfromaNorthern

OntarioUrbanCommunity(2008),that“handdrummingcircleshavemanyhealth

promotingbenefitsandbuildsonstrengthsalreadyexistentwithintheir

community”(p.72).Oneoftheareasoffuturestudycouldbelookingintothe

benefitsforourowncommunitythroughoutthedrummingexperience.Someofthe

StoryfromJodiMacQuarrie(fellowteacher): Workingwithalittlebuddycanbeaveryrewardingexperienceandmaybringoutdifferentabilitiesthatwemayhavethoughtthatthestudenthadprior.Helpinganotherbuildtheirdrumhadprovidedthisexperiencetomanystudents.Forexample,withoneolderlookedlikedisengagementandquitedisconnectedfromforhisowndrumandstick,“yetwhenheworkedwithhislittlebuddy,hewalkedhimthrougheachstepofhowtofindtheperfectstick(ithadtobenottoothinortoothick,ithadtohaveatleasttwolittleprongswherebrancheshadbrokenoffrightnearthetop),preferablythreesotheleathercouldbetiedandheldsnugunderthoseparts.Thenheshowedhowtocarveitabitattheendandsanditandhowtotieitproperly,cutofftheendsofthesinewtwine,etc.Ithoughthehadn’tlearnedathingbecausehewassodisengagedwiththeprocessforhisownstickanddrumbutapparentlynot!Also,hewaswonderfulwithhislittlebuddy,reelingbackinwhenhewasdistractedandawayfromwheretheywereworking,tookhimtoRandyandtheboxofsupplieseachtimetohelphimgetacarvingknife,twine,pieceofleather,etc.”

benefitsthatGoudreau(2008)discussesincludethefactthatthe“participants

believedthatthebeatofthedruminitselfisgoodfortheirhealth.Some

participantsindicatedthattheygainphysicalenergyfrompartakinginhand‐

drummingcircles”(p.76).Itisalsostated,“asmuchasdrummingcanprovide

energy,itcanalsorelaxourbodies.Manyoftheparticipantsdescribehowthe

beautifulsoundofthedrumhelpsthemtoreleasetension”(Goudreau,2008,p.76).

Oneofthemostinterestinglinksbetweendrummingandwell‐beingthatGoudreau

mentionsisthat“participantsbelievedthatthedrumcanbeusedasatoolto

connectthemtotheCreator,theSpiritWorld,MotherEarth,andtoothermembers

ofthecommunity”(p.78).Ilookforwardtothelearningthatwillemergeoncethe

drummingstartstakingplace.

CurriculumConnections

Learninghasemergedfromthedrumbuildingprocessinwaysand

directionsthatwecouldnothaveimagined.Thepossibilitiesinlearninghavebeen

endlessandcontinuetogrowandtranspireaswelookbackonwhatwehavedone

andreflectonmanyofthelearningopportunitiesthatwecouldhavemissedandas

wecontinuewiththebuildinganddrummingprocess.WithinthissectionIwill

exploreanddocumentsomeareasoflearningthatourstudentshaveexperiencedas

theyhavebuilttheirdrums.ManyofthefoundationalcharacteristicsofIndigenous

Educationspeaktothefactthateducationis“atitsessence,learningaboutlife

throughparticipationandrelationshipincommunity,includingnotonlypeople,but

plants,animalsandthewholeofnature”(Cajete,1994,p.25).Asaneducatorwhois

strivingtoapplyasmanyIndigenouseducationalpracticeswithinmyteaching,“the

emphasisisoftenondirectsenseexperienceandin‐contextactionastheprimary

sourceoflearning”(Kolb,2014,p.xviii).Experiencesinconnectionwithplacedrive

muchofourlearningthroughoutthedrumbuildingprocess.Thisformoflearningis

describedas:

essentialFirstNationstraditionalteachingandlearningsincethisprocess

entailsthemakingofmeaningfromdirectexperiences‐throughreflection

ondoingoraction.Learningthroughexperienceisapedagogicalapproach

thathasbeenwellresearchedbyvariousmainstreameducationexperts

includingJohnDewey,DavidKolb,andCarlRogers.Learningthrough

experienceisatriedandtruemethodoflearning‐onethateverypersonon

theplanetengagesinfrominfanthoodandonward”(FirstNationsPedagogy

Online,2009).

Mystudentshaveshownhowmuchcanbelearnedfromoneextendedhandson

experience,fromtooluse,artwork,learningaboutandfromourlocalAboriginal

culture,tomathandscience,allofwhichbeingrelatedbacktotheirdirect

experienceofbuildingtheirowndrum.

TheareasoflearningthatIwillspeaktorecognizemanyofthe

characteristicsofIndigenouseducationthatgo“beyondobjectivemeasurement,

honouringtheprimacyofdirectexperience,interconnectedness,relationship,

holism,qualityandvalue”(Cajete,2000,p.66).Holisticeducationspeakstothe

interconnectednessofexperiences,whereas“muchoftraditionaleducationtendsto

bestaticandfragmented,ultimatelypromotingalienationandsuffering(Mahmoudi,

2012,p.179).Inourcase,theconnectionofwhatwearelearningbacktoourdrum

buildingprocessorlearningthathasemergedfromthedrumitself.

Oneofthefirstareasoflearningthathasarisenformystudentsthroughthis

processhasbeenthesafeuseoftools.Eachstudentage5‐13hashadexperienced

usingthechopsawsafelywithassistancewhereneeded,tocreatetheirspecifically

shapedpiecesofcedarwoodthattheywouldeventuallyglue

togethertoformtheframeoftheirdrum.Othertoolsthat

theyhavelearnedhowtousehavebeenfilesandsandpaper,

whichtheyhaveusedtosmoothandshapetheirframe.

Whencreatingtheirdrumsticks,eachstudentpracticedand

workedwithcarvingtoolstocreatethesizeandshapethat

theydesired.Onegrade2studenthasgonebeyondthe

learningthathastakenplaceatschoolandhasbroughthis

drummakinghomewithhim.Asheisalwaysencouragedby

hisparentsathometousedifferenttoolstobuildandcreate,

hedecidedthathewouldlearnhowtousehisdad’slathetoshapehisdrumstick.It

wasveryinspiringtoseethisstudenttakehislearningandpushittoanewlevel

thatweasteacherscouldnothavepredicted.

Differentaspectsofnumeracyhavealsobeenconnectedtothisprojectasa

lotoflearningthroughoutthedrumbuildingprojecthaseitheremergedfromdrum

buildingorrelatesfullybacktothedrumitselfortheprocessofbuilding.Forthe

youngerstudentsdifferentnumeracyconceptshavebeenaddressed.Thenumber

12hasbeenlookedatclosely,asthatisthenumberofsidesinourdrum.For

example,asthestudentswereusingthechopsawtocuttheirpiecesofwoodfor

theirframe,theywerealsofocusingoncountingthenumberofpiecesneeded.They

wereaskedquestionssuchas,ifyouhavecut2piecesalready,howmanymoredo

youneed?Otherstudentswentfurtherwiththesemathematicalconcepts.For

example,oneGrade1studentapproachedmewiththeobservationthatherframe

had12sides.Ithenaskedherifshecouldtellmedifferentwaysyoucouldmake12.

Shewasquicklyabletorunthroughallthepossibletwonumberaddition

statementsandwasabletoexplainhermethod.Shestartedwith10and2andthen

wentonenumberlowerandonenumberhigher.Fortheyoungerstudents,the

notionofshapesemergedfromthedrumbuildingprocess.Thestudentsfirsttook

notethatthedrumlookedalmostlikeacircle,whichthenledtoactivitiesrevolving

aroundcirclesandthenfurtherdiscussionsandactivitiesrevolvingaroundother2‐

Dshapesandthen3‐Dshapes.

Aswestrivetoconnectlearningbacktodrumbuildingastocreateamore

holisticlearningenvironment,literacyactivitiesthatweaveintothisprocesshave

beenalargefocusfortheyoungerstudents.Thestudentshaveeachbeencreating

theirownHowtoBuildaDrumbooklet.Withinthisbooklettheyhavebeenworking

onrecallingandputtingintowordsthesequenceofstepstheyhavetakentocreate

theirdrum,practicingreadingandwritingcommonsightwordsandworkingon

difficultsoundcombinationssuchasDR.

AttachedyouwillseeachartcontainingalistofKindergartenandGrade1PLO’scoveredthroughoutthedrumbuildingprocess.RelatingtotheNaturalWorld

Connectinganddevelopingdeeperrelationshipswiththenaturalworldand

place,which“includesalltheparticularsofnatureandculturethatlocallyshape

humanperceptionof,andparticipationin,theworld”(Fettes&Judson,2010,p.

123)arenotonlykeythemesofholisticeducation,butalsowithinmyteaching

philosophy.Holisticeducationcanbedescribesas,the“individualdevelopshis/her

relationshipswiththeworldandwithothers,simultaneouslygainingknowledge

andpersonalawarenessfromwhattheserelationshipsbringtothemandothers”

(Hare,2006,p.304).Secondly,“theholisticperspectivedemandsthattheworld

aroundusmustbetreatedwithrespect”(Hare,2006,p.305).Thissectionofthe

paperdescribesexperiencesmystudentshavehadthatshowtheirconnectionto

theirplaceandthenaturalworldthroughdrumbuildinginaholistic,place‐based

setting.Asplace‐basededucationcallsforexperiencesthataimat“developingin

youngpeopleasenseofaffiliationwiththeplaceswheretheylive(Smith,2007,

192),thisprojecthasreallyallowedforthestudentstoconnectwithandlearnmore

abouttheirplace.

MacEachren(2000)demonstratesinherpaperCraftingasaPracticeof

RelatingtotheNaturalWorldthat“craftingactivitiesarerecognizedasawayof

engagingandinteractingwiththeenvironmentinamannerwhichmayencouragea

senseofreciprocitywiththeearthandultimatelyadeeperrelationshipwiththe

land”(p.186).Formanyofourstudents,craftingtheirdrumhasprovidedthem

withthemeanstocreatedeepconnectionstothenaturalworld,whichisamain

characteristicofplace‐basededucation.Asthestudentshavebuilttheirdrumsfrom

rawmaterials,theyhavehadthe“opportunitytoencourageanextendedsenseof

selfthatincludesawarenessoftheplacestheartmaterialoriginatesfrom”

(MacEachren,2000,p.189)andhavegainedagreaterappreciationforthecedar

treeandanimalinwhichourhidescomefrom(traditionallythiswouldhavebeen

deerorcaribouhide,butinourcaseiscowhide).Cajete(2000)speakstothe

relationshipbetweenartandtraditionalIndigenouslifewhenhereferstohow

“artefactsarecreatedwithanacutelydevelopedunderstandingand

acknowledgmentofthenaturalelementsfromwhichtheyarecreated”(p.47).This

projecthasbeenthefirstforusintermsofreallyunderstandingthenatural

materialsfromourplaceandcreatingartforapurpose,whichallhaveameaningful

placewithintheirlives.

Therehavebeenmanystoriesthroughoutthedrumbuildingprocessofhow

student’sconnectionstothenaturalworldhavebeenimpactedbytheprocess.One

exampleofthiswaswhenLekeytenspoketousabouttheprocessoffindingour

drumsticks.Hesaidthatasyouaresearching,youwillbedrawntooneparticular

stickanditwilljumpoutatyou,itcouldbeinstantlyoritcouldtakequitealong

time.Oneparticularkindergartenstudent’smannerinfindingherstickwasquite

amazing.Sheisnormallyaveryenergetic,livelyandquicktogetthingsgoing,but

withherdrumstick,shewasslow,patientandmeticulous.Shewasunawareoftime

orthefactthatmostoftheotherstudentshadfoundtheirstick,butwedidnotrush

herandlethermaketheconnectionthatsheneededtomake.Intheend,the

processtookhertwodaysandnumeroustripsbackintotheforesttofindthat

perfectpiece.Theolderstudentthatwashelpinghercarvealsonoticedthatwhen

hewastryingtoteachherhowtocarve,shewouldnotlethimworkonherstickand

thatsheonlywantedherhandsonherpiece.

Notonlyhastheprocessimpactedstudents,butalsodifferentstaffmembers.

Aswehavebeentryingtoimplementfull‐circlelearningthroughouttheprocessof

drumbuildingandwhatthatwouldlooklikeoncethedrumswerecompleted.Ana,

oneofourstaffmembersthoughtthatifwearetakingsomethingfromthenatural

worldatthebeginningofthiscircularprocess,shouldn’tweattheend,begiving

somethingback?HerideawasthatsincewehaveusedCedarintheframesofour

drums,wecouldplantaCedartreeto“replace”thetreesthatwehaveused.ForAna

the“wholeprocessofbuildingadrumcausedhertobecomemoreawareofallthe

materialssheusedandwheretheycamefrom.Thecircledidnotfeelcompleteifwe

werenottoreplant.”Thisprocesshasshownthat“eventuallytheengagement,

interaction,andreciprocationofthecraftingprocesswillallseemtointertwineand

willnurtureadeepersenseofrelationshipwiththenaturalworld”(MacEachren,

2000,p.193).

TheStoryofBeabsandhisconnectiontohisdrumastoldbyBeabs: AtfirstIhadnoideawhatIwasgoingtopaintandthenIstumbledacrossabearontheInternetthatIreallyliked.Intotalitprobablytookmeabout6‐7hoursofpaintingtofinishandintheenditwasprettycool.Ididn’treallythinkmuchofitatthetime,butthenIlookedatthebearandbecauseofthesilverpaintIused,IsawitasaSpiritBear.OnceIsawitasaSpritBear,itconnectedmemoretomydrumandthedrumbeatstartedtogivemoreofavoice…thedrumbeathadavoice.Before,Isawitasadrum,coolandeverything,thenthenotesstartedtoseemdifferent,deeperwithmoremeaningandwaspowerfultomebecauseIcouldmakemyownmessagewithitandmakedifferentbeats.Ithenstartedtothinkwhatthesebeatscouldmean.Thelowerbeatsmademethinkofbearbecausethebearisapowerfulanimaltome.NowIfeelmoreconnectedtothedrumthroughmypaintingbecauseIhaveadifferentperspective.

Conclusion

Throughouttheprocessofdrumbuilding,therehavebeenmanycentral

themesandareasoflearningthathavestoodoutandbecomeveryholisticforthe

learner.Beginningwiththegrowthofthecommunitythroughworkingtogetherto

helpeachotherbuildtheirdrums,teachingothersthroughoutthecommunitywhat

wehavelearnedthroughdrumbuilding,wehaveincludedgrandparents,parents,

formerstudentsandparentsintotheprojectsandtheconnectionthathasgrown

betweentheschoolcommunityandKwantlenFirstNation.Theconceptoftimehas

alsobeenbigrevelation,wherelearningactivitieshaveslowedtoenablegreater

connections.Allowingstudentsthetimetheyneedtocreatetheirdrumhasallowed

foranauthenticproduct.Anotherimpactofallowingfortimeandtheprojectto

developatanaturalpacewasthatithasprovidedsomanymorelearning

opportunitiestoemergethatperhapswouldnothaveotherwise.Thedeep

connectionthestudentshavemadetotheirdrumsandtothenaturalworldthrough

theprocessofcraftinghasbeenquiteanamazingprocesstowitness.Through

craftingprojectssuchasthis“wecanestablishapracticeforattendingtothenatural

environment,broadenourawarenessoftheworldandcreateadeepersenseof

connection”(MacEachren,2000,p.199).Lastly,thisprojecthasallowedfora

holisticlearningandcross‐curricularlearningapproachwhereareasoflearning

thatmaybeseparatedinaconventionalclassroomsettingareunified.Literacy,

numeracy,communitybuilding,art,music,socialandscienceactivitiesareall

connectedbacktothedrumbuildingprocess,creatingasenseofwholeness.The

studentsalsousedalargevarietyoftools,whichenablethemtoapplythetoolsin

otherscreativeareas.DavidOrr(2004)describesthedangersofconventional

schoolwherelearningareasarequiteseparate,studentswillgraduatewiththe

“beliefthattheworldreallyisasdisconnectedasthedivisions,disciplines,and

subdisciplinesofthetypicalcurriculum”(p.23).

Notonlyhastherebeenmanyareasofgrowthforstudentsthroughoutthis

project,butithasinspiredfurthercourseworkforothers,aslearnersandeducators.

Onechangethathasgrownthroughouthasbeentheawarenessandimportanceof

participationandexperienceinthenaturalworld;theimpactthatparticipatingand

experiencingnewandexcitingthingswithinthenaturalworldcanforstudentsand

others.Barad(2007)speaksonthissubjectandwherebroaderunderstandings

havecome,

“Wearenotoutsideobserversoftheworld.Neitherarewesimplylocated

atparticularplacesintheworld;rather,wearepartoftheworldinit

ongoingintra‐activity…Wedon’tobtainknowledgebystandingoutsidethe

world;weknowbecauseweareoftheworld’,participatinginitcocreative

process”(p.196).

OtherlearninghasbeinspiredandemergedfromreadingandlearningfromCajete’s

LooktotheMountain.CajetespeakstomanycharacteristicsofIndigenous

education,whichhavebecomemanyofthestartingpointswhenplanningand

lookingintonewlessonsforstudents.Muchofthelearningfromdrumbuilding

followsmanyofthesecharacteristics.Nowteachingincludes,“one[who]looked

formeaningineverything,especiallyintheworkingsofthenaturalworld.All

thingsofNaturewereteachersofhumankind:whatwasrequiredwasacultivated

andpracticedopennesstothelessonthattheworldhadtoteach”(Cajete,2005,p.

77).

Throughtheprocessofdrummaking,thestudentsandwholelearningcommunity

gainedsomuchfromparticipatinginthenewexperiencesandlearnedmanythings

thatmaynotbemeasurable.

LandandStars,TheOnlyKnowledge

North,West,South,andEast.AboveandBelowandAllAround.Withinknowledgeoftheland,Weareexistent.Withinknowledgeofthestars,Weareexistent.Coldnessandwindandthesnow,northward.Mildnessandmountainandtherain,westward.Hotnessanddesertandthehail,southward.Warmessandmesaandthesun,eastward.Starshineandskyandthedarkness,upward.Earthsourceandstoneandthelight,downward.BythisNorthernMountain,welive.OnthisWesternPeak,welive.InthisSouthernCanyon,welive.UponthisEasternMesa,welive.UndertheSkyAbove,welive.AbovethisEarthBelow,welive.WeareExistentwithinknowledgeofland.WeareExistentwithinknowledgeofstars.AllAroundandBelowandAbove.East,South,WestandNorth.Thisisourprayer.Thisisourknowledge.Thisisoursource.Thisisourexistence.Alwaysthelandiswithus.Alwaysthestarsarewithus.Withourhands,weknowthesacredearth.Withourspirits,weknowthesacredsky.Wearewiththelandandstars.Wearewiththestarsandland.Withoffering,allaroundoutside.Withoffering,allaroundinside.Thisistheknowledgewehave.Thisistheexistencewehave.Inthankfulness,wegiveandweknow.Inthankfulness,wereceiveandweknow.

­SimonOrtiz,1993(inCajete,2000,p.310‐311)

WorksCitedSheshegwaningWomen'sHandDrumSingers.(n.d.).RetrievedMarch16,2015,fromHowthedrumcamebacktotheOjibwePeople:http://sheshdrumgroup.tripod.com/drumstory/drumstory.htmlBaradK.(2007).InStuckeyP.(2010).BeingKnownbyaBirchTree:AnimistRefiguringsofWesternEpistemology.JournalfortheStudyofReligion,NatureandCulture,p.182‐205)Blenkinsop,S.(2012).FourSloganforCulturalChange:anEvolvingPlace‐Based,ImaginativeandEcologicalLearningExperience.JournalofMoralEducation,353‐368.Cajete,G.(2005).AmericanIndianEpistemologies.NewDirectionsforStudentServices,69‐77.Cajete,G.(1994).LooktotheMountain:AnEcologyofIndigenousEducation.Durango,Colorado:KivakiPress.Cajete,G.(2000).NativeScience:NaturalLawsofInterdependence.SanteFe:ClearLightPublishers.Csikszentmihalyi,J.N.(2005).TheConceptofFlow.HandbookofPositivePsychology,89‐105.FirstNationsPedagogyOnline.(2009).RetrievedMarch30,2015,fromFirstNationsPedagogyOnline‐Experiential:http://firstnationspedagogy.ca/experiential.htmlGoudreau,G.(2008).HandDrumming:Health‐PromotingExperiencesofAboriginalWomenfromaNorthernOntarioUrbanCommunity.Journaldelasanteautochtone,72‐83.Grytting,C.(2000).TheBenefitsofArtEducation.Arts&Activities,66.Hare,J.(2006).TowardsanUnderstandingofHolisticEducationintheMiddleYearsofEducation.JournalofResearchinInternationalEducation,301‐322.Kolb,D.(2014).ExperientialLearning:ExperienceastheSourceofLearningandDevelopment,SecondEdition.NewJersey:PearsonEducation,Inc.MacEachren,Z.(2000).CraftingasaPracticeofRelatingtotheNaturalWorld.CandadianJournalofEnvironmentalEducation,186‐199.Mckosato,H.(2009,July‐August).NativePeoplesMagazine.RetrievedMarch16,2015,fromDrums:HeartbeatofMotherEarth:http://www.nativepeoples.com/Native‐Peoples/July‐August‐2009/Drums‐Heartbeat‐of‐Mother‐Earth/Orr,D.(2004).EarthinMind.Washington:IslandPress.Robertson,N.2014.ArtistsintheClassroomGrantApplication.ReportforEnvironmentalSchoolDrumBuildingGrantSirousMahmoudi,E.J.(2012).HolisticEducation:AnApproachfor21Century.InternationalEducationStudies,178‐186.