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This sub-unit on Inuit myths and legends introduces students of grade 3 and 4 to Inuit philosophy, beliefs and their ways of knowing. The students not only develop an understanding of elements of mythical stories, but also develop an appreciation for the educational value woven in the age old tales that have been passed on orally over many generations.

Vandy Advani Teacher Candidate

CITE Cohort UBC, 2013-14

Social Studies: Grade 3 and 4 Vandy Advani

Inuit Myths and Legends [email protected]

Introduction

Grades 3 and 4 are the introductory years to aboriginal studies in a Canadian student’s

curriculum. The periphery of “community” expands from family (in grade 1) to Canada (in grade

2) and it is in grade 3 and 4 when students learn for the first time the life and culture of First

Nations people of Canada. The Hamilton classroom in which I had the opportunity to teach

three lessons was in the middle of an Inuit unit. While the classroom teacher planned the unit

and introduced language, culture and clothing, my task was to introduce students to the myths

and legends of Inuit culture. The stories I chose for the unit were not only mythical, but also

had a real world connection due to their message or moral. Sustainability and respect for

nature was the common theme in the stories I picked for this unit. My goal was not only to

introduce stories from the past, but also to help students develop an appreciation for stories

that have stood the test of time, to see wisdom in words outside their textbook, to recognize

the many ways of knowing. At the end of the unit, students made connections between past

and present through the lens of the stories. The sub-theme of mythical tales ended with

students writing a mythical story for their future generations.

Talmey Elementary School (Grade 1/2)

As a student teacher doing her practicum in a combined classroom of grade 1 and 2, I have

been asked to create a unit on animal life cycle. There are 24 students in my class, out of which

ten are in grade two. The number of boys and girls are fairly proportionate. The neighborhood

where I teach is a working class and predominantly Chinese. The rest are Caucasians with

European ancestry. We are also fortunate to have in our class a First Nations student who has a

Metis dad and [Stolo?] mom. While most students are fluent at speaking English, a few of them

need support in reading, writing and comprehension. Six out of 24 students belong to the ELL

group and have language learning sessions with the resource teacher twice a week. One of the

challenges in my classroom is the wide range of skills and abilities among the students. There

are some who are a few grade levels above their age, and there are those who are catching up

to their grade level set in the IRPs. Irrespective of the subject being taught, a handful of

students constantly require one-one-one support either with the teacher, education assistant

or resource teacher. Although, three out of the six students have made visible progress, they

beg for assistance, which in my opinion makes them a classic case of learned helplessness. As a

student teacher, my challenge is to create a plan that would inspire and engage students who

have shown extra ordinary competency in reading, writing, counting and thinking critically. At



the same time, I would have to keep the plan simple enough so as not to overwhelm the rest of

the class. Furthermore, because a number of students lack home support for reasons such as

parents working in double shift, language barrier etc, I have the dual responsibility of

introducing a concept or scientific method, sustain their interest in the topic and keep them

engaged. The students will learn most of the content in class at school. There will be minimal

home assignment or project w.r.t. the unit. I believe that behavior and classroom management

becomes challenging when lessons get boring. With inquiry and hands-on approach, I hope to

create a unit that inspires and engages the curious young minds of my students.

Rationale:

Students living in Canada ought to know the past and present of the land they call their “home”. It is in grade 3 that students are introduced to the culture, tradition, language, and stories of First Nations people. The curriculum guidelines expect students to learn about aboriginal cultures and how their stories “are closely aligned with the natural environment.” It is through exploring their legendary stories can one recognize the “natural elements represented in stories and beliefs, use of materials for art, ceremonies and rituals related to resources.”

Furthermore, through this sub-unit, students of grade 3 and 4 will be introduced to Inuit philosophy, beliefs and their ways of knowing. Stories are the core of a culture’s belief system. Mythical stories offer a lens that allows one to see things through the perspective of the past generations of that culture. A broader goal of this unit is that students begin to appreciate the aboriginal ways of knowing. Effort has been made to connect the message embedded in the carefully chosen Inuit mythical stories to the real world. By exploring the broader implications woven in the age old tales, students will not only identify the elements of mythical stories, but also develop an appreciation for the educational value woven in the age old tales that have been passed on orally over the past generations.

Inunnguiniq is the Inuit equivalent of “it takes a village to raise a child.” A key focus within

inunnguiniq is the need to teach what Inuit refer to as deep thinking skills. Inuit often refer to the main

difference between pedagogies; while mainstream education focuses on instructing the brain and

thinking on paper, Inuit believe that thoughts actually originate in the ‘heart’ (or are generated by

emotion) and that real learning only develops through doing and experiencing. “A central idea of Inuit

education is to cause (or cause to increase) thought: isummaksaiyuq” (Briggs, 1998)

Lastly, by spending time exploring the culture of Inuit people through the stories they have grown up with, one gets a deeper sense of their guiding philosophies. The lesson ideas bring depth and richness as we move away from getting a tourist snapshot of the Inuit. I borrow author Devdutt Pattnaik’s words who correlates myth with belief in the following equation:

Myth = Belief = Subjective Truth

= Cultural Assumptions



The Seeds of Wisdom are sown in the

soil of Myths

Myth

Belief

Culture



Goals – The broad goals for this unit are that students –

Appreciate the educational goals of myths and legends.

Acknowledge that there are many ways of knowing.

Understand that knowledge can exist outside of textbooks and printed materials. Elders, the carriers of legendary tales are living and breathing knowledge capsules in our society.

Reflect on their opinion about mythical tales.

Objectives –

By the end of the unit, students will be able to –

Retell an entire Inuit mythical tale or a part of it using words and/or movement.

Identify the essential elements of mythical stories – message, supernatural characters, elaborative setting.

Write their own mythical story that has a message, supernatural characters and descriptive setting.

Understand the many ways of

knowing

Appreciate the hidden value in

myths and legends

Identify

Elements of mythical tales

Familiarizewith

mythical stories



General Lesson Overview: The unit on mythical tales includes three essential lessons that address the objectives of the unit.

However, lessons can be extended to drive the broad goals/ideas home. An example of an extended

lesson would be to have students vote if they would stack mythical stories under “fiction” or “non-

fiction” category at their library.

Integration in Action

As the lessons in this sib-unit unfold, integration becomes visible. Drama, language arts and visual arts weave into the lessons allowing students to express their learning in a multitude of ways. In lesson one, students listen to an oral retelling of the Sedna story and express their understanding by body sculpting their favourite scene. In the next lesson, students use their inference skills (as readers) to put an untold mythical story together. This exercise puts their reader’s skills to test. The last lesson calls upon their writing and drawing skills where they spin their own tales and illustrate it as well.

Listen

• Students listen to Sedna story

• Demonstrate understandig by body sculpting

Infer

• Solve story puzzle by reading and infering

• Identify elements of mythical tales

Write

• Identify a "problematic" situation

• Write a story that embodies a message

Social Studies - Inuits

Drama

Language Arts

Visual Arts



The Plan

PLOs-

Social Studies Curriculum -

E3 - give examples of how Aboriginal cultures are closely aligned with the natural environment

(e.g., natural elements represented in stories and beliefs, use of materials for art, ceremonies

and rituals related to resources)

A5 - Prepare a presentation using selected communication forms (e.g., debate, diorama,

multimedia Presentation, dance) to support the purpose of the presentation

A5 - Organize information to plan their presentation

A7 - Formulate a response to a relevant classroom, school, or community problem or issue

C1 – Provide examples of common themes in Aboriginal drama forms (eg; creation stories,

trickster stories, historical accounts)

Come

listento a story

InferStory Puzzle

Write your own

Story



Language Arts Curriculum

C1 - Create a variety of clear personal writing and representations that express connections to

personal experiences, ideas, and opinions featuring ideas supported by related details and an

organization that is meaningful and logical.

Drama B2 - use movement and their bodies to convey intended ideas or feelings.

A2 - demonstrate collaboration skills in drama explorations. Students will work in pairs to

communicate their ideas.

D1 – Demonstrate appropriate preparations for presentations

Resource Guide: Bania, Michael. (2004). Kumak’s Fish: A Tall Tale from the Far North*. Portland, Ore.: Alaska Northwest

Books.

Daimais, Anne-Marie. (1984). Animal World: The Seal. Mahwah, New Jersey: Watermill Press.

Falconer, Shelley. (2007). Stones, bones and stitches: Storytelling through Inuit Art*. Toronto : Tundra

Books.

Gear, Adrienne. (2011). Writing Power: Engaging Thinking Through Writing. Markham, Ont.: Pembroke

Publishers.

Ipellie, Alootook. (2007).The Inuit thought of it: Amazing Arctic Innovations*. Toronto: Annick Press

Jordan, Wendy. (1979). By the Light of the Qulliq: Eskimo Life in the Canadian Arctic*. Baltimore,

Maryland: Smithsonian Inst.

Lee, Richard Vaughan. (2000). The Eagle Boy: A Pacific NorthWest Native Tale*. Seattle, Washington:

Sasquatch Books.

Martin, Rafe. (1993). The Boy Who Lived With the Seals*. New York: Putnam and Grosset.

Qitsaualik, Rachel A. (2011). The Shadows that Rush Past: A Collection of Frightening Inuit Folktales*.

ShenZhen, China: Inhabit Media Inc.

Qitsaualik, Rachel A. (2008).Qanug pinngurirmata = Inuit stories of how things came to be. Iqaluit,

Nunavut : Inhabit Media.

http://virtus.yourlibrary.ca:8080/lib/item?id=chamo:296341&theme=system



Rivera, Raquel. (2007). Arctic Adventures : Tales from the lives of Inuit Artists. Toronto : Groundwood

Books/House of Anansi Press.

VanCamp, Richard. (1997). A Man Called Raven*. San Francisco, California: Children’s Book Press.

Books: (*denotes Reference Critique. You will find this at the end of the document.)

Online media & resources: Canadian Council On Learning: CCL/CCA. Inuit Holistic LifeLong Learning Model. Retrieved from

http://www.ccl-

cca.ca/ccl/Reports/RedefiningSuccessInAboriginalLearning/RedefiningSuccessModelsInuit.html

Classroom Lesson Plans. Sculpture Gallery. Retrieved from http://www.childdrama.com/lessons.html

LESSON PLAN: LESSON PLAN 1 – Come and listen to a story

Subject: Aboriginal myths and legends - Inuit Grade: 3/4 Total time: 45 mins.

Topic of Lesson: The story of Sedna – Inuit legendary tale

Link to

Curriculum:

IRPs(PLOs)

SWBAT: B2 - use movement and their bodies to convey intended ideas or feelings. A2 - demonstrate collaboration skills in drama explorations. Students will work in pairs to communicate their ideas.

Lesson Objectives

SWBAT: Content

Students will be creating a sculpture gallery based on the story.

Students will be able to explain their sculpture w.r.t. the story

Prior Knowledge Students have spent some time learning about Inuit - people, place and culture

Materials 25 pieces of paper for snowball fight

Time What the teacher says/does What the students do (Plus groupings: pairs,

small groups, individual)

Materials

5

mins

Hook/Opening

Sing the slippery fish song with animals fish – walrus – seal – shark – whale (The least likely one to be found in the arctic water is the shark.

Introduces the story of the day – the legend of Sedna, the sea goddess

Hook/Opening

Students act and sing along with the song

http://www.ccl-cca.ca/ccl/Reports/RedefiningSuccessInAboriginalLearning/RedefiningSuccessModelsInuit.html

http://www.ccl-cca.ca/ccl/Reports/RedefiningSuccessInAboriginalLearning/RedefiningSuccessModelsInuit.html

http://www.childdrama.com/lessons.html



20

mins

Pre-activity

Narrates the story of Sedna.

Teacher brainstorms with class their favourite scene from the story

Introduces the idea of sculpting. Models.

Pre-activity

Active listening

Think –pair - share

5 + 5

mins

Activity

Split students in pairs and explain the sculpture making activity. 5 mins

Galley walk 1

Gallery walk 2

Activity

Students work in pairs to create a sculpture of Sedna

Scupltors explain their creation

Students switch roles

10

mins

Post-activity

Discuss the story

Discuss the sculpting process – the relation between the sculptor and clay – each contributes – similar examples – director and actor, teacher and student etc

Snowball fight

Post-activity

Students write on a piece of paper, one thing they learned through the story or the activity.

Assessment

for / of

Learning

Look for student engagement throughout the lesson

Analyse the sculptures and see how it is connected to the story

Extensions If making sculptures is easy, ask them to narrate their emotions/feelings in that pose. Relate it to the story. Look for inferences made.

Adaptations Provide extra support to those in need

LESSON PLAN 2 – Let’s put this story together

Subject: Aboriginal myths and legends - Inuit Grade:3/4 Total time:

45mins

Topic of Lesson: Inuit Story Puzzle

Link to

Curriculum: IRPs

(PLOs)

SWBAT:

Social Studies Curriculum – E3 - give examples of how Aboriginal cultures are closely aligned with the natural environment (e.g., natural elements represented in stories and beliefs, use of materials for art, ceremonies and rituals related to resources) A5 - prepare a presentation using selected communication forms (e.g., debate, diorama, multimedia Presentation, dance) to support the purpose of the presentation



A5 - organize information to plan their presentation

Drama Curriculum – C1 – Provide examples of common themes in Aboriginal drama forms (eg; creation stories, trickster stories, historical accounts) D1 – Demonstrate appropriate preparations for presentations

Lesson

Objectives

SWBAT:

Students (in groups) will put together an untold Inuit story using sentence cues.

Represent the story they’ve put together in a narrative or skit form.

Fill in a Venn diagram identifying the common theme (sustainability) in the stories.

Prior Knowledge Students have spent some time learning about Inuit - people, place and culture

Materials Story puzzle cut – outs for two stories Lined chart paper for the whole group 10 markers

Peer evaluation sheet Books – Eagle boy: a Pacific Northwest native tale/retold by Richard Lee Vaughan A man called Raven/ story by Richard Van Camp

Time

What the teacher says/does What the students do (Plus groupings:

pairs, small groups, individual)

Materials

5

mins

Hook/Opening

Revisits last story and ask students if they remember the conflict/resolution of the story. CULTURAL CONNECTION -Inuit have great respect for env esp. marine animals because these animals are their daughter Sedna’s broken knuckles. They hunt, but in limitation.

Hook/Opening

Students respond and discuss the bigger message of the story

Connect story with their culture – Talk about seal hunt

10 mins

Pre-activity Provide each group (3-4) students with cut outs of story that they have to put together.

Pre-activity Students put together the story

Story puzzle

cut outs

10

mins

Activity – Plan

Ask groups to plan out the story presentation as a narrative or a skit.

Ask students what makes a good story presentation. Use that as criteria to evaluate the other group (eg: coherence, clarity, facial expression, eye-contact during presentation, participation)

Activity

Students plan out their story and present it to the other group

Students evaluate the other groups

Peer

evaluation

sheet

10 Presentation

Provide each student with an assessment

Presentation

Students present their story either as

Peer

evaluation



mins sheet for peer evaluation.

Assess story and presentation

a narrative or as a skit. sheet

5

mins

Post-activity

Venn Diagram – Whole group comes up with common themes in the two stories and represent it in a Venn diagram

Ask them if they believe the story could have been true. If no, what makes it unbelievable?

Post-activity

Students create a Venn diagram identifying common element of the two stories.

Students write on the line chart paper the elements that make up a “mythical” story.

Lined chart paper and 10 markers

Assessment

for / of

Learning

Were the students able to identify the structure of the story (aware of connector words)

Were they able to organize their ideas into a coherent story?

Could they identify the common theme in the mythical stories?

Extension If time permits, get students to brainstorm on what makes a story mythical – characters, setting, time, place etc. Have them make a list of reference for mythical story writing exercise.

Brainstorm ideas for crisis topics. Examples – seal hunt http://liberationbc.org/issues/seal_hunt

Dolphinrightshttp://www.bbc.co.uk/news/world-us-canada-16920866

Adaptations

Provide extra support to those in need

LESSON PLAN 3

Subject: Aboriginal myths and legends - Inuit Grade:3/4 Total time:

45x2mins.

Topic of Lesson: Write a mythical tale

Link to

Curriculum: IRPs

SWBAT: Social Studies Curriculum – A7 - formulate a response to a relevant classroom, school, or community problem or issue Language Arts Curriculum – C1 - Create a variety of clear personal writing and representations that express connections to personal experiences, ideas, and opinions featuring ideas supported by related details and an organization that is meaningful and logical.

Lesson

Objectives

SWBAT: Content Students will identify structural elements of mythical tales. Students will write a mythical story that holds an important message for future generations.

Prior Knowledge Students will have explored Inuit mythical legends and tales.

http://liberationbc.org/issues/seal_hunt

http://www.bbc.co.uk/news/world-us-canada-16920866



Materials Lined chart paper for the whole group Journals pencils Book – The Little Hummingbird (for extension)

Time

What the teacher says/does What the students do Materials

5

mins

Hook/Opening

Revisit last two classes and ask students to identify similar elements in the three mythical stories discussed. Eg: climbing/walking, message, supernatural characters, familiar setting/local etc.

Hook/Opening

Students respond and discuss the common elements in the three mythical tales discussed

Students scribe it on chart paper for reference

Chart Paper

5

mins

Pre-activity

Look at the structure of a mythical story. Use storyboard/web on board.

Show graphic organizer for writing a climbing story.

Pre-activity

Emphasize on character, setting, message.

Brainstorm ideas for storywriting (animals/plants/env in crisis)

Chart paper or

white board

25

mins

Activity – Plan

Students write their own mythical stories

Let students know that their stories will be assessed based on their characters (do they have super powers), setting (does it describe a place) and message (is there a message in the story)

Activity

Students plan out their story using graphic organizer.

Peer

evaluation

sheet

10

mins

Presentation

Have each student share their story in group.

Teacher asks a particular listener to compliment the author about 2 things he or she liked about the story

Presentation

Active listening

Compliment the author – 2 things they liked and why.

Assessment

for /

ofLearning

Does the story have a message?

Are the characters supernatural?

Has the author described the setting?

Extensions Read The Little Hummingbird



Adaptations Provide extra support to those in need

ASSESSMENT

AS OF FOR Snowball fight on their thoughts on mythology – fact or fiction? (Lesson 1)

Create a body sculpture in pairs on a scene of the story (Lesson 1)

Participate in KWL about mythology (Lesson 1)

Provide feedback to peers using 2 stars and a wish based on their story (Lesson 3)

Narrate/Perform the story puzzle to the other group (Lesson 2)

Identify the elements of a mythical story (Lesson 2)

Works cooperatively with classmates and stays on task (All lessons)

Identify a crisis and create a mythical story with a message (Lesson 3)

Students create a rubric for written output (Lesson 3)

Assessment – As created by the students (in Lesson 3)

CRITERIA B OR C A A+++ Setting 1 word to

describe

3 words to

describe

5 words to describe

where and when and

what time

Message No message Yes message More than 1 message

Character 1 character 1 good guy

1 bad guy

More than 1 good

guys

More than 1 bad guys



Resource Critique

Kumak’s Fish: A Tall Tale from the Far North by Michael Bania –This book makes an excellent

read aloud for students. The story is an Arctic version of the Russian folk tale, The Big Enormous Turnip. I

did not use this book in my three short lessons on Inuit myths and legends because it was not an Inuit

legend. But, one can certainly use the book in a lesson where students have to identify the

characteristics of a mythical tale. The story has an appropriate setting, has a message and includes an

unrealistic situation; yet, does not qualify as an Inuit myth or legend - a perfect “may be” case to

confuse the students and challenge their understanding. This is a juvenile book available at Richmond

Public Library.

Stones, bones and stitches: Storytelling through Inuit Art by Shelley Falconer - weaves a

tapestry of fascinating Canadian stories by focusing on several important works of art. The book

presents six Inuit artists and eight pieces of Inuit art. The author of the book, Shelley Falconer, is a

Curator and Director of Exhibition and Programs for the McMichael Canadian Art Collection. She is also

an Adjunct Professor at the University of Toronto's School of Graduate Studies where she teaches

curatorial practice and new media. Her two new projects for Tundra: Arctic Journeys and Perspectives:

Canadian Women Artists. Although, there was little or no direct transference from the book to the

lesson plans, it gives the reader a sense of the meaning woven in traditional Inuit art. This is a juvenile

book available at Richmond Public Library.

Writing Power: Engaging Thinking Writing by Adrienne Gear – A teacher’s handbook, this book

provides a number of graphic organizers to help young writers arrange their thoughts before they begin

their final draft. The graphic organizers included in this unit have been taken from this book. Adrienne

Gear has published several other books including Reading Power and Writing Power for Non Fiction. A

local author from Vancouver, her books are easily available at my public, school or university library.

The Inuit thought of it: Amazing Arctic Innovations by Alootook Ipellie – A nominee for Red Cedar

book, this is another well written book on Inuit innovations. The kid friendly text is well balanced with

illustrations. Written by Alootook Ipellie, an accomplished Inuit graphic artist, political and satirical

cartoonist and writer, photographer, and Inuktitut translator, the content is current and authentic. A

part of a series, this book is available at school and public libraries.

By the Light of the Qulliq: Eskimo Life in the Canadian Arctic by Wendy Jordan – This book was

published in 1972. The author Wendy Adler Jordan, who is not an Inuit, attempts to understand Inuit

people and their culture through a private collection of Smithsonian Institution. The choice of word,

Inuit, although not appropriate now, reflects the reference language of that time. The beauty of this

book, if one can ignore the language and anonymity of some art pieces, is that the idea of understanding

a culture though art. Although, I did not use such inquiry based approach purely due to lack of time, I

can see myself starting a unit on a culture from its art.

http://en.wikipedia.org/wiki/Inuit



The Eagle Boy: A Pacific NorthWest Native Tale by Lee, Richard Vaughan – A perfect read aloud, I used

this book as one of the story puzzles in lesson 2. Although, not an Inuit tale, it is a Native mythical tale

that centres around the message of respecting birds and animals.

The Boy Who Lived With the Seals by Rafe Martin – A beautiful read aloud picture book illustrated by a

very popular children’s author and illustrator, David Shannon, it is an Inuit tale worth sharing with

students studying about Inuit.

The Shadows that Rush Past: A Collection of Frightening Inuit Folktales by Qitsaualik, Rachel A. –

Written by an author born into the “traditional 1950s culture of igloo-building and dog sledding, later

becoming a translator, writer, and aboriginal rights activist.” (Qitsualik, 2011, p42) As a reader, I trusted

the authority and authenticity of the horrific legendary Inuit tales. Although, I did not use any story

directly to be shared with the students, as a storyteller, I was happy to find the perfect narrative

language to suit other tales. A wonderful reference book for anyone considering retelling a horrendous

tale. I specifically borrowed the start and end of the story which are as follows

Imagine the oldest person you’ve ever met. These stories are older than the

grandparents of the grandparents of that person’s grandparents

Pijariiqpunga (all I have to say)

This book is available at the Xwi7xwa Library, UBC

A Man Called Raven by Richard VanCamp – Short, sweet and authentic, this tale makes a perfect read

aloud or retelling. I turned the script of this story into a story puzzle as well. Students did not mind

revisiting this story and a number of them were inspired by the plot and appropriated it in their own

writing.

Classroom Lesson Plans. Sculpture Gallery. Retrieved from http://www.childdrama.com/lessons.html

This is a handy website on drama activities in classrooms. The author classifies ideas based on grade

level and type of movement involved in the activity. For eg: sculpting, mime, tableau etc.

http://www.childdrama.com/lessons.html



Climbing Story Strip Name : ________________________ Title :__________________________________

Introduction Problem Solution Conclusion



My Story Planning Sheet

Name : _____________________ Title : ________________________________________

Myths are stories from long, long ago that have a message for the reader. A

lot of myths have animals and people as characters. Follow the steps to

create your own mythical legend.

Step 1 – Choose a moral from the list provided.

Step 2 – Choose a setting – Where is your story taking place?

Step 3 – Choose your characters. (they should be connected and must

match the setting)

Character 1 - ___________________________________

Character 2 - ___________________________________



Step 4 – Decide on a problem one of your characters will have, connected

to the moral you have picked.

Step 5 – How will your character learn his or her lesson?



Some ideas to get started…



Stories:

The Legend of Sedna the Sea Goddess

The legend of how Sedna became a sea goddess is told throughout the Arctic. The

story varies from one region to the next. However, in all versions, a young woman

becomes the mother of all sea creatures. As the sea goddess, Sedna has dominion over

her creatures and controls the availability of seal, walrus, fish, whale, and other sea

animals to Inuit hunters. This version is a compilation of many Sedna stories.

Once there was a young woman named Sedna. She lived in the Arctic with her mother

and father. She loved her mother and father very much and was very content. Her

father was a skilled hunter, so he provided very well for his family. Sedna had plenty

of food and warm furs to wear. Her father hunted seals and bears for its meat and skin.

Her mom cit, snipped and stitched the seal skin into beautiful warm …. She liked the

comfort of her parent's home and refused to marry. Many Inuit men desired Sedna for

a wife and asked her parents for permission to marry her. But Sedna refused them all.

Even when her parents insisted it was time for her to marry she refused to follow

tradition and obey them.

This continued for quite some time, until one particular Inuk came to visit Sedna. This

man promised Sedna that he would provide her with plenty of food to eat and furs for

clothes and blankets. Sedna agreed to marry him. After they were man and wife, he

took her away to his island. When they were alone on the island, he revealed to her

that he was not a man at all, but a bird dressed up as a man! Sedna was furious, but

she was trapped and had to make the best of it. He, of course, was not a good hunter

and could not provide her with meat and furs. All the birdman could catch was fish.

Sedna got very tired of eating fish every day.

They lived together on the island for a time, until Sedna's father decided to come and

visit. Upon seeing that his daughter was so unhappy and that her husband had lied to

her, he killed the birdman. Sedna and her father got into his kayak and set off for

home. The birdman's friends discovered what they had done and wanted to avenge the

birdman's death. They flew above the kayak and flapped their wings very hard. The

flapping of their wings resulted in a huge storm. The waves crashed over the small

kayak making it almost impossible to keep the boat upright.

Sedna's father was so frightened that the storm would fill his kayak with water and

that he would drown in the icy waters that he threw Sedna overboard. He thought that

this would get the birds to stop flapping their wings, but it did not. Sedna did not want



to be left in the water, so she held tightly to the edge of her father's boat and would

not let go. Fearing that she would tip him over, the father cut her fingers off, one joint

at a time. From each of her finger joints different sea creatures were born. They

became fish, seals, walruses, and whales.

Sedna sank to the bottom of the ocean and there became a powerful spirit. Her home

is now on the ocean floor. If you have seen her, you know she has the head and torso

of a woman and the tail of a fish.

Sedna now controls all of the animals of the sea. The Inuit who rely on these animals

want to maintain a good relationship with Sedna, so that she will continue to allow her

animals to make themselves available to the hunters. Inuit have certain taboos that

they must follow to keep Sedna happy. One of these says that when a seal is killed it

must be given a drink of fresh water, not salt water.

If the hunters do not catch anything for a long time, the Shaman will transform

himself into a fish. In this new form, he or she will swim down to the bottom of the

ocean to appease Sedna the Sea Goddess. The Shaman will comb the tangles out of

Sedna's hair and put it into braids. This makes her happy and soothes her anger.

Perhaps it is because Sedna lost her fingers that she likes to have her hair combed and

braided by someone else. When she is happy, she allows her animals to make

themselves available to the hunters. Animals do not mind giving themselves up to

provide food, clothes, and shelter for the Inuit.

© Lenore Lindeman, 1999.

Moore Charles. 1986. Keeveeok, Awake! Edmonton: Ring House Gallery. p. 9–10.

Retrieved from http://www.polarlife.ca/traditional/myth/sedna.htm

An extension to Sedna story(lesson 1) would be to give students a number of

illustrations and have them retell the story. One can also use these pictures before

telling them the Inuit story. This will allow creative meaning making from the

pictures. The Inuit story can be shared with the students after the activity.

http://www.polarlife.ca/traditional/myth/sedna.htm









A Man called Raven

Once upon a time there was a man. He was old and he was wicked. He

never smiled and he never said anything nice to anyone.

He used to shoot arrows at ravens. And one day he hit one of them. Now,

he wasn’t trying to kill them to eat them, he was trying to hurt them. He

wasn’t using the normal arrowheads. He was using blunts-and that hurts a

lot!

That raven couldn’t fly and it couldn’t do anything else either. So it started

to follow the old man. Day and night it followed him. The man couldn’t run

to his friends because he didn’t have any, and the raven just followed him

wherever it went.

Pretty soon he couldn’t sleep because he knew the raven was watching

him. So one day the man started to get funny in the head, and he climbed a

tree to sleep. The raven just sat and waited for him on the ground. Well, the

man slept for a little while, but when he woke up the raven was still there.

After that, the man walked day and night and only stopped once in a while

to sleep up in a tree. Soon he started jumping from tree top to treetop just

so he wouldn’t have to see the raven. And one day when he was jumping,

he slipped and fell. But when he fell, he never hit the ground. When he fell,

he started to change. And do you know what he turned into? He turned into

a raven.

That old man became a raven and flew back home so he could spy on all

the people he used to know. He flew to his village, and when he got there

he saw that there was a funeral. Do you know whose funeral that was? The

old man’s! Do you know how many people came to attend his funeral? The

entire village!

The old man did not expect that. He thought that nobody loved him or

cared for him. That’s why he was so mean to everyone and that’s why he



liked to hurt ravens. But when he saw all the people singing for him he

knew he had a place in the village like everyone else. He knew he wasn’t

alone. That he wanted to tell his people he was sorry, but he couldn’t

speak. He could only call out like the other ravens.

And that was when the man who became a raven really started to change.

That was when he started to watch over his people. He watched over his

people when they went to lake to hunt moose and when they set nests to

catch the fish coming down the river. He watched over his people as they

hunted above the tree line for caribou. Once, there was an awful

snowstorm, a whiteout, and his people got separated from each other. One

group made shelters and was safe, but the other group started to walk in

circles. He called out to the people lost in the snowdrifts, and they started

to follow him. They followed him to the other group and they were saved.

Raven saved them from freezing.

The raven is always there watching us, guiding us and reminding us about

himself. But sometimes, when people forget about him, he changes back

into a human, but not for too long!

Pijariiqpunga (all I have to say)

The above script has been taken from the picture book A Man Called

Raven by Richard VanCamp

Another option for story puzzle would be to give students cut outs of

illustrations that explain the story. Have them put the pictures together to

create or infer a story. Below are the pictures that can be used for the A

Man Called Raven by Richard VanCamp story.





Eagle Boy: A Pacific Northwest Native Tale/retold by Richard Lee

Vaughan

Along the rugged shoreline of the Pacific Northwest, a village stood on

the cliffs overlooking the ocean. Eagles with snow white heads and

sleek, dark bodies swooped over the village. With razor sharp talons

they snatched silver fish from the water.

The people of the village did not like the eagles. “Eagles steal our fish”,

they cried. “Fly away, fly away!”

Yet one boy, an orphan, loved watching the eagles dip and soar above

the ocean waves. Whenever the boy returned from fishing, he always

gave a share of his salmon to the eagles.

“You should not feed the eagles,” scolded the people

“But the eagles are my friends,” he replied.

The people call him Eagle Boy.

Eagle Boy was a good fisherman. In summer months, when fish were

plentiful, he offered his largest and finest fish to the chief’s daughter

Kwish-kwish-ee.

“I do not need your fish,” she said, mocking him.

One year, as autumn faded into winter, fish became scarce, and the

whole village began to run short of food.

“We must move our village,” announce the chief. “We must find more

food.”



The people packed all they owned into their canoes. Eagles Boy stood

on the beach and watched as, one by one, the canoes pushed off. Eagle

was poor and did not own a boat.

“We have no more room,” said the chief, stepping into the last canoe.

“Let your friends, the eagles, feed you,” laughed Kwish-kwish-ee.

But before they paddled away, the chief’s daughter, Chuh-coo-duh-bee,

slipped Eagled Boy a piece of dried fish, so he would not get hungry.

As the canoes disappeared over the waves, Eagle Boy stood alone on the

windswept beach.

As the morning sun stretched its golden fingers across the beach,

Eagle Boy awoke to the screeching of an eagle as it dropped a fat fish

beside his fire.

“Thank you, my friend!” he shouted as the eagle flew away.

Hungrily, Eagle boy roasted and ate the fish.

The next morning two eagles dropped fish by his fire.

“Thank you” shouted Eagle Boy again. “I will live another day.”

AT the next sunrise, Eagle boy watched as three eagles dropped silver

fish on the sand. He ate his fill and spread the rest out to dry.

When evening approached, Eagle boy gathered all the wood he could

find and built an enormous bonfire on the beach. Dancing around

and around the flames, he sang songs to honor the eagles.



The next morning, the sky was full of eagles circling over a huge,

dark object close to the shore.

They were bringing home a whale! Eagle boy slipped a long rope made

of cedar bark around the whale and tied it to the rock. The whale could

provide enough food for a whole village.

The largest eagle landed beside Eagle Boy.

“Take this to Chuh-coo-duh-bee,” he said. I want to repay her kindness.

Gliding on the wind, the Great Eagle found the tribe huddled around

a campfire on a distant beach. Hunting and fishing had not been

good. The shadow of hunger showed on the people’s faces.

The eagle landed beside Chuh-coo-duh-bee as she dug hopefully for

clams on the beach. She realized at once who had sent the food.

Taking the dried fish from the eagle, she gobbled a few bite and then

raced to her father.

“Look!” she cried. “A gift from Eagle Boy!” Kwish-kwish-ee eyed the

fish with greed. “The boy you left behind Is rich with food,” she said to

the chief, “while we have nothing. Take us back, Father! I will marry

the boy, and we will eat his food,”

The chief shook his head in shame. “We were wrong to leave the boy.”

The people around the campfire agreed.

“We thought only of ourselves,” said one man.

“The boy will not accept us back,” said another.



“Even if he did,” said an old woman, “we could never make the

journey home without food.”

Perched on a branch high above them, the Great Eagle listened to the

people. Spreading the giant wings, it returned across the water.

That night Eagle Boy stood before the Great Eagle. The eagle’s intense

eyes were dark pools of wisdom. Deep in those eyes, the boy could see a

distant beach where his people sat weak with hunger. Eagle boy turned

towards the flames. “Let them go hungry!” he shouted in anger. “Just

as they left me to do.”

In silence, the Great Eagle watched the boy. Staring into the fire,

Eagle Boy remembered the canoes paddling away. He remembered

Kwish-kwish-ee laughing at him. But he also remembered Chuh-coo-

duh-bee slipping him food, And the eagles bringing him fish and

saving his life.

At dawn the boy again stood before the Great Eagle. “How can I help

me people?” he asked. The eagles spread its wings and lifted into the

air. As it rose, one shiny black feather fell, floating down toward

Eagle Boy.

The boy reached out and caught the feather. As he did, a wave of power

flowed through him and in that moment the boy took the form of an

eagle.

On the distant beach the tribe sat weak with hunger. Suddenly, the

sky was filled with screeching eagles. Eagles swooped. Eagles soared.

Eagles flew over the people, dropping hundreds of silvery fish.



“It is a sign from Eagle Boy!” cried Chuh-coo-duh-bee, smiling.

“Yes,” agreed the chief. “He has forgiven us. Now we can go home.”

With renewed strength, the people packed their canoes and set out

across the water.

Eagle Boy stood alone on the beach, watching the canoes approach. A

single black eagle hung from his hair.

The chief was the first to come ashore, with Kwish-kwish-eee beside

him, dressed in her finest cedar bark clothing.

“You have saved our people,” said the chief. “I offer my eldest daughter,

Kwish-kwish-ee, in marriage.”

Eagle Boy shook his head. “I cannot accept. My heart belongs to Chuh-

coo-duh-bee.”

The people honored Eagle Boy and Chuh-coo-duh-bee with a wedding

celebration and a great feast.

From that day on, the people of the Pacific Northwest coast and the

eagles lived and hunted in harmony. IN time, Eagle Boy grew to be a

great chief and the eagle became the symbol of his people.

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