There are many things that I will take away from the TE448 course. In this post I will reflect on a few of these ideas.
I was really struck by the difference between stereotypes and generalizations. I had not realized that such small distinctions in their definitions made such a large impact. Carlos Cortes’ article “Helping Students Understand Stereotyping” in The
Education Digest, (Apr 2001) explains the subtle differences between stereotypes and generalizations. Stereotypes are ideas about a group that do not change even when evidence proves them wrong. Generalizations might presuppose ideas onto an entire group, but are easily changed when faced with condemning evidence. It is important to realize the difference between the two terms when choosing children’s literature. Classroom literature should not perpetuate stereotypes.
The idea of authentic literature was not something I saw as an “insider/outsider” debate prior to this course. My first post on this blog expresses how quality literature can be written by “outside” authors. However, I now realize that the most authentic literature is written by “inside” or informed authors. This course taught me to carefully weigh the advantages and drawbacks when choosing between both works written by “insiders” and “outsiders.”
Both of these ideas presented in the TE448 course helped me to change my perspective of authentic and quality children’s literature. Knowing these concepts allows me to be informed when reading literature or choosing it for others to read. This will enable me to make better choices and ensure the best possible experience.
Friday, December 5, 2008
Reflection on the Native American Text Set
The three works of Native American children’s literature that I chose to review are the following:
Crazy Horse’s Vision by Joseph Bruchac and illustrated by S.D. Nelson
Jingle Dancer by Cynthia Leitich Smith and illustrated by Cornelius Van Wright and Ying-Hwa Hu
The Game of Silence by Louise Erdrich
The text set has common themes as well as some variants. This reflection post will discuss these themes and variations and the significance of these books as cultural informers.
All three books describe the adherence to Native American tradition. Although two of the texts represent Ojibwa people (Erdrich and Smith) and the other focuses on Plains Indians (Bruchac), all of the main characters overcame tribulations by relying on custom, i.e. completing vision quests or seeking advice from older generations.
Another common theme present across the text set is the sense that each child is responsible for their own destiny. All three main characters take initiatives to gain control over their lives. Also a shared theme is that of family. Each book describes how the characters seek guidance from family members.
A variation that I picked up on is that both Crazy Horse’s Vision and The Game of Silence discuss conflicts with white people although Jingle Dancer does not. However, Crazy Horse’s Vision does not suffer from the “Dances With Wolves Syndrome.” This is Bruchac’s name for books “in which all Indians are noble, and all white people are bad,” (Reese 170). Bruchac cautions against choosing these kinds of books because they perpetuate racial tension.
A second variant is the categorization of these books. Crazy Horse’s Vision and The Game of Silence are historical fiction while Jingle Dancer is contemporary fiction. I explain Cynthia Leitich Smith’s rational for writing contemporary fiction as opposed to historical fiction in my book review of Jingle Dancer.
The most important aspect of these books is the information provided on Native American tradition. Each text discusses and explains Native American customs and culture of which audiences may be misinformed or unaware. Jingle Dancer also portrays the continuity of culture as it is set in a contemporary setting. Surely this text set represents a culture which is equally as valid as any. The care with which the authors explain the Native American culture can be felt and conveys to the audience that this is an important subject matter to be educated about.
Works Cited:
Bruchac, Joseph. Crazy Horse’s Vision. New York: Lee & Low Books, Inc., 2000.
Erdrich, Louise. The Game of Silence. New York: HarperCollins Publishers, 2005.
Reese, Debbie A. and Caldwell-Wood, Naomi. "Native Americans
in Children's Literature" in Harris, V. J. (Ed.) Using Multiethnic Literature in the K-8 Classroom. Norwood: Christopher Gordon, Inc., (1997): 155-192.
Smith, Cynthia L. Jingle Dancer. New York: Morrow Junior Books, 2000.
Crazy Horse’s Vision by Joseph Bruchac and illustrated by S.D. Nelson
Jingle Dancer by Cynthia Leitich Smith and illustrated by Cornelius Van Wright and Ying-Hwa Hu
The Game of Silence by Louise Erdrich
The text set has common themes as well as some variants. This reflection post will discuss these themes and variations and the significance of these books as cultural informers.
All three books describe the adherence to Native American tradition. Although two of the texts represent Ojibwa people (Erdrich and Smith) and the other focuses on Plains Indians (Bruchac), all of the main characters overcame tribulations by relying on custom, i.e. completing vision quests or seeking advice from older generations.
Another common theme present across the text set is the sense that each child is responsible for their own destiny. All three main characters take initiatives to gain control over their lives. Also a shared theme is that of family. Each book describes how the characters seek guidance from family members.
A variation that I picked up on is that both Crazy Horse’s Vision and The Game of Silence discuss conflicts with white people although Jingle Dancer does not. However, Crazy Horse’s Vision does not suffer from the “Dances With Wolves Syndrome.” This is Bruchac’s name for books “in which all Indians are noble, and all white people are bad,” (Reese 170). Bruchac cautions against choosing these kinds of books because they perpetuate racial tension.
A second variant is the categorization of these books. Crazy Horse’s Vision and The Game of Silence are historical fiction while Jingle Dancer is contemporary fiction. I explain Cynthia Leitich Smith’s rational for writing contemporary fiction as opposed to historical fiction in my book review of Jingle Dancer.
The most important aspect of these books is the information provided on Native American tradition. Each text discusses and explains Native American customs and culture of which audiences may be misinformed or unaware. Jingle Dancer also portrays the continuity of culture as it is set in a contemporary setting. Surely this text set represents a culture which is equally as valid as any. The care with which the authors explain the Native American culture can be felt and conveys to the audience that this is an important subject matter to be educated about.
Works Cited:
Bruchac, Joseph. Crazy Horse’s Vision. New York: Lee & Low Books, Inc., 2000.
Erdrich, Louise. The Game of Silence. New York: HarperCollins Publishers, 2005.
Reese, Debbie A. and Caldwell-Wood, Naomi. "Native Americans
in Children's Literature" in Harris, V. J. (Ed.) Using Multiethnic Literature in the K-8 Classroom. Norwood: Christopher Gordon, Inc., (1997): 155-192.
Smith, Cynthia L. Jingle Dancer. New York: Morrow Junior Books, 2000.
Elizabeth Gargano discusses Ojibwa story cycles and oral narrative
Elizabeth Gargano’s article “Oral Narrative and Ojibwa Story Cycles in Louise Erdrich’s The Birchbark House and The Game of Silence” critically analyzes the authenticity of Erdrich’s works. In this post I will explain how Gargano argues her points.
Gargano argues that Erdrich uses a cyclical narrative structure and a “collective cultural vision beyond the individual consciousness of her fictive protagonist” to reflect an Ojibwa worldview, (Gargano 28). This worldview contains a “gratitude to nature for its gifts, the preciousness of communal knowledge and traditions, and the integration of daily activities with sacred experience,” (28).
She first discusses a point of view which allows for a “collective cultural vision.” According to Gargano, The Game of Silence reflects the Ojibwa understanding of nature. She describes how Erdrich incorporates the thoughts of animals and creatures into the narrative of main character, Omakayas. She also notes that Erdrich permits a point of view of the other village members through the thoughts of Omakayas’ brother, Pinch.
Next Gargano discusses the Ojibwa story cycle present in Erdrich’s works. She writes of Ercrich’s use of the four seasons to partition her story. Each of the seasons brings different types of work for the Ojibwe. Gargano describes how Erdrich uses this to illustrate how the Ojibwa activities mirror the natural processes. Next, Gargano states that “[Erdrich’s] homage to the Ojibwa story cycle emerges most prominently, however, in her integration of traditional oral tales into Omakayas's narrative,” (30). An example Gargano uses is when Omakayas gains wisdom and applies her grandmother’s story’s traditional values to new experiences by retelling the story.
Gargano’s next point focuses on Erdrich’s incorporation of daily activities with sacred experience in her novels. Gargano gives examples from both of Erdrich’s stories. In the Birchbark House the teaching story of Nanabozho, a traditional figure, inspires Omakayas. The story of The Litter Girl and the Wiindigoo teaches Omakayas to trust her own powers in The Game of Silence.
Gargano concludes her essay by observing that Erdrich suggests ways in which readers can enter the text more deeply, “offering subtle linkages between event and narrative that evoke a complex Ojibwa worldview.” Gargano believes that this does not present the illusion of understanding the Ojibwa experience but allows readers to contemplate how to relate to the Ojibwa culture.
Work Cited:
Gargano, Elizabeth. "Oral Native and Ojibwa Story Cycles in Louise Erdrich's The Birchbark House and The Game of Silence." Children's Literature Association Quarterly 31.1 (2006): 27-39.
Gargano argues that Erdrich uses a cyclical narrative structure and a “collective cultural vision beyond the individual consciousness of her fictive protagonist” to reflect an Ojibwa worldview, (Gargano 28). This worldview contains a “gratitude to nature for its gifts, the preciousness of communal knowledge and traditions, and the integration of daily activities with sacred experience,” (28).
She first discusses a point of view which allows for a “collective cultural vision.” According to Gargano, The Game of Silence reflects the Ojibwa understanding of nature. She describes how Erdrich incorporates the thoughts of animals and creatures into the narrative of main character, Omakayas. She also notes that Erdrich permits a point of view of the other village members through the thoughts of Omakayas’ brother, Pinch.
Next Gargano discusses the Ojibwa story cycle present in Erdrich’s works. She writes of Ercrich’s use of the four seasons to partition her story. Each of the seasons brings different types of work for the Ojibwe. Gargano describes how Erdrich uses this to illustrate how the Ojibwa activities mirror the natural processes. Next, Gargano states that “[Erdrich’s] homage to the Ojibwa story cycle emerges most prominently, however, in her integration of traditional oral tales into Omakayas's narrative,” (30). An example Gargano uses is when Omakayas gains wisdom and applies her grandmother’s story’s traditional values to new experiences by retelling the story.
Gargano’s next point focuses on Erdrich’s incorporation of daily activities with sacred experience in her novels. Gargano gives examples from both of Erdrich’s stories. In the Birchbark House the teaching story of Nanabozho, a traditional figure, inspires Omakayas. The story of The Litter Girl and the Wiindigoo teaches Omakayas to trust her own powers in The Game of Silence.
Gargano concludes her essay by observing that Erdrich suggests ways in which readers can enter the text more deeply, “offering subtle linkages between event and narrative that evoke a complex Ojibwa worldview.” Gargano believes that this does not present the illusion of understanding the Ojibwa experience but allows readers to contemplate how to relate to the Ojibwa culture.
Work Cited:
Gargano, Elizabeth. "Oral Native and Ojibwa Story Cycles in Louise Erdrich's The Birchbark House and The Game of Silence." Children's Literature Association Quarterly 31.1 (2006): 27-39.
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