Reflection on TE448 Course

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.

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.

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.

Crazy Horse's Vision book review

I was first dawn to the fiction picture book Crazy Horse’s Vision because of its illustrations. Using brightly colored acrylics on wooden panels, illustrator S.D. Nelson painted powerful images to correspond to author Joseph Bruchac’s text. This book review will discuss how both the illustrations and the text create a piece of authentic Native American literature.

The story is about a leader of the Lakota Sioux people named Crazy Horse. He is famous for defeating General Custer alongside Sitting Bull at Little Bighorn in 1876, (Bruchac 31). At the beginning of the story Crazy Horse is a young boy and quickly proves himself to be of leadership material. He tames a wild horse, (5), kills his first buffalo with one arrow, (7), and receives an important vision, (22). The story ends as Crazy Horse is still a young man and is realizing that his vision prophesizes that he will be a defender of his people, (28).

There are many aspects which make this book authentic. According to scholar Debbie Reese, “All of Bruchac’s books are recommended as sources with accurate information from a Native American perspective,” (Reese 170). Bruchac is considered an “insider” author because he is of Abenaki decent who was greatly influenced by his Abenaki grandfather and grandmother as a young boy, (170).
Illustrator S.D. Nelson is also an “insider.” He is a member of the Standing Rock Sioux tribe whose painting has been influenced by the traditional ledger style of the Plains Indians, (Bruchac 32). Nelson describes in the Illustrator’s Note how the “outlined two dimensional figures and indistinct facial expressions” techniques he uses in Crazy Horse’s Vision are inspired by the Plains Indians ledger style drawing, (32). He also explains that he painted Crazy Horse blue because the Lakota people believe blue to represent the sky and a connection with the spirit world.

Another way that this book is authentic is Bruchac’s descriptions of Plains Indian customs. After a battle Crazy Horse stands next to the burial scaffolds to clear his thoughts, (16). Burial scaffolds were a custom performed with the recently deceased. Crazy Horse also goes on a vision quest for which he “stripped off his clothes” and fasted according to custom, (18-19).

Each of these features combines to produce a story true to Native American culture. Bruchac and Nelson’s dual effort has effectively generated a magnificent book which informs readers of Plains Indian tradition.

Works Cited:

Bruchac, Joseph. Crazy Horse’s Vision. New York: Lee & Low Books, Inc., 2000.

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.

Image: http://www.ischool.utexas.edu/~gathread/bruchac.html

The Game of Silence book review

“I take a long time to write these books because they are, in the truest sense, labors of love for my characters, my children, my ancestors, and my people,” (Erdrich 2005).

The next Native American book which I chose to review is a historical fiction novel. I was curious about Native American historical fiction because of author Cynthia Leitich Smith’s desire to avoid it. In my last post I described how she preferred to set her books in a contemporary setting so that the audience will understand that the Native American tradition lives and breathes today, not just in the past.

The Game of Silence written by Louise Erdrich is set in 1850 on Lake Superior’s southern shores on the island of Moningwanaykaning, (modern day Madeline Island). Omakayas, or Little Frog, is a nine-year-old girl and member of the Anishinabe, the original name for the Ojibwe or Chippewa people. The story follows Omakayas as she is faced with many obstacles including extra chores, relocation, separation, hunger and death which are all caused by the white settler westward expansion. Omakayas’ world is disrupted when a ragged-looking group of Natives arrive on the shore of the island seeking refuge. She soon discovers that white people forced them to relocate and her village will soon suffer the same fate. In addition to the anxiety caused by this irruption of fear, Omakayas is coming of age in her culture and is having doubts about completing the custom of a vision quest.

Erdrich is an “insider” author as she is a member of the Turtle Mountain Band of Ojibwa in North Dakota. An indication that The Game of Silence is authentic literature is Erdrich’s extensive usage of Ojibwa terms. At the end of the text, she includes a helpful five-page glossary and pronunciation guide, noting that the spellings are often idiosyncratic as Ojibwa was originally a spoken language, (249).

The Game of Silence is true to the Ojibwa culture in many ways. In her novel Erdrich succeeds in describing Ojibwa customs and traditions. Throughout the text the Omakayas, her brother, and cousins are enticed to play a game of silence when the adults are meeting. Erdrich explains how this practice “is based on a real Ojibwa game adults used to keep children quiet when they needed adult time indoors,” (“extras” 3). Another custom is depicted in chapter 5 with the task of artfully constructing “jeemaanan”, or birchbark canoes, (67). Chapter six follows the family as they “knock manoomin,” the practice of harvesting rice, (74). The inclusion of these customs illustrates that Erdrich is an informed author.

Another reason for the accuracy of this novel is Erdrich’s drawings depicting authentic Ojibwa articles. The intermittent illustrations contain objects which represent “pieces from [her] own collection of traditionally made Ojibwa baskets and moccasins,” (“extras” 3). It is clear that Erdrich is dedicated to creating an accurate portrayal of Ojibwa culture in all aspects of her novel.

Erdrich has created a work which informs the audience of the Ojibwa culture. Its positive and accurate depiction of Native American culture can teach a misinformed or unaware reader. Although her novel is historical fiction, it would make a great addition to a classroom. Perhaps a method for guaranteeing that children understand the Ojibwa culture as ongoing would be to supplement this novel with literature by Cynthia Leitich Smith or other authors which is set in a contemporary setting.

Work Cited:

Erdrich, Louise. The Game of Silence. New York: HarperCollins Publishers, 2005.

Image: http://ebooks.library.ipswich.qld.gov.au/00000170-00...

Jingle Dancer book review

“The depiction of the culture must ring true to the population the book purports to represent. Believability is part of the magic of fiction,” (Smith 2005).

Before reading the fiction picture book, Jingle Dancer by Cynthia Leitch Smith, I had not heard of the tradition of jingle dancing. This originally Ojibway custom is brought to life in Jingle Dancer through the exquisite watercolor paintings of Cornelius Van Wright and Ying-Hwa Hu.
The book follows Jenna, a young girl who is a member of the Muscogee (Creek) Nation. Set in contemporary Oklahoma, Jenna asks friends and neighbors of different generations for jingles to complete her regalia so that she can dance at the powwow.

In her article “Spotlight on CLA Social Justice Workshop: Social Justice in Native American Literature for Youth” Smith states that one reason why she writes primarily contemporary fiction is to counteract the domination of historical fiction in Native American children’s literature. She believes that many children are led to believe that Native Americans no longer exist, (“Spotlight” 8).

Throughout Jingle Dancer Smith interweaves cultural Native American tradition into a contemporary situation. For example, she links the natural world with the modern one. “As Moon kissed Sun good night, Jenna shifted her on Grandma Wolfe’s shoulder,” Smith describes while Jenna and her grandmother are painted sitting in a contemporary living room, (“Jenna” 3). Also, the Native women in the story have traditional roles like Jenna’s storyteller aunt, (9), and also contemporary ones like her lawyer cousin, (13).

Smith is an “insider” author as she is a mixed-blood member of the Muscogee (Creek) Nation. Audiences know that she is an “informed” author for a few reasons. Firstly, Smith notates that the number four is significant in Native American storytelling, (“Spotlight” 8). She includes this custom in the text the following ways: Jenna compiles four rows of jingles for her dress, (“Jenna” 5), she visits four women to ask for jingles, and the cone-shaped jingles make the sound “tink, tink, tink, tink,” (2).
Secondly, Smith includes an Author’s Note which explains the jingle dancing art form and its significance within the community. She also incorporates into the text four terms used within the culture and compiles a glossary at the end.

Jingle Dancer successfully describes how a Native American custom is continuing in a contemporary setting. This accomplishment ensures that a misinformed audience of children will understand that the Native American culture exists today.

Works Cited:

Smith, Cynthia L. Jingle Dancer. New York: Morrow Junior Books, 2000.

---. “Spotlight on CLA Social Justice Workshop: Social Justice in Native
American Literature for Youth.” Journal of Children’s Literature 31.1 (2005): 7-9.

Image: http://www.k12.wa.us/cisl/BookReview.aspx

Big Brother Dustin book review

In this post I will review a non-fiction picture book by Alden R. Carter entitled Big Brother Dustin. Carter’s book addresses a disability called Down syndrome. Prior to reading this text, I understood that Down syndrome can affect individuals in different ways. For example, my November 16, 2008 post titled “Keeping Teachers Uninformed of Students’ Disabilities is Risky Business” focuses on a child with mosaic Down syndrome who has a high I.Q. However, I realize that many children with Down syndrome have difficulties learning. Big Brother Dustin does not clarify any questions or concerns that readers may bring to the text. Carter does not describe Down syndrome which makes this text a poor source of accurate understanding of this disability.

The book follows Dustin, a boy with Down syndrome as he helps to prepare for the arrival of a baby sister. Dustin helps his father build a crib, (Carter 7), organizes baby clothes with his mother, (9), attends a class for siblings of newborns, (11), and eventually chooses a name for his new sister, (18). Everything that Dustin does throughout the story is not out of the ordinary. In fact if it were not for the photographs by Dan Young and Carol Carter, readers would not even realize that Dustin has Down syndrome. Down syndrome is only mentioned in the summary.

Scholar Joan Blaska states that Big Brother Dustin includes “positive, non-stereotypical characters and situations,” (Williams 73). This, I believe, is the point that Carter strives to make by not revealing through the text that Dustin is a boy with Down syndrome. The usage of photographs clearly illustrates the physical symptoms associated with Down syndrome.
The book demonstrates acceptance of Down syndrome. Dustin’s parents, grandparents, and other children in the story do not treat Dustin any differently than they would treat a boy without disabilities. Young, through his photos, describes Down syndrome and Dustin himself as realistic and presents the material in a realistic manner.

In conclusion, although this book does not describe the disability (as author Laurie Lears often does in her explanatory depictions of children with disabilities), the use of photographs and text allows Dustin to be seen as “one of us not one of them,” (Williams 75). This book functions in a constructive way in the disability community. It proves that diversity does not reflect negatively on individuals, families, and communities.

Works Cited:

Carter, Alden R. Big Brother Dustin. Morton Grove: Albert Whitman & Co., (1997).

Williams, Sandra Q, Inkster, Christine D, Blaska, Joan K. “The Joan K. Blaska Collection of Children’s Literature Featuring Characters with Disabilities or Chronic Illnesses.” Journal of Children’s Literature 31, no. 1, (Spring 2005): 71-78.

Image: http://www.aldencarter.com/csc2.htm