Kippenberger 1

Heather Kippenberger
Instructor Michelle Livek
LTC 4740
13 April 2015

Teaching Native American Students

Introduction:
In classrooms where educators use a one size fits all teaching method Native American
students fall behind because their learning preferences differ from the majority. There is a rich
and horrendous history of Native Americans and the predominate white culture. Because of this
history, engagement in mainstream American culture and the academic environment may be
more difficult for them than for students with a different history (Lundberg). If Native American
students are to succeed to their full potential teachers need to recognize their preferred ways of
learning and integrate this into the curriculum because Native Americans have different learning
styles than typical western taught students. If teachers can gain the trust of these students through
familiar routines their potential is virtually limitless as illuminated through factors that contribute
to Native American academic success.
I am personally invested in this subject because I feel the need to improve conditions for
students from Native American backgrounds (and various other cultures) in my future art room. I
come from a Native American background and I have seen first hand the plight of the Native
American student in and out of the art room. Although there is a limited library of support, we as
art educators possess an ideal environment to encourage growth and success to Native American

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students. In my own personal history of the education system seen through the eyes of a Native
American Ive personally witnessed the interactions of the general education environment vs. the
art classroom. In this paper I will look at the research I have found on the subject of Native
Americans students, relate it to my personal experience and provide suggestions for the art room.
Achievement Gap:
According to the National Center for Educational Statistics (NCES) (2008), American
Indians generally demonstrated lower achievement scores as compared with Whites and
Asian/Pacific Islanders. We need to encourage teachers to look into the elements and the use of
teaching styles and strategies that can lead to greater success for American Indian students.
Dropout rates are often inadequately reported. American Indian students are often grouped in the
Other category because the demographic category is minute and because of affiliation in more
than one racial grouping.
Native American students are among the least likely to graduate from college, with only
15% of Native American students who enter college earning a bachelors degree within 6 years.
This compares with 51% for Asian or Pacific Island students, 49% for White students, 31% for
African American Students, and 24% for Hispanic students (Freeman & Fox, 2005). In 2005,
the graduation rate nationwide for AI students was 57% (NCES, 2008). Research suggests that
neglect for the learning preferences or culture of Native American students in the traditional
classroom interferes with the way these students to learn.
According to the National Center for Educational Statistics in 2006, there were 4.5
million American Indians/Alaska Natives in the United States, representing 1.5 percent of the
total U.S. population (2008). Of that 4.5 million there are 564 federally recognized Tribes in the
contingent 48 states (Bureau of Indian Affairs, 2009). These tribes can differ greatly from each

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other and there is a danger of stereotyping. Although it is important to consider differences in
learning style between people of different cultures, overgeneralizing may be harmful (Morgan).
Hani Morgan states that although it dangerous to overgeneralize, research shows that students of
Native American culture are likely to react to teachers in ways that are different from mainstream
students. As in any cultural group, overgeneralizing is potentially harmful but being aware of the
differences and elements that can effect individuals positively should be considered.
Learning Preferences:
Research indicates that Native American students tend to prefer working together than in
isolation, they are highly visual and intuitive. Morgan states that Field-dependent students look
to authority figures for guidance and have difficulty perceiving themselves as separate from their
environment. These students learn this way partly as a result of cultural values and socialization.
A common mismatch between mainstream western classroom environments and Native
American culture is the trial and error learning style and traditional observational learning styles.
Learning in most Native American cultures is based off of a model of observe, learn how to
correctly execute the task, and demonstrate this knowledge. It is a "watch then do" or ' "listen
then do" type of learning, such as a father modeling a skill to a child. Native American students
perform best in classrooms that involve a great deal of visualization, especially math classes that
offer many forms of visual learning opportunities. (Morgan). If the student is thrust into a
situation where the instructor expects him to work independently until he has figured it out, then
a number of things can happen. The student can become discouraged and worst case he will give
up on his school work, he could become discouraged and only work to achieve very minimal
amounts of success in school, and best case scenario he will adapt and learn to the best of his

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abilities. Even in the best case scenario the student probably isnt achieving at levels that he is
capable of therefore, still falling short of his western raised classmates.
How to help these students achieve success:
As educators we should be aware of the extent of the cultural diversity in our classroom
and work to help each individual student reach the highest level of academic success. In a perfect
world we could reach every student on an individual level but in reality that is close to
impossible to achieve. However, if we as educators continually learn about the preferences of our
students we can help to close that achievement gap. In the case of Native American students the
educator can start by looking at research of factors that are associated with the academic success
of this cultural group.
Native American students learn much more easily if they can see an overall picture,
unity, and harmony in a situation (Stokes 578). In the Native American community there is a
value placed on harmony and humility of the community as a whole rather than focusing on the
individual. Therefore assignments that involve group work may potentially help those students
who struggle when the work is assigned individually. Those cultures often value collaboration
over competition, with a preference for community goals, rather than individual goals: current
time orientation rather than future time orientation and a higher value on wisdom and generosity
than on achievement (Lundberg). Morgan states that because of this focus on humility and
harmony that some Native American students may underachieve to avoid appearing superior. As
a result of their communitys emphasis on unity and cooperation the student will tend to meet in
the middle ground as to not violate traditional norms by being viewed as superior or inferior.
As mentioned earlier many teachers encourage students to use the trial and error style of
learning which clashes with traditional learning in Native American cultures. Native American

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students tend to perform best in visual classrooms. When the teacher incorporates the model of
watch, learn, then do the Native American student has a better probability of succeeding at the
task. This method models the way parents and elders taught these children before they entered
this western environment. Field-dependent students are highly visual and intuitive. Fielddependent students look to authority figures for guidance and have difficulty perceiving
themselves as separate from their environment. Field-dependent students are also holistic and
perceive things in relation to the whole (Morgan). This contrasts field-independent students who
are likely to be detached, goal-orientated, logical, and competitive. A Native American student
will probably look for more guidance than his peers, and this is why the trial and error method
tends to fall short with Native American students. The teacher should acknowledge and guide the
student as best as she can.
Research shows that Native American students tend to take more time to reflect more
than mainstream students. There is usually more information being gathered before answering.
There is a longer length before answering or even a lack of answer usually in fear of not
performing well in front of their superior and peers. Morgan states that teachers who do not
understand this may perceive the student as lacking interest or motivation. From personal
experience I felt more invested in an assignment when it involved group work with peers who I
knew from the reservation. I wasnt worried about as many social norm clashes as I would have
been if I had to work with peers of white descent.
Studies have also found that engagement with other students of the same ethnicity were
an important source of support for Native American students who attended predominately white
facilities (Murguil, Padilla, and Pavel, 1991). Allowing for time for students of the same or
similar ethnicity to discuss their perceptions together and develop a support system can greatly

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help those students achieve their own potential. This engagement can also be in the form of
student and cultural artifacts and information. When the student can establish a connection with
the material that is being presented the information is absorbed and learned at a greater level
leading to better understanding. The art room presents a safe environment for developing these
connections. This will be discussed later in this paper.
With Native American students, ideally teachers should make attempts to develop an
understanding of their students' preferred ways of learning, then use teaching styles that match
those learning styles. However, teachers should not ignore activities that are opposite the
students' preferred ways of learning since it is beneficial for students to understand cultural
values that are different from their own. Teachers should encourage Native American students
achieve their highest potential to help the student succeed in their academic career as strong ties
to family and homeland are hallmarks to Native American culture but can cause the student to
settle for a educational/career path that he does not want because of these constraints. Teachers
can support this by providing information for schools (near and far) that the student would be
interested in as well as any other information that would be vital to their educational track.
How can we adapt this for learning in Art room?
I can only speak of my own experience of being from a Native American community and
being involved in predominately white institutions. As I mentioned in the beginning of this paper
we as teachers should not overgeneralize the Native American population but I will speculate
how I think the environment of the art room can benefit the Native American student. Out of my
own experience I found the art room the most accommodating for myself.
Since the Art room is already a visual place the Native American student already has an
ally in their education. Unless it is an independent study based class there is usually a focus on

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the observation and then you do method. If a new technique is introduced in art then the
instructor will usually demonstrate the process then have the student attempt while he/she
overlooks and helps the students adjust as needed. Similar to their own communitys traditions
the art world is usually a helpful, and very involved community. The student will learn quite fast
that in the art room there is usually always someone willing to help whether it be an elder or
peer. The art community is interested in helping each other boost the Art to its highest level. This
sense of community is seen in the form of helpful critiques of work that is in progress or
finished, support for the artist who is struggling to develop ideas or techniques, and open forums
of peers who are interested in similar topics. Projects that call for collaboration of artists may
feel more comfortable for the Native American student who can use this time to bounce ideas
and opinions off of his peers and learn from different vantage points than his own. Although I did
not attend the same art classes as known tribal members I did find my exposure to the variety of
culture that my peers shared with myself.
Another way to bring interest and boost potential for Native American students in the art
room is to bring in artwork related to their culture. Research on the subject is scarce on of what
happens in art making processes that allow artists, who have multiple cultural perspectives, to
use creative processes to expand and elaborate upon their identities (Marshall 2). For example
bringing in an artwork by the late Guy Labree, a painter known for working close with and
depicting the Seminole Tribe of Florida, would bring interest with myself because I am a
Seminole Tribal member and I would feel a connection with this artwork that the other students
in my class would not. Depending on my knowledge of the painting and the artist I could even
provide my instructor and peers with new knowledge that wouldnt have been introduced to
without my presence in this lesson. Students of the Native American culture have trouble

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separating themselves from the whole of their community. As an art educator I should tap into
this and slowly help them move in to and understand on an individual level. This path will help
to normalize the western education and expectations so that the student can achieve their
potential minimizing the barriers that this environment places on the students shoulders.
As long as there is a feeling of connectivity and importance placed on the students
identity through a social context the Native American student can do nothing but succeed in that
environment. Cora M. Marshall mentions as art educators we should include a variety of voices
into the curricula. One challenge is to decide how we talk about and create a multicultural
classroom (1). Art has shown numerous times its involvement in promoting mental health and
clarity. Marshall discusses different examples of artists who use their cultural backgrounds in
creating their art. She states:
In the early part of the twentieth century, it is this shared history of
discrimination and exclusion that centers many artists of color. When these
artists found an aesthetic voice with which to communicate, some sought
to heal damage of racism by validating the Negro or Indian experience and
others chose to focus on the heroic strength that was needed to deal with
being thought of as less than (Marshall).
One of the artists she discusses is Hulleah J. Tsinhnahjinnie a Native American

photographer who uses her work to explore her own native roots and create narratives
about multicultural identities of Native women. In her digital photographic series,
Portraits Against Amnesia, Tsinhnahjinnie enlarges and manipulates vintage photographs
to re-contextualize family histories and to create imaginal worlds in which she can
examine identity through multiple lenses (Marshall). If we promote exploration of our

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individual selves we can open up a rich dialogue and critique of this particular area in the
art world. This can open up amazing things for other focuses in art as well.

The multicultural classroom was developed as a way of responding to and mirroring the
growing diversity in classrooms across America. These changes included curricular revisions that
are intended to increase academic achievement and promote greater sensitivity to cultural
differences to reduce bias (Dunn 74). The art room is a prime example of an environment where
it is safe to investigate cultural identity. When approached cautiously art educators can mediate
discussions/creations of cultural exploration and cultural learning. A suggested model for
studying a culture follows (Alden). Teachers (and students) select a particular culture and
research exemplars. Teachers then use this information to guide students in learning about
characteristics, symbols, and signs related to that culture. Follow this by demonstrating ways
students can interpret and personalize a projects and process.
Summary:
My insights and suggestions are to be taken with a grain of salt because my experiences
have not yet been fully supported by educational research. The Native American student (as well
as students from other cultural programs) needs to feel welcome and included in the classroom
(art and general education). We as art educators have a responsibility to mediate a multicultural
environment that promotes cultural discussion and creating. We should take in to consideration
each students individual cultures but we should avoid segregation of students and allow for
intermingling of students cultures and backgrounds. Cora Marshall states Our past is beneath
our feet and we should promote Native American students to explore how this culture affects
their identity through our art rooms. When we take the time to create this safe space for our

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students to share their ideas and perspectives, the art room thrives. Marshall eloquently states
Once inspired, students visually explore and experiment with a variety of images, signs,
symbols, and techniques until something rings true for them (9). One of the goals of the art
room is for students to ultimately become emotionally invested in the process of creation by
being aware how what they create relates to their ideas about their personal identity. Let us strive
to develop our Native American students into the emotionally invested artist/student.

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Works Cited:
Alden, Donna. "Multicultural Art Education's Illusion Of Equity." Journal Of Social Theory In
Art Education 21.(2001): 25-46. ERIC. Web. 09 Apr. 2015.
Lundberg, Carol. "Student Involvement and Institutional Commitment to Diversity as Predicators
of Native American Student Learning." Journal of College Student Development 48.4
(2007): 405-16. John Hopkins University Press. Web. <www.ebscohost.com>. Web. 09
Apr. 2015.
Marshall, Cora M. "Cultural identity, creative processes, and imagination: Creating cultural
connections through art making." Journal of Cultural Research in Art Education 25
(2007): 1. Web. 09 Apr. 2015.
Morgan, Hani. "Teaching Native American Students: What Every Teacher Should Know."
Multicultural Education (2010): 44-47. Web. <www.ebscohost.com>. Web. 03 Apr.
2015.
National Center for Educational Statistics. U.S. Department of Education, 1 Sept. 2008. Web. 13
Apr. 2015. <http://www.nces.ed.gov>. Web. 04 Apr. 2015.
Stokes, Sandra. "Curriculum for Native American Students: Using Native American Values."
International Reading Association 50.7 (1997): 576-84. Wiley. Web.
<www.ebscohost.com>. Web. 03 Apr. 2015.