1

EAL- ELA 9 : Mini-Unit Graphic Novels

Subject / Course:
ELA
Grade Level: 9
Topic: Graphic Novels
Cooperating Teacher Name:

Ms. Geres

TC Name: Nicole Marquis

Date: February 23, 2016
Time of Class: 2:30-3:30pm
Room # / Location: Mount Royal
Collegiate

1. Broad Areas of Learning and Cross Curricular Competencies

a)

Outcomes & Indicators:

CR9.1b - View, listen to, read, comprehend, and respond to a variety of texts that
address identity (e.g., Exploring Loyalty, Love, and Relationships), social
responsibility (e.g., Equal Opportunity), and efficacy (e.g., Surviving and
Conquering).
b. View, listen to, and read a variety of texts related to the theme or topic of study and
show comprehension and demonstrate response by:
understanding the ideas: Effectively summarize and explain the ideas in
texts; cite details that support the main ideas; make logical inferences;
interpret obvious themes or authors message logically.
understanding, using, and evaluating the text structures and
(language) features to construct meaning: Evaluate key text features
(e.g., headings, diagrams, paragraphs, plot); evaluate organization and
structural cues (e.g., problem/solution, compare/contrast, cause/effect, order of
importance, time order) within texts; evaluate techniques in texts (e.g.,
symbolism, personification, irony, hyperbole, parallelism, colour, repetition);
make thoughtful and critical response to craft in a variety of texts; identify how
texts were constructed, shaped, and produced.
responding to and Interpreting texts: Offer reactions and opinions about
texts; make, explain, and justify reactions and personal connections to texts;
make explicit and deliberate connections with previous knowledge and
experiences; give opinions and make judgements supported by reasons,
explanations, and evidence; make judgements and draw conclusions about
ideas on the basis of evidence; make logical interpretations of the authors
message; make and support inferences about characters feelings, motivations,
and point of view; organize response and interpretation around several clear
ideas or premises.
c. View, listen to, read, and respond to a variety of engaging, age-appropriate texts
related to the theme or topic of study that support the development of critical and
creative thinking and analysis skills and enrich classroom discussion.
g. Use information viewed, heard, or read to develop inquiry or research questions, to
create original texts, and to give personal and critical responses.
h. Identify and investigate how different cultures and socio-economic groups are
portrayed in oral, print, visual, and multimedia texts.
i. Show understanding that the creators, presenters, authors experience,
background, and culture influence the treatment of theme.
k. Question and reflect on personal responses and interpretations.
o. Relate ideas and information in text to universal themes.
v. Interpret and report on information from texts viewed, heard, or read.

CR9.2b - Select and use appropriate strategies to construct meaning before (e.g.,
formulating focus questions), during (e.g., adjusting rate to the specific purpose
and difficulty of the text), and after (e.g., analyzing and evaluating) viewing,
listening, and reading.

a. Use before, during, and after strategies appropriate to text and purpose

CR9.6b - Read and demonstrate comprehension and interpretation of grade-level

appropriate texts including traditional and contemporary prose fiction, poetry, and
plays from First Nations, Mtis, and other cultures to develop an insightful
interpretation and response.
a. Demonstrate the behaviours of an effective, active reader including preparing to read by
previewing, asking questions, setting purpose, considering what is known and what needs to be
known, adjusting rate to specific purpose, making connections, and making inferences based on
text and prior knowledge, re-reading, summarizing, and paraphrasing.
b. Locate and analyze the elements of setting, characterization, and plot to construct
understanding of how characters influence the progression and resolution of the plot.
e. Analyze and evaluate the ideas presented in texts.
g. Draw and support conclusions and opinions about authors message, values, point of view,
and craft.
i. Respond critically to text ideas and authors craft by using textual evidence to support
interpretations.
j. Identify and analyze techniques and elements such as figurative language and rhetorical and
stylistic features of texts.
k. Consider more complex and alternative interpretations.
m. Read independently for self-initiated and assigned purposes.

CC9.2b - Create and present an individual researched inquiry project related to a

topic, theme, or issue studied in English language arts.
a. Use clear inquiry questions and suitable research methods (e.g., library, electronic media,
personal interview) to elicit and present evidence from primary and secondary sources.
b. Determine depth and breadth of personal knowledge of a topic to identify possible areas of
inquiry or research.
c. Prepare and use a plan to access, gather, and evaluate ideas and information from a variety
of human, print, and electronic sources.
f. Select appropriate resources related to a research project.
g. Use note making to reconstruct knowledge and select strategies appropriate to task.
j. Include citations, quotations, and works cited in inquiry presentations
k. Evaluate authority, validity, and reliability of content.
l. Document sources of information using standard format (using software to manage and insert
references).
n. Evaluate own research process.
o. Use the language of inquiry (e.g. I wonder if, What inquiry question(s) would focus my
task?, What materials and equipment could I use?, Can I formulate alternative answers,
solutions, conclusions, or decisions related to my inquiry questions?)

CC9.8b - Write to describe (a description of a scene), to narrate (a personal

essay), to explain and inform (a multi-paragraph letter), and to persuade (a letter
to the editor).
a. Prepare compositions (including essays), reports, presentations, and inquiry or research
projects with adequate detail for audience understanding.
e. Design and publish documents by using publishing software and graphics programs.

AR9.1b - Assess personal strengths and needs as a viewer, listener, reader,

representor, speaker, and writer and contributions to the community of learners,
and develop goals based on assessment and work toward them.
a. Evaluate and modify own roles in group interactions in a variety of contexts.
c. Use criteria/rubric to evaluate oral presentations including purpose, delivery techniques,
content, visual aids, body language, and facial expressions.
f. Review and refine speaking, writing, and other representing skills and strategies, through
reflection, feedback, and self-assessment.
k. Use criteria to examine qualities of own and others work.

b)

Cross Curricular Competencies: (approx. 2+ other learning expectations not assessed, eg. learning that
happens as a result of the lesson, organization, group work, listening, co-operation, reading, writing skills etc.)

Students will develop thinking by deconstructing knowledge pertaining to

Aboriginal history and world views. They will develop deeper understandings of
how our pasts connect to our present. They will develop the ability to make sense
of information, various experiences, and ideas by thinking critically, contextually,
and creatively as they explore different stories in the form of graphic novels.
Through some inquiry-based exploration students will utilize their language and
thinking skills to explore a range of many different topics. Students will develop
identity and independence as they examine various social and cultural issues.
They will be engaged in both individual, paired, and group accomplishments
where they will develop the ability to engage harmoniously with others as they
explore ideas and issues of identity, diversity, and social responsibility. This will
require understanding, valuing, caring, and respecting oneself and others. They
will study texts containing imaginative, historical, personal, cultural, and social
topics. Furthermore, students will develop literacies through the use of graphic
novels, and will develop specific skills and effective strategies for reading,
interpreting, and analyzing the content. Their knowledge will be expanded by
using literacies to effectively and contextually understand multiple
representations of idea, in flexible ways. Social responsibility will be established
as students work collectively to gain shared knowledge and understandings of
various topics addressed through discussion, research, and peer teaching. They
will examine various topics and issues with moral reasoning and communitarian
thinking and dialogue. They will contribute to their shared physical, social, and
cultural space in a positive manner, and will work toward common goals of
understanding the lives of others.
c)

Professional Growth Portfolio Goal(s):

2.4 - Demonstrates ability to use technologies readily, strategically, and

appropriately.
2.5 - Demonstrates knowledge of a number of subjects taught in Saskatchewan
schools (disciplinary/interdisciplinary knowledge)
3.1 - Demonstrates the ability to utilize meaningful, equitable and holistic
approaches to assessment and evaluation.
4.2 - Demonstrates the ability to incorporate First Nations, Metis, and Inuit
knowledge, content and perspectives into all teaching areas.

2. Assessment and Evaluation:

(What assessment and/or evaluation strategies do you need to have to ensure you are accountable for students
learning and addressing curriculum outcomes? What formative and summative assessment should you include?
e.g., sample questions, activities or attach tests, homework, rubrics, evaluation schemes, answer keys etc.)

-Students will earn a class participation mark for their individual contributions to the
group discussion and reflections using a Talking Circle. Talking Circle discussions will
act as Assessment for Learning. In addition, students will be given one or two takehome questions that often involve a mini-inquiry to answer. Their paragraph answers
to these questions will be handed in at the beginning of the next class, and can be
shared with the group as well. These homework questions will act as Assessment as
Learning. At the end of our analysis of 7 Generations: Stone, students will
individually complete a set of final reflection questions which will reflect their

Assessment of Learning.
-In addition, students will complete a cooperative inquiry project with a partner,
building on further knowledge from the book. A marking rubric will be created
collaboratively in class with students, and they will also complete a self- and peer
assessment as well.
-Students will complete several graphic organizers and novel summary charts
throughout this series of lessons to gage student learning as we proceed through
various steps. They will also take part in several hands-on activities to consolidate
and gage their learning. As a summative evaluation, students will create an
individual mind map project comparing 3 different graphic novels that they read. A
rubric will be provided to help students evaluate their progress.
-If time permits, students may also create their own short graphic novel as an end
project.

3.

Preassessment and Accommodations/Modifications

a) Students
(consider the students you will be teaching and anything that will affect their learning or your teaching strategies (e.g.,
include cognitive, social/emotional, physical and diversity needs,+ provide accommodations/modifications - how you will
differentiate learning for each student and/or type of need N.B. use initials of students rather than full names)
Preassessment:

Accommodation/Modification:

-There is a culturally diverse student population in this

EAL class.

-Foster acceptance and relational understanding by

creating diversity in group work.

-EAL students may struggle to understand the

curriculum content.

-Use as much visual material and various organizers as

possible to aid learning complex concepts.

b)

Learning Environment:
(describe the learning environment such as the set up/location of desks, where audio-visual equipment will
be, where the teacher stands, where the students are working etc. you may wish to include a map/layout of
the classroom on a separate sheet and reference it with modifications if lesson changes)

This lesson will take place in an EAL grade 9 classroom, with a direct
instruction layout: two to three students share each table, facing the front of
the classroom, where teacher and white board are front and centre. There will
also be multiple opportunities for pair and group work for activities and
discussion. A talking circle will also be utilized for large group discussion. The
library will also be utilized for acquiring resources, research material, and
literary texts. A projector is available for multi-media use and power-point
presentations for lesson content. The teacher will address students from the
front of the room during direct instruction; for individual work and small group
tasks students will remain in their desks; and for large group discussion
students will participate in a talking circle on the floor of the classroom.

4. Required Resources

(list ALL resources required to conduct this lesson with detailed specifics such as textbook titles, chapters, page
numbers, author/publishers, website URLs, resources like paper, pencils, protractors, chalk, rulers, paint, specimens,
books, maps, videos, posters, lab materials, handouts include name of handout and number of copies, etc.)

-Students will need pens/pencils, erasers, and paper to take additional notes, and
draft mind map.
-computers & internet access for research and online design technology
- Robertson, D.A., & Henderson, S.B. (2010). 7 Generations: Stone. Winnipeg, MB:
HighWater Press.
-What do I Know about Graphic Novels? (survey) handout
-Speech Balloon activity handout
-Graphic Novel Discussion Questions handout (peer teach)
-Graphic Novels Summary chart handout
-Panel Assembly activity (one for each group of pairs)
-What is a Graphic Novel? graphic organizer quadrant chart
-7 Generations: Stone Anticipation Guide & Four-Quadrant Reading Response
handout
- Asham, J. The Buffalo Hunt of the Plains Cree. Retrieved from
www.wildernessnorth.com/pdf/Asham-Buffalo-Hunt.pdf
-7 Generations: Stone Reflection questions handout
-poster paper or presentation boards for inquiry project presentation
-Mind Map rubric
-poster paper or letter-sized paper for Mind Maps (or printed copy if done on
computer)
-cell phones or electronic devices may be used (optional) during inquiry questions
-Power-point lecture notes will be provided in print form for each lesson.
-paper for creating personal comic/graphic novel story

5. Content and Teaching Strategies of Lesson

a) Overview/Agenda/Review
(consider a quick overview of the lesson and/or list key elements in lesson which may be written on white/blackboard
as an agenda for students and you to follow, you may also choose to consider a review of previous days work)

Day 1:
-Intro to Graphic Novels
-Survey
-Story Arc
-Parts of a Graphic Novel
-Speech Balloon Activity
-How do we read a Graphic Novel?
-Group discussion questions- peer teach
Day 2:
-Recap- Elements of Graphic Novels
-Share discussion (peer teach from last day if never finished)
-Literary Devices (if time permits)
-Background into Aboriginal Culture
-7 Generations Stone Talking Circle Analyze: Cover & Pages 1-5

-Discussion question take home

Day 3:
-Catch up on any previous material not covered
-Share take home discussion questions
-Talking Circle- Analyze Pages 6-10 & 10-14
-2 Discussion questions take home (mini-inquiry)
Day 4:
-Share take home discussion questions
-Talking Circle- Analyze Pages 14-17 & 18-21
-Literary techniques: juxtaposition and allegory
-2 Discussion questions take home (mini-inquiry)
Day 5:
-Share take home discussion questions
-Talking Circle- Analyze Pages 22-24
-Read Joy Ashams The Buffalo Hunt of the Plains Cree
-Talking Circle- Analyze Pages 25-26
-2 Discussion questions take home (mini-inquiry)
Day 6:
-Share take home discussion questions
-Talking Circle- Analyze Pages 27-30
-Discussion question take home (mini-inquiry)
-Reflection Questions handout- individual book summary
-Intro to inquiry project (partners)
Day 7:
-share take home discussion question
-Graphic Novels Literary Devices (alt. to Day 2)
-Panel Assembly Activity
-Inquiry Project create rubric (with students)
Day 8:
-Inquiry Project work period 1
-Library computers/books
-evaluate sources
Day 9:
-Inquiry Project work period 2
-Library
Day 10:
-Inquiry Project work period 3
-Start putting together finished product
Day 11:
-Mind mapping Graphic Novels
-Steps to create effective mind map

-Mind Map project

-What is a Graphic Novel graphic organizer take home
Day 12:
-Share What is a Graphic Novel? organizer sheets with class
-Recap: What is a GRAPHIC NOVEL
-Library work period 1 (for graphic novel mind map project & summaries)
Day 13:
-Library work period 2 (for graphic novel mind map project & summaries)
Day 14:
-Creating Comics - digital
-Steps to Creating Graphic Novels

b) Introduction (motivational start, minds-on, hook, etc.)

(describe how you will motivate students, get their attention, relate the lesson to their lives, such as a minds-on activity,
a hook or something that will pull learners into lesson)

Day 1:
-Intro to Graphic Novels & introduce self to class
-Survey
Day 2:
-Recap- Elements of Graphic Novels
Day 3:
-Share take home discussion questions
Day 4:
-Share take home discussion questions & any general questions students have
Day 5:
-Share take home discussion questions
Day 6:
-Share take home discussion questions
Day 7:
-share take home discussion question & any questions about inquiry project
Day 8:
-question what is a good source?
Day 9:
-questions about inquiry project
Day 10:
-questions about finished inquiry project
Day 11:
-What is Mind mapping? Why is it useful?
Day 12:
-Share What is a Graphic Novel? organizer sheets with class- post up on walls
Day 13:
-questions about mind map project & graphic novel summaries
Day 14:
-Creating Comics digital (show them mine)

c) Subject Content and Teaching Strategies

(include the subject content - what you are teaching; detail the instructional strategies / teaching strategies for
teaching the subject content - how you are teaching it; write some guiding questions - actual questions (variety of
thinking levels) and suggested and anticipated answers; possibly include time approximations/timelines such as 10:00
10:30 a.m. or 25 minutes; and include application activities/components - how the content will be applied such as an
activity, problems to solve, worksheets etc.).

Students will be taught how to read and understand the construction of graphic
novels, and how these types of literary devices can be used for various purposes and
by a variety of authors. Students will gain a deep understanding in Aboriginal
perspectives, issues, and history through examination of 7 Generations: Stone, and
by conducting their own individual inquiry to take-home discussion questions, and
through a partner-based inquiry project. Students will participate in a class Talking
Circle for the purposes of exploring deeper understandings of Aboriginal historical
and contemporary realities, as well as extracting detailed nuances inferred through
the design, delivery, content, and construction of the text. They will explore the uses
and purposes of many literary devices in graphic novels, will compare different types
and styles of graphic novels, and summarize their findings in an individual mind
mapping project. The main teaching methods utilized will be direct and independent
instruction, interactive, indirect, inquiry, and experiential methods.
Direct instruction will be used to disseminate foundational content information about
graphic novel construction, literary devices, project instructions, and parts of
Aboriginal history. Independent instruction will be used as students complete takehome discussion questions, book summary questions, and a mind mapping project.
Interactive learning will take place during partnered and small group activities, class
brainstorming, and co-operative inquiry project with a partner. Indirect strategies will
be utilized through the use of graphic organizers, mind-map exercises, and reflective
discussion. Experiential methods will take place through Talking Circle group
discussions and reflection, and through using comic creator websites online.
Key questions:
1) What kinds of survival challenges have others faced? What decisions do they
have to make?
2) What Social, Cultural, and Historical impacts can authors make through graphic
novels?
3) What are the types, styles, genres, and components of graphic novels, and how
do we read them?
4) Why do people tell stories and tales, and how do these texts help others
understand their world?
5) Why is analysing texts and developing literacies through stories important?
Day 1:
I will introduce this lesson (and subsequent lessons) by putting up an overview on the
PowerPoint projector. I will introduce myself to the students as a teacher candidate,
then briefly introduce how we will be learning about graphic novels. This will be
followed by a quick survey (Appendix A) assessing the students current knowledge
on graphic novels (10 mins). We will discuss how graphic novels follow a story arc
like any other novel, and look at various elements that make up graphic novels (12
mins). Students will then take part in a Speech Balloon activity (Appendix B) either
individually or with a partner. In this activity they will have to make inferences about

the scenes and characters to fill in the blank speech balloons on sample comic pages.
Students will then compare their completed activity sheets with the real comics (15
mins). Next I will deliver some more content on graphic novel elements, students will
brainstorm some sound effects used in graphic novels, and we will summarize
using a picture exemplar. Afterwards, we will explore strategies used to read graphic
novels, and will finish by questioning the students using an example (7 mins). Last,
students will be divided into four groups to complete discussion questions (Appendix
C), applying them to the 7 Generations: Stone novel they will be reading (15 mins).
Findings will be peer taught at the end of class (if time permits) or next class.
Students will be asked to read Stone for homework and complete a summary chart
for the novel (Appendix D).
Day 2:
I will introduce the lesson with a Recap on the Graphic Novel Elements we covered
last day as a refresher (2 mins). Next students will be asked to share in discussion
their peer teaching questions from last day if it did not get finished (10 mins). I will
provide them with brief descriptions of various Literary Devices (either here or on
Day 7) and discuss background information on Plains Cree and Blackfoot tribes which
are involved in the novel (20 mins). Next we will form a Talking Circle and discuss its
importance for Aboriginal culture and exploring deep issues (3 mins). For the
remainder of class students will be asked to complete the before reading column on
their Anticipation Guide: Stone and review the Four-Quadrant Reading Response
sheet that they will complete as we analyse the text (Appendix E). We will begin to
analyse the cover of 7 Generations: Stone, and if time permits, Pages 1-5. A
discussion question will be given to students to complete at home to share next day.
Day 3:
To begin this lesson, we will catch up on any material not covered in Day1 and Day 2
if needed (10 mins). Students will share their homework question answers (10 mins).
Next, we will resume our Talking Circle analysing pages 6-10, then 10-14 (40 mins).
Two discussion questions will be given as a take-home mini-inquiry and will be
shared next day.
Day 4:
Students will share their answers for their mini-inquiry questions from last day (10
mins). Next we will resume our Talking Circle to analyse pages 14-17, and 18-21 in 7
Generations: Stone (40 mins). Literary techniques: juxtaposition and allegory will
be explored, and the authors use of them (10 mins). Two discussion questions will
be given as a take-home mini-inquiry and will be shared next day.
Day 5:
Students will share their answers for their mini-inquiry questions from last day (10
mins). Next we will resume our Talking Circle to analyse pages 22-24 (15 mins). We
will then read Joy Ashams The Buffalo Hunt of the Plains Cree (Appendix F)
together (10 mins). Our Talking Circle will resume to explore pages 25-26 of 7
Generations: Stone, and students will draw connections between the two readings
through question and discussion (25 mins). Two discussion questions will be given as
a take-home mini-inquiry and will be shared next day.
Day 6:

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Students will share their answers for their mini-inquiry questions from last day (10
mins). Next we will resume our Talking Circle to analyse pages 27-30 (15 mins).
Students will be given one last take-home mini-inquiry discussion question to share
their answers with next class. At this point the whole 7 Generations: Stone graphic
novel has been analysed. As such students will be given a final set of Reflection
Questions (Appendix G) that they can work on for the rest of this class period or at
home. Lastly, students will be introduced to an inquiry project (8 mins) they will
complete with a partner. For this project, the groups will formulate a question linked
to the story or Aboriginal history that they would like to inquire further about. They
will research this question using effective and reliable sources (3), using both print
and internet sources, and will end up creating a display (pictures, text, symbols,
objects, artifacts, models, sounds, borders, other visuals) to best represent the
learning from their inquiry. Students may include text, visuals, sounds, video, or any
medium that is deemed appropriate. A collaborative rubric will be created next class.
Day 7:
This lesson will begin with students sharing the last take-home question from 7
Generations: Stone (10 mins). If not already covered on Day 2, Graphic Novels
Literary Devices will be explored (10 mins). Next, in partners or small groups,
students will complete a Panel Assembly activity (Appendix G) where they will be
given a comic or graphic novel page with the panels individually cut out. They will
collaborate to determine which order they think the panels should go in to make the
flow of the story make sense. Students will seek feedback from another group to
confer that they have the correct order before being presented with the correctly
assembled exemplar to check their answers (15 mins).
Day 8, 9, 10:
The next three class periods will be used solely for Inquiry Project group work. The
library will be utilized by the class to have access to computers, books, and other
research sources and references. Students will evaluate the effectiveness and
reliability of their sources (3) used. By day 10 (the third work period) students should
be starting to put together their finished products for later presentation.
Day 11:
In this lesson, I will begin to introduce students to the idea of mind maps. We will
examine why they are helpful, what they do, and how to use them when reading
graphic novels. Categories of characters, setting, genre, illustration, and
format/layout will be explored, and students will brainstorm several examples of
each (15 mins). Next we will explore the steps to creating our own effective mind
maps (10 mins). Students will then be introduced to a Mind Map Project (10 mins),
which they will each complete individually, comparing 3 different types of graphic
novels (they can include Stone as one if they wish). After they complete each of the
3 graphic novels of their choice, students will complete the Summary chart that they
did for 7 Generations: Stone for each novel. This will assist them in their mind maps
later. They will have the freedom to choose how they wish to represent their mind
map projects (by hand, computer, on poster paper using their own creative flare. A
Mind Map Rubric will be supplied to students so they can monitor their work as they
go (Appendix H). For the remainder of the period students can either work on
unfinished work from their inquiry projects, or begin working on their What is a
Graphic Novel graphic organizer chart (Appendix I) which will be otherwise sent

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home for completion, and finished charts will be presented next day.
Day 12:
Class will initiate by students sharing their What is a Graphic Novel? organizer
sheets with class. Their organizers will be posted up on the wall for everyone to walk
around and explore. I will post some copies of the same organizers with what experts
had to say about Graphic Novels (15 mins). Next we will Recap on what a Graphic
Novel is (3 mins) before heading to the library to search for other graphic novels to
use for their novel summaries and mind map projects for the remainder of the period.
Day 13:
We will continue exploring graphic novels in the library and use this class as our work
period 2 (for graphic novel mind map project & summaries). Students should be
assembling their Mind Map Projects.
Day 14:
This lesson will begin by students exploring different online comic strip creators using
iPads or computers. I will present a short comic I created with
MakeBeliefsComics.com (30 mins). Next we will explore some steps to creating our
own professional looking hand-made Graphic Novels (30 mins).
*Further teaching notes and discussion question for 7 Generations: Stone are
attached (Appendix J).

d)

Consolidation

(indicate how you will review concepts taught, wrap up lesson, confirm students know what next tasks are e.g.,
having class to give you feedback on what was taught, review key application of concepts this is important in
terms of assessing the effectiveness of the lesson)

Over these 14 lessons, my goal is for students to learn in a very holistic manner.
We will be engaged in many small and large group activities and discussions, which
will informally assess their learning at the same time. These lessons are designed
in a way so that students will be continuously applying the knowledge that they are
acquiring, as well as making inferences about situations or topics before they have
been examined in depth. Students will leave most of our Talking Circles with one or
two questions that they will have to further inquire about, and their paragraphs will
be shared and handed in the following days to keep them engaged with the
material. We will use many opportunities to recap on previous knowledge learned
through didactic questions, and there will be many opportunities for students to ask
further questions also. Active participation will be expected from all students
during discussion to give them all opportunities to showcase what they are learning.

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6. Reflections
a)

Effectiveness of Lesson
What was effective / ineffective in your lesson? include at least 3 lesson elements that were ineffective /
effective? or What went well in your lesson? Or What did not go so well? Or What did the students enjoy? How
did your planning or delivery turn out? Did your teaching / learning strategies work effectively or not for subject
content and class? Consider the entire lesson and the reaction of students.
How do you know? Provide evidence from student work, student questions asked and informal assessment.
Think about examples of how the lesson progressed, engagement of students, flow of delivery, time management.
Next steps? Indicate what steps you are going to take to continue to work on your three elements identified.

b)

Effectiveness as a Teacher
What was effective / ineffective about you as a teacher? include at least 3 teacher elements that you did that
were effective or ineffective. Did you ask good questions? Did you motivate students? What did YOU do well?
This would be a section describing your strengths and areas for improvement volume, eye contact, body
language, questioning skills, responding to questions, comfort with material, confidence, delivery, use of
technology, vocabulary.
How do you know? What evidence do you have that you, as a teacher, were or were not effective? Think about
examples of what you said, did, reacted to, felt as examples of your three elements.
Next steps? Indicate what steps you are going to take to continue to work on your three elements identified.

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Appendix A

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Appendix B

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Appendix C
Graphic Novel Discussion Questions Gr.9 EAL
Panels and Gutters
1) Consider the size and shape of panels. How do they fit together?
2) Do they interrupt or overlap with each other?
3) Are there any images without any panel borders at all?
4) The spaces in between the panelsthe guttersindicate a change: in how time is passing, in
where you are, or in whom youre looking at or talking to. What do the gutters add to how you
understand the story?

Description and Word Balloons

5) Think about how the dialogue appears. Are the words different colors?
6) Written with thicker or thinner lines?
7) How would that sound?
8) How about the silence when no one is speaking?
9) Is there any narration or description (words in boxes, but not spoken)?
10) How is that important to how the story unfolds?

Sound Effects and Motion Lines

11) Sounds set the scene, signal something off scene, and add another layer to each story. Motion
lines indicate how characters or objects are moving. What sounds do you see?
12) How are each of the sounds writtendoes the way its written reflect what it actually sounds like?
13) What gestures do you see?

Art
14) Every creator has their own style. Is the art realistic? Cartoony?
15) What can you tell from the expressions on faces?
16) The gestures and movement of characters?
17) The background and its details?
18) If there is color, how does that change over the course of a page? Each chapter?

Appendix D

Graphic Novels
The 3 Graphic Novels That I Have Read:
Number 1
Title

Creative roles in
authoring the work

Genre
Plot Summary

Rating (out of 5)

Recommendation
(Age & Gender)

One thing that I liked

One thing I didnt like

Number 2

Title

Creative roles in
authoring the
work
Genre
Plot Summary

Rating (out of 5)
Recommendation
(Age & Gender)
One thing that I
liked

One thing I didnt

like

Number 3
Title

Creative roles in
authoring the
work
Genre
Plot Summary

Rating (out of 5)
Recommendation
(Age & Gender)
One thing that I
liked

One thing I didnt

like

Appendix E

7 Generations: Stone

Appendix F
THE BUFFALO HUNT OF THE PLAINS CREE

As told by: Joy Asham

My role was not to come until later, for now, the young men of the community were doing their thing. The
closest translation to what they were called is Warrior although making war was not their calling. The
Warriors were men of special honour: their job was to ensure that the core values of the group were met in
all aspects of daily life. They were responsible for monitoring the behaviour of others and taking steps,
when needed, to pass on lessons of survival and respect. Today they were off to seek the Buffalo, it was
time for the Hunt.
The most prestigious and dangerous position in the settlement was held by the Poundmaker. He was the
head of the Hunt and was responsible for its success or failure. He was technician, teacher, leader and was
full of Courage. Once a herds location was identified his work began in earnest. He observed the
weather, the wind and determined how much and how fast the Buffalo needed to be turned to bring them to
the Pound.
Everyone participated in the building of the Pound and the Drive Lines that would lead Brother Bison to it.
The Pound was round, constructed of the heaviest materials found on the Plains: rocks, wood and rubble
built to a height to contain the beasts. Two openings were left in the circle: one for the Buffalo to be led
into the structure and a smaller one directly opposite. The latter would be closed with a loose wood frame,
over which Buffalo flint hides were placed. A flint hide is one that has not been tanned, it makes a crinkly
sound when brushed against, a sound that the short-sighted bison was attracted to but did not like.
Because of their bad eyesight, Brother Buffalo might still approach the hide, thinking it was another
Buffalo, but then the rustling would turn them away. This opening was placed so that once the herd was
captured, the Creator could enter and take His pick.
From the other side, the opening was actually the end of Drive Lines. These lines often extended out up to
25 miles, wherever the herd lurked on the prairie. The Drive Lines were constructed out of various
materials which formed a funnel shape between them, the largest opening being nearest the Buffalo, the
small one leading into the Pound. Nearest the Pound the construction was strongest: often these, too, were
made with stone and wood and earth. Then the further out these funnel arms extended, the less heavily
constructed they were but along the way they were personned with older and younger people, waiting on
signal from the Poundmaker to set afire small piles of grasses. The smoke would turn the herd.
This is why it was so important for the Poundmaker to accurately know the wind and weather. He needed
to know in what direction the smoke would range and how this would turn the Buffalo. His job was just
beginning. He would prepare himself. He gave thanks to the Creator for the opportunity to help feed his
village, he cleansed himself with smudging of Sacred Grasses, and he also donned a flint Buffalo hide.
Taking rattle and drum and song into the herd, the Poundmaker joined the Buffalo. He looked kind of
special: he had two heads (his own and the one from the hide) and strange rustling skin. The other buffalo
would be drawn to him, yet keep their distance. And he would charm them. He would dance and rustle
and lead until all the herd would follow him, deep into the Drive Lines on the way to the pound.
Every once in a while there might be a stray. To stop this Brother, the Poundmaker would signal to a drive
line helper and grasses would begin to smudge the air and turn the Buffalo back in the right direction. Bit
by bit the drive lines closed behind the animals and they entered into the pound.
The drive line opening would then be closed and the Buffalo fell captive. They would not be killed as yet,
as the Warriors had more work to do. They counted the animals and accounted for their size and figured
out the resources each would supply. Around the fire that night they would determine the distribution of
the beasts: who was sick and old and needed the extra richness of organ meats? Who had to feed the most

people? Who needed Buffalo robes for clothes or for their lodge? They determined all these things so that
the Hunt would take care of all needs and that the meat harvest would be fair.
There was only one person who was not considered in the division of the beasts. That was the
Poundmaker. It was Honour enough for him to have led a successful hunt. He did not do it for personal
gain.
In the morning the herd would be counted again. The Old Ones tell me that the count was always missing
one or two, as the Creator had entered through the Flint Hide opening and taken His share. This presented
no real problem, in fact was a further sign of success and the Warriors had taken this into consideration
when they had determined the portioning out of the buffalo resources.
Then the killing would begin. Even after the coming of the Winchester, buffalo in pounds were seldom
killed with bullets. One didnt particularly want a stampede of a zillion tons of meat running through the
Pound. The lance and the arrow and sometimes the knife were used to put them down as speedily as
possible, wishing them no harm or pain. Prayers of thanks would be given at this time: thanks to the
Creator for the opportunity for the village to endure another year, and profound gratitude to the Great
Buffalo herd. You have given to us life, it has cost you yours, but be sure that we will use it all, not waste
and we Honour you for this great sacrifice.
The Poundmaker and the Warriors were almost done. It is my turn. Myself and the rest of the women take
care of the butchering. We skin, butcher, cut up and haul the beasts to the distribution area. The families
come and claim their share, again with much thanksgiving. The Warriors oversee this and ensure that
everyone gets what they need.
What of the Poundmaker? He has led an Honourable and successful hunt but how will he live? And then
they come from their lodges, all of them. They bring him the steaks and roasts and the cuts of meat that
they know he loves and needs. They express their Gratitude and Respect for him in this way, knowing that
in the greatest Humility he would never ask.
I somehow think that this must have been a very good system: the workers determining the bosss salary.
Meeqwetch,
As told by the Plains Cree Elders, Echo Valley, Saskatchewan (circa 1972) to Joy Asham
_________________________
Joy Asham is a First Nation storyteller and storymaker, cultural activist and regular contributor to
Wilderness North newsletters and podcasts, a regular member of the Writers Resource Team. She may be
reached at joyasham@gmail.com or through Wilderness North.

Appendix G

Appendix H

Mind Map Rubric

Neatness and
Presentation

The mind map

was well
presented and text
is legible and font
is particularly
appealing

The mind map

was well
presented and
most of the text
is legible and
font is appealing

The mind map

was well
presented.
Lettering was
sometimes hard to
read and font was
unappealing

The mind map

was not neat in all
areas. Lettering
was sometimes
hard to read and
font was
unappealing

The mind map was

untidy. Lettering
was hard to read
and font was
unappealing

Use of
images/shapes

Five categories
are enhanced with
appropriate
shapes or images

Four categories
are enhanced
with appropriate
shapes or images

Three categories
are enhanced with
appropriate shapes
or images

Two categories are

enhanced with
appropriate shapes
or images

Only one category

is enhanced with
appropriate shapes
or images

Use of colour

Has included
colour to clarify
all connections
and/or to
categorise topics
throughout the
mind map

Has included
colour to
demonstrate
some
connections and
or topics
throughout the
mind map

Has included some

colour in the mind
map but has not
used colour to
categorise
throughout the
mind map

Has used very

little colour in the
mind map and has
not used colour to
categorise
throughout the
mind map

Has failed to
include colour in
the mind map

Understanding

The mind map

demonstrates a
thorough
understanding of
graphic novels
and includes at
least 3 elements
for each category

The mind map

demonstrates a
very good
understanding of
graphic novels
and includes 3
elements for
some categories

The mind map

demonstrates some
understanding of
graphic novels and
includes at least 2
elements for each
category

The mind map

demonstrates some
understanding of
graphic novels and
includes 2
elements for some
categories

The mind map

demonstrates little
understanding of
graphic novels and
includes 2 or less
elements for each
category

Appendix I
WHAT IS A GRAPHIC NOVEL?
Term

Picture

Definition

Personal Connection

Instructions:

1. Write Graphic novel in the Term box (using a font and colour of your choice).
2. Write your definition of this term in the bottom, left hand box (consider the 5 key characteristic on your mind map).
3. Add a picture that you believe illustrates this definition in the top, right box.
4. Provide feedback on your personal response to graphic novels in the bottom right corner.

Appendix J

Teaching 7 Generations: Stone

Goals of Aboriginal Perspectives for Non-Aboriginal Students
To develop an understanding and respect for the histories, cultures, and contemporary
lifestyles of
Aboriginal peoples
To develop informed opinions on matters relating to Aboriginal peoples

What Is Cultural Awareness?

Cultural awareness involves the ability of individuals to consider how people embody
cultural values, beliefs, and perceptions emerging from the communities and histories of
which they are a part.
People see, interpret, and evaluate things in different ways. What is considered appropriate
behaviour in one culture may be considered inappropriate in another. Misunderstandings
arise when one person uses his/her cultural meanings to make sense of others realities.

What Is Racism?
Racism is the belief that race is a primary determinant of human traits and capacities and
that racial differences produce an inherent superiority of a particular group in other words,
members of one race are intrinsically superior to members of other races. Racism is
virtually always associated with power seekers and with forces seeking inequality, and
includes violent actions such as harassment, prejudice, discrimination, and stereotyping.
Racism is embodied in discriminatory actions and behaviours toward members of a race
simply because they are members of it.

What Is Stereotyping?
Stereotyping is a fixed and general set of characteristics or images believed to be true or
essential about a community or group of peoples. It influences the way individuals are
treated by those who assume how they will behave, often before they even enter the room.
Stereotyping is almost always harmful.

The Talking Circle is an excellent teaching strategy that is consistent with Aboriginal
values and perspectives. In a Talking Circle, each participant is equal, and each one
belongs. Students in a Talking Circle learn to listen and respect the views of others.
Is consistent with Aboriginal values of respecting all views and including all voices.
Is a powerful symbol of connectivity and completeness; the circle is the earth, the sky, the
sun, the moon, the teepee, the seasons, the cycle of life.
Presents a place where everyone is equal, where all can have a say.
Represents a place for healing, where the heart can be unburdened and words of
consolation can be freely spoken.
Supports students in learning how to listen respectfully and to express their ideas without
fear of ridicule.
Incorporates a talking stick, feather, or stone that can be held by the speaker to signal
that she or he now has the right to speak and the others have the responsibility to listen.
Helps students develop confidence in presenting their views, exchanging ideas,
examining concepts, raising questions, and exploring ideas.
Provides an appropriate framework for learning to respect and appreciate differences
between groups.

READING AND RESPONDING

1) Activating (before reading)
The graphic-novel series 7 Generations addresses and embodies many diverse and
complex parts of Aboriginal cultural and political history in what is now known as Canada.
The four books in the series are sensitive, emotional, and provocative. They often tell a
story that is different from some mainstream representations of Aboriginal peoples,
engaging students in alternative ways of knowing and perceiving the world through
Aboriginal experience and knowledge. The texts also provide important ways to explore
humanity, addressing such issues as family, community, and spirituality. It is, therefore,
important to provide students with a contextual frame and some background thinking and
information before engaging in any issues emerging from the 7 Generations series.

Major Themes
(i) The Setting
On a map, show the traditional territories of the Cree nation and how these lands have
changed from centuries ago to today. The Cree refer to themselves collectively as
Nhilaw (which means those who speak our language). They call themselves Cree
only when speaking English or French.
Share and read some of the treaties that involve the Cree nation, most specifically the
Numbered Treaties with Canada. Provide an interdisciplinary context for some of the major
players to these treaties, describe what was occurring at the time, and explain how these
circumstances emerged.
Explain and explore differences in territorial land claims that members of the Cree nation
shared with other tribal nations, such as the Oji-Cree, Dakota, Lakota, Blackfoot, and the
Anishinaabeg. If possible, provide some brief information on historical wars and trading
networks between all of these nations and communities involving land, resources, and
people.
Note: When reading the series, it is important to understand the historical rivalry between
the Cree and the Blackfoot.
Examine contemporary Aboriginal population data in Canada. Where are Cree peoples
today? Make a list of Cree reserve communities nearest to your school and/or mark the
communities on a map. Use different colours of pins to indicate Plains Cree, Woodland Cree,
Swampy Cree, etc.
(ii) Historical and Contemporary Plains Cree
Using the reference reading list at the back of this guide, provide some contextual
information on
Plains Cree culture and society, kinship formation and structures, the structure and
arrangement of marriages, symbols (such as the dreamcatcher), warrior societies, the
influence of the horse, the role of forests and waterways, recreational activities such as the
hoop game, and the presence and role of stories and storytelling.
With students, examine information about the following ceremonies in Plains Cree
tradition: the vision quest, the Thirst Dance (also known as Sundance or, traditionally,
Nipakwe Cimuwin), the Wake and Round dance (honouring death and bereavement), and
initiation into warrior societies.
Research the cultural and political importance of names, gifts, clothing, hair, and
medicines for Plains Cree communities.
Uncover the multiple roles animals played in cultural life, politics, and institutional
structures (specifically the bison, the bear, and the eagle). It may be useful to learn
something about traditional totemic systems of governance.
Examine gender roles in traditional Plains Cree culture and society.

 Create working definitions of Cree senses of family and community. How similar to and/or
different from mainstream Canadian senses of family and community are these definitions?
Study some of the impacts of colonialism on Plains Cree traditional culture and structures
and specific Canadian government policies and procedures such as the Indian Act,
residential schools, and the reserve system. Briefly overview some major historical events
in Canada-Aboriginal history, most specifically the British North America Act, the formation
of the provinces of Manitoba and Saskatchewan, the near extinction of the bison, and the
rise of agriculture and cities on the Canadian prairies.
Discuss actions of Plains Cree leaders from the 19th century (such as Mistahi-maskwa,
Pihtokahanapiwiyin, Ahtahkakoop, and Payipwat) and/or the present (such as John Tootoosis
and Perry Bellegarde).
Have students read materials by contemporary Plains Cree intellectuals (such as Louise
Halfe, Edward Ahenakew, and Neal McLeod) and by researchers (such as Deanne
Christenson and John Milloy) to understand how these cultural and societal systems
continue to exist today. See references at the back of this guide for a list of works written by
the above mentioned researchers. How have Plains Cree cultural and societal systems
changed? Use case studies (such as the bison hunt) to illustrate these changes and
examine how change influences epistemology, or the way a people view the world and
universe. Profile Plains Cree artists such as Allan Sapp, Maria Campbell, Michael Greyeyes,
and Winston Wuttunee, and explore how cultural production continues today. What stories
are being told by Plains Cree contemporary storytellers? How are these expressions
reflections of both traditional and contemporary epistemologies?
(iii) Family and Community
Ask your students the following discussion questions:
What does family mean to you? How are families formed? Who makes up your sense of
family?
What does community mean to you? How are communities formed? Who makes up your
sense of community?
Can you list all of the communities you are part of? That you will be part of in the future?
That you may never be part of?
In what ways are families like communities? In what ways are they not like communities?
Are male communities different from female communities? If so, how?
How does age influence the formation of communities? Are there specific youth
communities and adult communities?
What are some initiation ceremonies that indicate belonging in a family? To a community?
(iv) Health
Ask your students the following discussion questions:
What constitutes a healthy life? Can you formulate a working definition of good health?
What are the parts necessary and not necessary to having a healthy life?
What is sickness? What types of sicknesses are there?
Is everyones sense of health the same? What factors come into determining if someone
is living a healthy life?
What are cures? List as many cures as possible for the types of sicknesses you have
mentioned thus far.
Are cures the same as medicine? What are the differences? The similarities? If a medicine
is not a cure then what does a medicine do?
What sicknesses cannot be cured? What do you do when an illness cannot be cured?
What are the roles of family and community in helping one recover from sickness? Are
they important? How?
What sicknesses leave permanent reminders? What are these? What are scars? What
kinds of scars are there?
(v) Canadian and Aboriginal History
Ask your students the following discussion questions:
What do you know about Aboriginal history in Canada? Cree history? Plains Cree history?

 How much of Aboriginal history is part of Canadian history? For example, is preConfederation history part of Canadas history? If yes, what parts? Why do you think this?
When did Canada begin? How did it begin? What is the story of the history of Canada?
Could you write this story from what you know?
Is history influenced by epistemology (see page 8 of Teachers Guide for definition). Is
history objective?
Are there any missing details, facts, and/or perspectives in official versions of history?
Can you think of any examples? Are there some versions that are more correct than
others? Do power, money, and resources influence and control who get to tell their versions
of history and who do not?
How would you tell the complete story of Canadian history? Could you?
The introduction of smallpox was a major event in European-Aboriginal relations in
Canadas history. What do you know about the disease? What are its symptoms and
effects? How did the disease shape relationships between Aboriginal peoples and
Europeans and the formation of Canada?
(vi) Residential Schools and their Legacies
(vii) Personal History
Ask your students the following discussion questions:
How does the past influence the present?
How do we know about the past? What role does story play in history?
How is your personal history influenced by epistemology? Is it? Is personal history
objective?
What are some examples of how the past has influenced and affected you?
(viii) Cultural Narratives Myths and Legends
(ix) Personal Relationships
Ask your students the following discussion questions:
Have you ever made a promise to someone? What was it? How seriously did you take this
promise and why? How long can people hold promises?
Have you ever had a disagreement with someone? What was it about? How long did you
disagree? What rectified the issue?
What are grudges, and why do people carry them?
Are disagreements with family members more difficult to deal with than disagreements
with friends? Why or why not?
What are the ways in which a conflict can be mediated? Does it sometimes help to have
an outside person help solve a conflict? How?
What are some conflicts that occur between young people and their parent(s) or
grandparent(s)? How do these conflicts get resolved? Are there any times when these
conflicts cannot be resolved?

2) Acquiring (during reading)

COVER:
Examine the cover the only colour image in the graphic novel. Notice some seemingly
connected and similar images, such as the pills/stars, water/spirit, eagle/stone pendulum
and the similarity in stature and placement of hands of the two men at the forefront. Notice
other parts, such as the detailed font, some of the evident uses of certain numbers (such as
four lines of scars on Bears chest), and certain colours (such as red).
Discussion questions:
Why might all characters be looking to the right and the eagle to the left? Why is the
arrow pointing to the left?
What might the style and shape of the hair of the two characters say about them and the
state of mind each is in?

 What/who/where is Stone? What are some of the many uses of Stone that are evident in
this scene?
What could the presence of weapons in this scene mean?
What might be a central message as intended by the author? Considering such factors as
his biography and what you know about Plains Cree or Aboriginal traditions and cultures,
what do you think might be a purpose in writing this story?
Pages 15
The story opens with a shattered photograph of a man. Then, we see a woman in a car
making a call on her cell phone. It is raining, and there is much traffic. In the panels that
follow, we read the words from a note written to someones mother. We then see the
woman running into a house. There, she finds her son strewn out on his bed with vomit
around his mouth and pills all over the floor. In the panel above are words from the young
mans note, describing a dream where I was walking in the woods until there were trees
everywhere, towering over me, and I was lost. I realize now that Ill never wake from that
dream. I dont want to be lost anymore or waiting for somebody to find me. The young
man, named Edwin, has attempted suicide. Edwin is taken away in an ambulance to the
hospital, and in the final panel on page 3, a stoic doctor walks toward Edwins distraught
mother to report on her sons condition.
Edwin wakes up in a hospital bed with his mother looking over him. She tells him that she
found his note, and he has so much to live for. She also explains to him, Our past has
shaped us all, but Edwin turns away from her and says, The past isnt an excuse. Edwins
mother decides it is time to tell Edwin a story of where he came from.
Discussion questions:
What is the significance of the graphic novel being in black and white instead of in
colour? How does it influence your reading?
Look closely at the stone that Edwins mother is wearing around her neck. Is it the same
stone as the one on the cover? What might that mean if it is the same?
If Edwin is depressed because the phone never rings, why do you think his mother is
phoning him on this day?
Notice the similar web pattern on Edwins broken photo frame on page 1 and the large
picture panel on page 2. Notice, as well, that the photo frame has seemingly been repaired
on page 2. What might this mean? Do you think there are any connections with these two
web patterns and the dreamcatcher seen in
Edwins room? What might this mean?
Look closely at Edwins room on page 2. What do you know about him? What clues lead
you to see him in a particular way? What does he like? What was he likely doing before
getting sick on the floor?
Have you ever felt lost? If so, what did it feel like? What circumstances led you to feel this
way?
Are any contemporary stereotypes of Aboriginal peoples introduced or perhaps reinforced
in this section? What might those be, and where do you see them?
Edwin might be easily thought of as the stereotype of the drunk Indian (see Riverwinds
article at Blue Corn Comics). How is the author using this stereotype, and in what ways do
you think he may be upending it in the story that follows? What might be some differences
between those representations and this one, if any? Does Edwins note (adding context,
perspective, opinion, complexity) change this stereotype in any way?
What might happen if a person did not know his or her own history? What is valuable
about knowing ones history? What is perhaps not so valuable? (homework)
Notice how the caption box on page 5 is similar to the caption boxes for Edwins letter to
his mother. What might this mean?
Pages 610

Edwins mother begins to tell her son a story about Stone and his brother Bear, two Plains
Cree living in a village at the beginning of the 19th century. When Bear returns from a
warrior ride, Stone lets Bear know that he wishes to join the warriors. Bear reminds him of
his youth and inexperience. Before he becomes a warrior, Stone will have to be initiated
into the warrior society. He must go on a vision quest (seek a vision about his life and
future) and fast (not eat or drink) for four days. Bear also tells Stone that he will find items
after he has his vision that will remind him of his quest; he is to keep those items. Stone
then leaves on his vision quest. He enters a quiet space in the forest, where he prays to the
Creator for guidance and delivery. On the third day of his quest, he receives his vision in a
stunning array of images, which discomfort him and provoke him to run away. While
running, Stone stumbles, and he finds a stone in the shape of the eagle he saw in his
vision. He picks up the stone, and when he returns to his community, an elder tells him,
There are no accidents, Stone. The elder makes the stone into an amulet, which Stone
wears around his neck. Stone is told that his vision was of his past, present, and future his
destiny.
Discussion questions:
Bear returns from a ride with other warriors. Where do you think they are coming from?
Notice the bear on his regalia. What do bears do, and what might humans learn from them?
According to some of the reading references at the back of this guide, what might the bear
represent in Plains Cree culture?
A woman leads Bears horse away. What were some gender roles in Plains Cree culture?
Would we think of any of these as problematic today? Why?
Notice the images of smoke that permeate throughout page 7. How does this influence
your reading of Stones entry into his vision quest? How do the images of smoke provoke
particular emotions or ideas in you as a reader?
Stone walks into the forest and is surrounded by birch trees. What were birch trees used
for in Plains Cree tradition? What were birch trees used for in other Aboriginal cultures? How
might birch bark bitings or writings compare to the form of the graphic novel?
(homework)
Stone has his vision on the evening of the third day (perhaps the morning of the fourth
day) of his fast. How might you feel after not eating or drinking for three days? How does
the lack of food and water contribute to visions?
Look closely at Stones vision on page 9. Who do you see? If Stones vision represents his
past, present, and future, what image(s) denote(s) each? (Note that there are four distinct
images he sees.)
Why does Stone run? Have you already seen the stone that he picks up?
Pages 1014
Days after Stones vision quest, a meeting is held between members of his family and
family members of his childhood friend and love, Nahoway. Nahoway brings a gift of
moccasins for Stone, and her mother brings tea. At this meeting, it is determined that Stone
and Nahoway will marry, and Nahoway places her gift of moccasins on his feet. The bond
between the two families is thus assured and strengthened. Soon after, another camp
settles near the Plains Cree village. The men from the two encampments meet on the
prairie to test each others skills. The first game they play is the hoop game, a test of
accuracy with a bow and arrow, which Stone wins (and seemingly always wins). The
second game is a test to find out who can remain on his horse while running toward the
edge of a cliff. Bear wins the race, but is thrown from his horse and over the edge of the
cliff. As Bear clings to the cliff s edge, Stone reaches out and saves his brother, and Bear
commends Stone on his bravery. Bear then makes Stone promise that he will take part in
the Thirst Dance, the final requirement for him to become a brave. Stone promises.

During the night, Bear leaves Stone sleeping and sets out with other warriors to seek out
the Blackfoot, the traditional enemy of the Plains Cree.
Discussion questions:
Although Stone, the story, has been translated into English from Cree (see page 6), the
author decided to use Nahoways Cree name instead of using its English translation,
Distant Song. As a reader, what is your experience of reading words that have been
translated from a different language? Why do you think the author has chosen not to
translate Nahoways name but translates Bear and Stones names into English?
Gift-giving seems to be an important aspect of the meeting between the two families.
What does gift giving mean in Plains Cree culture? How would you feel if your family was
involved in your decision to get married? What would be the benefits or problems with this?
Why do you think this marriage will strengthen the bond between the two families?
(homework)
What might it mean symbolically, emotionally, and physically to make shoes for someone
and put them on that persons feet?
Throughout time, men have been meeting in competition. What are some examples of
this today? What do these tests of skill mean for men? For their communities?
How might Bear falling off the cliff and Stone staying on the cliff and helping his brother
foreshadow the events of the next page (Bears departure)?
Pages 1417
When Stone wakes up in the morning, he is alone. The story then returns to modern day.
Edwin is sleeping in his hospital bed with his mother watching over him. She decides to
take a break and goes for a walk along a crowded hospital corridor.
Edwin wakes up, alone. He is disappointed and frustrated that he is still alive and all alone.
As he gets up from his bed, he finds he is still weak and in emotional pain. His mother
comes back from her walk, returns Edwin to bed, and tells him it is not his time. She
reminds him that his pain is evidence that hes alive.
The reader is brought back to the 19th century. Bear has been killed by the Blackfoot, and
his body is returned to Stone and his family. Stone is enraged.
Discussion questions:
Pages 1415 and 1617 contain examples of a literary technique called juxtaposition
(items or events are placed close together or side by side for comparison or contrast). This
technique can help the reader better understand both sides of a story. The author uses the
story of Bear and Stone to shed light on Edwins life (and arguably vice versa) through
direct similarity (pages 1415) and indirect similarity (1617). Closely read both sets of
pages. Through juxtaposition, what does the author intend you to directly compare and
learn about these two stories? How are these two stories the same, and how are they
different? For instance, how do we understand Edwins mother if she acts in a role similar to
Bear, and vice versa?
Through juxtaposition, you are being asked to see Stones story as an allegory of Edwins
life. An allegory is a metaphor, symbol, or narrative that represents reality and often
sheds light on aspects of morality, character, politics, and religion. How do the events of
Stones growth in the graphic novel thus far tell the story of Edwins life?
Look closely at Edwin lying in his hospital bed and of the woman holding Bears body.
Notice such things as their similarities and differences, and the fact that they are facing
opposite directions (while one is alive and the other is dead). What might this say about
their current states of being and their futures?

 What do you think Stone will do? What do you think Edwin will do? Have you ever faced
something you thought was impossible to overcome? What did you do to tackle this
problem? What are Stone and Edwins options?
Pain is something both Stone and Edwin are experiencing. How is their pain the same?
How is it different? Is pain something that reminds you you are alive? How? (Homework)
Pages 1821
Continuing her story of Stone, Edwins mother explains that Stone travelled to The Calling
River, the place where the Plains Cree believed their loved ones could be heard from the
hunting grounds. The rivers sounds and the valleys echoes were their voices. While
there, Stone is visited by the spirit of Bear. Bear tells Stone not to be angry but to
understand: Life is fluid like the river. We are part of the circle. Bear tells Stone that the
time will come to seek revenge for his death. First, however, Stone must find patience in
order to grow. Bear also reminds Stone of his promise to participate in the Thirst Dance.
Stone returns home to his wife Nahoway, and they fall asleep, peacefully together in their
home.
Back at the hospital, Edwin asks his mother why Stone does not simply go and kill the
Blackfoot warrior who killed Bear. He says, I thought we used to be savages. He shouldve
scalped them and tore them apart. Edwins mother disagrees. We were never savages,
she says. Back then family was important, community. While revenge for damaging these
things is a right, the responsible choice of how to take revenge is now part of
Stones fate. She reminds Edwin that, like Stone, he will have to make choices that will
determine his future.
Discussion questions:
Where do you think spirits live? Are there any examples of spiritual places in your
community and/or territory? Why do people say that spirits live in certain places?
How is prayer like reflection on someones life? How do we see people (dead or
otherwise) when we reflect on them? Go back to pages 1415 and 1617: How are these
pages reflections of each other?
People often state that they can see ghosts. There are even television programs and
movies on this topic. Why do you think people have a need to communicate with spiritual
entities? What do they often want to say or hear?
Are there any places where your ancestors spirits live? For instance, people often equate
memories and places. Do you think memory and place are tied to spirituality? When people
pray and/or reflect, what might they be thinking of? Does it matter where people are when
they pray and/or reflect? Why or why not?
Research bereavement ceremonies among the Plains Cree. What is the journey, and
what does this mean? What are the implications and/or reasons of returning to the earth as
a spirit for someone who is on the journey? (Homework)
Reflect back on Stones vision quest and when he picks up the eagle stone. After seeing
the vision of Bear he does not take anything or does he?
Who is Stones family now, and what is the significance of Stone leaving Bears spirit and
living with Nahoway? Examine the final panel on page 21 a solitary teepee on the prairie.
How is family and community identified now, and how might this relate with Edwins
situation?
How many different types of family and community do you have in your classroom? What
factors lead to these changes? Do they happen slowly? Quickly?
Pages 2224
Stone leads a group of warriors on a bison hunt. He is given the role of the Poundmaker, the
most prestigious and dangerous position in any community. Dressed in an untanned hide,
he lures the bison into a pound built of mud, rock, and trees. There, warriors wait on top

and shoot the animals when they are trapped. After the hunt, an elder warrior comes up to
Stone and pronounces, You are ready. Preparations begin for the Thirst Dance.
Back to modern day, Edwin is becoming impatient and wants to leave the hospital. His
mother tells him that she and his doctors will not let him leave until they are sure he will be
okay. She tries to get Edwin to talk about what happened. He refuses and, instead, tells her,
Just finish the story.
Discussion questions:
Read the article The Buffalo Hunt of the Plains Cree written by Cree storyteller Joy
Asham and available at: <www.wildernessnorth.com/pdf/Asham-Buffalo-Hunt.pdf>. How
does Stones inheritance of this role mark his readiness for the Thirst Dance?
How important is the bison hunt to mens initiations into warrior societies? What would
happen to these roles if there were no longer any bison to hunt?
What are some contemporary tasks that both young men and women do to demonstrate
they are ready to be a man or woman? How important are ceremonies or tasks in the
formation of family and community? (Homework)
Is Edwin listening to the story and its lessons? What might he be missing? Could Edwin be
a Poundmaker someday? How? Is he ready?
Pages 2526
Two months later, Stone enters the Thirst Dance ceremony and, in preparation, dances for
days without water or food. He then participates in the Making of a Brave ceremony,
vowing to undergo trials on his body and mind as an offering to the Great Spirit. In the final
offering, an elder pierces a small piece of Stones skin. Stone then dances around a pole in
the centre of the lodge until the skewers tear away from him. He successfully completes the
ceremony and enters the warrior society of his community.
Discussion questions:
Stone has fulfilled his promise to Bear. Is this section the climax of Stones story?
The Thirst Dance (Nipakwe Cimuwin) is similar to ceremonies practised by a host of tribal
nations on the prairie. What are these other nations, and what are some of the similarities
and differences? (homework)
The Thirst Dance is often called the Sundance, a misnomer. It is actually an amalgamation
of several different intellectual systems of many nations. Are there examples of ceremonies
practised today that have origins from people of many different religions and backgrounds?
An offering of flesh and blood is one way someone can demonstrate his or her
commitment and belief in a way of life. Why is it seemingly so violent? What are some
other ways of demonstrating a commitment to a way of life?
During the Thirst Dance, an eagle appears, for the third time in the story (also see cover,
page 9). What are the similarities each time it appears? Why is the eagles mouth open
sometimes and closed at other times?
Are there examples of the Thirst Dance being performed today? Where? How has the
ceremony changed from previous years? How has it remained the same?
Pages 2730
Stone, now a member of the warrior society, finds the killer of his brother Bear. Lucky Day is
the name of the man who killed Bear. After killing the members of the Blackfoot party, he
kills Lucky Day and redeems his brother. Returning to his community, he is received by
Nahoway, who is pregnant. In the final panels, Stone is seen visiting The Calling River and
Bears spirit. The final scene from the past is of Stone, playing with and showing his eagle
amulet to his baby.
Completing the story, Edwins mother explains that she told Edwin the story of Stone to
show him that everyone has someone worth continuing life for, and this gives us hope.

Drives us. Even when sometimes its hard to keep going. She is, she says, fighting for him,
too.
She tells Edwin that she found a poem underneath his bed, and she now understands why
he tried to commit suicide. She reads the note to him. The final scenes are of Edwin crying,
sweating, and contemplating suicide again, before finally closing the medicine cabinet and
staring at himself in the mirror.
Discussion questions:
Stone decides to kill Lucky Day. Is this adequate revenge for Bears death? What values of
family and community would Stone have that would make this act acceptable? What values
does our society (or societies) have today that makes revenge killing unacceptable?
The name Lucky Day is an example of irony, the use of words or names to convey the
exact opposite of the action. What other examples of irony can you find in the graphic
novel?
Stone has an eagle on his tepee, in much the same way that Bear had a bear
representation on his horse on page 6. Although rarely mentioned in the text, what do
these two totemic and animal symbols mean, and how do they shed light on the story?
(Homework)
Nahoway and the nameless woman who takes care of the horses are the predominant
female characters in Stones story. How might we compare these characters to Edwins
mother? What roles do they perform? How do you feel about the female representations in
this book?
Stone has several body markings like Bear presumably from the Thirst Dance. What is
the significance of markings on your body, such as face painting, tattoos, and scars? What
do they remind you of? Do we see evidence of this tradition around today among Plains
Cree peoples? Among peoples from other traditions? How are body markings important to
community and family?
This is the final time we see Stone and his eagle amulet. Why do you think we see
Edwins mother wearing an amulet that looks exactly the same?
Look at the final page of the graphic novel. Is it a flashback, or does it occur after Edwin is
out of rehab? How does the story change if it is a flashback? If it is after Edwin leaves
rehab?
Who do you think wrote the poem that Edwins mother finds beneath Edwins bed? What
does the poem mean? What happened yesterday?

3. APPLYING (after reading)

Reflection and Discussion Prompts

What surprised you about this story? What did not?
What questions do you still have about this story? What is to be continued?
What research could you do to learn more about the following issues that are raised in the
story:
Plains Cree culture
Canadian, Aboriginal, and your own history
Health and suicide
Senses of family and community
Pick one section that you think is the most important or interesting in the graphic novel.
Explain in one paragraph why you picked this particular section.
What is the most evident message the author and illustrator wish to convey to you? What
is the most important message?
How does this message influence your thoughts on any of the above-mentioned themes?
Did you view any stereotypes of Aboriginal peoples in this story? How were they the same
as or different from popular representations of stereotypes in the media? How did the

author and illustrator engage with these stereotypes to get you to think about them in
different ways?

Inquiry Assignment for Students

After reading and discussing the graphic novel, Stone, have each student and a partner
formulate a question they want to pursue further. Student pairs can then create displays
based on their research. Students may include text, visuals, sounds, video, or any medium
that is deemed appropriate.
Optional: Students can also give a four-to-seven minute presentation that explains the
display.
Research Steps
Photocopy or write out the following research for students:
Choose a question, then make note of what you and your partner already know about the
question. Assess whether you have enough of a base to conduct research into this topic.
Find at least three different sources of relevant information for answering your question.
Take notes on each source, recording source information. Reflect on the quality of the
source information: Have you included both print and Internet sources?
Select and present the information using summaries, paraphrases, and quotations.
Develop a display (pictures, text, symbols, objects, artifacts, models, sounds, borders,
other visuals) to best represent the learning from your inquiry.

RELATED WEBSITES AND ONLINE RESOURCES

Aanischaaukamikw Cree Cultural Institute
<www.creeculture.ca>
Aboriginal Healing Foundation
<www.ahf.ca>
Aboriginal Literature in Canada: A Teachers Resource Guide
<www.r4r.ca/en/resource/aboriginal-literature-in-canada>
Aboriginal Peoples of Saskatchewan
<http://esask.uregina.ca/entry/aboriginal_peoplesof_saskatchewan.html>
Assembly of First Nations
<www.afn.ca>
The Basic Indian Stereotypes
<www.bluecorncomics.com/stbasics.htm>
Canada: A Peoples History
<www.cbc.ca/history>
Canada in the Making
<www2.canadiana.ca>
The Canadian Encyclopedia
<www.thecanadianencyclopedia.com>
Canadian Heritage. Four Directions Teachings.com.
<www.fourdirectionsteachings.com>
Cree
<http://en.wikipedia.org/wiki/Cree>
The Healthy Aboriginal Network
<www.thehealthyaboriginal.net>
Indigenous Peoples Literatures
<www.indigenouspeople.net/>
Libraries and Archives Canada
<www.collectionscanada.gc.ca>
Libraries and Archives Canada Native Residential Schools in Canada: A Selective
Bibliography
<http://www.collectionscanada.gc.ca/native-residential/index-e.html>
Nehiyaw Masinahikan, The Online Cree Dictionary
<www.creedictionary.com/>
North American Pre-Contact Native Culture Areas GIS Map
<www.kstrom.net/isk/maps/cultmap.html>
The Plains Cree
<www.schoolnet.ca/aboriginal/Plains_Cree/contents-e.html>

Saskatchewan Indian Cultural Centre Cree Ethnography and History

<www.sicc.sk.ca/heritage/ethnography/cree/history/>
The Shingwauk Project: Indian Residential Schools Research Centre
<www.shingwauk.auc.ca>
Through the Eyes of the Cree: The Art of Allen Sapp
<www.virtualmuseum.ca/Exhibitions/allensapp/>
Truth and Reconciliation Commission of Canada
<www.trc.ca>
University of Saskatchewan Archives kinanskomitin
< http://scaa.sk.ca/ourlegacy/>