cycles of life curriculum zine

HENRY JAKE FOREMAN

MASTER OF COMMUNITY AND REGIONAL PLANNING

Candidate

Department

This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee:

, Chairperson

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ACKNOWLEDGEMENTSACKNOWLEDGEMENTS

byHENRY JAKE FOREMAN

BACHELORS OF UNIVERSITY STUDIES (B.U.S.), CIVIC ENGAGEMENT AND NOT-FOR-PROFIT MANAGEMENT,

UNIVERSITY OF NEW MEXICO, 2010

THESISSubmitted in Partial Fulfillment of the

Requirements for the Degree ofMaster of Community and Regional Planning

The University of New MexicoAlbuquerque, New Mexico

May 8thSpring Semester, 2015

ThisThesisisfirstandforemostdedicatedtoourancestorsandthegenerationsyettocome.TheideaofthisprojectwasgiftedtomeinadreamfrommylatefatherHenryForemanJr.andIamhonoredtohavecompletedthiscycleofhealing.ThankyouMomforalwayssupportingmypassionsandremindingmethateverymomentisalearningmoment.MuchrespecttomysisterLisaandbrotherMichaelforsupportingCyclesofLifefromthebeginningandbeingthebest“Ate”and“Kuya”thatIcouldhaveeverhopedfor.

EqualthanksandpraisegoesouttotheUNMCommunityEngagementCenter,TheUNMHSCOfficeforCommunityHealthandtheUNMCommunityandRegionalPlanningProgramforallofthementorshipandtravelopportunitiesIhavereceivedthroughoutmy9yearsatUNM.CyclesofLifewouldnotexistwithoutthefinancial,intellectualandspiritualsupportthatIhavereceivedfromstudents,facultyandcommunitypartnersacrossNewMexicoandthroughouttheWorld.ShoutouttomymentorsDr.MichaelMorris,Dr.KiranKatira,Dr.AmyScott,Dr.GregCajete,andDr.TedJojola!

TheNativeAmericancommunityAcademyhasbeenavitalpartnerincreatinganddesigningCyclesofLifeandIwanttoshareaspecialthankstoArlenJohnandalloftheyouthIhaveworkedwiththroughoutthe4yearsofmyresearchprocess.ArtistslikeJayCeeBeyaleblessedthisprojectwithamazingartandforthisIameternallygrateful.Wearethechangewewishtosee! Lastly,IwouldliketothankmybeautifulpartnerandfiancéKalikaforalwaysbelievinginthepowerandvalueofCyclesofLife.IloveallofmyrelationslivingonthismagnificentplanetwecallEarth.Mayallbeingshavehappinessandthecausesofhappiness.

- Henry Jake ForemanMarch 24th 2015

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CYCLES OF LIFEby

HENRY JAKE FOREMAN (B.U.S.), CIVIC ENGAGEMENT AND NOT-FOR-PROFIT MANAGEMENT,

UNIVERSITY OF NEW MEXICO, 2010

ABSTRACTSubmitted in Partial Fulfillment of the

Requirements for the Degree ofMaster of Community and Regional Planning

The University of New MexicoAlbuquerque, New Mexico

May 8thSpring Semester, 2015

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TABLE OF CONTENTSTABLE OF CONTENTS

APPROVAL PAGETITLE PAGE ACKNOWLEDGEMENTSABSTRACTTABLE OF CONTENTSPROLOGUECONCEPTUAL STATEMENTINTERVIEWCURRICULUMGUIDELINESLIST OF REFERENCES

-TABLE OF FIGURES1.1 Logic Model1.2 The Research Design1.3 Education Canvas1.4 Curriculum Module1.5 Mycelial Archetypal Storyboard2.1 Prologue Co-Creative Assessment2.2 Conceptual Co-Creative Assessment2.3 Logic Model Template2.4 Final Project Rubric 2.5 Curriculum Template2.6 Photos2.7 Logos

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My story begins at my first breath. For 11 seconds, an umbilical cord postponed my birth and left a reminder of the truth of suffering by slightly hindering the development of the right side of my body. This experience began my quest to transform suffering into happiness.

he history of colonization is something that deeply permeates the world around me because, indeed, I am interconnected with it in every way. I began to awaken to the impacts of historical trauma on Indigenous Peoples of the World after my father passed away in the late winter of 2010. The Absentee Shawnee, the tribe of my Father and all our relations before him, have felt the brunt force of US military aggression and was once the Nation’s “Public Enemy Number One”. To rub our wound a little deeper, my Father never had the chance to learn the language, culture, and ceremonies from our relations, including never having the chance to know his father. My Mother and all our family in the Philippines have experienced colonization at the hands of multiple oppressors. The belief in the superiority of one race has and continues to have a bluntly painful effect on all humans especially Indigenous peoples. In fact, institutionalized and historical racism has systemically devalued Indigenous knowledge, beliefs, languages, worldviews and physical being.

PROLOGUESituating Self, Culture, Contextand Purpose

TT Growing up I was reaction. Reacting to 9/11, the Iraq War, immigration policies and constant injustices. I have experienced incredible amounts of anger aimed towards me because I asked critical questions and brought up inconvenient truths about our shared history in the classroom. Learning about diverse cultures kept me curious and focused during these turbulent times. Youth sub-cultures made me feel a part of something larger than myself and gave me an outlet to express my identity and culture. I was in a band throughout high school and I gained skills in cooperation and planning through playing shows in the Duke City. Printing band shirts and burning our own CD’s gave me a first insight into the power and accessibility of technologies that enable us to self-produce media that bypasses conventional producers and markets. More importantly, I discovered the “soft” power of co-creating culture through producing media. With a simple shirt you can communicate a plethora of information through the color, design, message and cut.

Admittedly, UNM seemed like something in the far off distance even though it is less than two miles away from my alma mater, Albuquerque High School. Although I witnessed violence, drug and alcohol abuse, gangs, and education policies that hindered our learning experience; I also developed an acute appreciation and pride in the cultural and physical landscape of our city. The school district itself encompasses many historic communities and is predominately Hispanic. Martineztown, Barelas, Old Town, Downtown, San José, and the “Valle Sur”, as well as other communities including my own Altura Heights neighborhood represented our school and were the “playgrounds” of my youth. What makes these communities so unique and culturally significant is that you can see and feel the history, with remnants of the past interacting with the present. This is where my passion began. These communities encouraged me to continue my education so that I could serve and create positive change and promote educational equity.

When I got accepted to UNM, I began working at the Santa Barbara/Martineztown Learning Center (SBMT) through the UNM Service Corps. This provided me the opportunity to work in a community that has been historically underrepresented and continues to face issues such as gentrification, high crime rates, lack of access to resources, and lower levels of income. In spite of these adversities, SBMT continues to thrive in large part due to community leaders and collaborative leadership initiatives. Working with this community inspired me to be engaged and active in the community to learn, share and reflect on ways to increase democratic and inclusive processes that value contexual knowledge and protocols. I believe that service work was fundamental in my success as an undergraduate student because I was able to apply what I was learning in my classes directly to impact others. By purposefully engaging in professional and academic internships, I was able to further specialize in activities such as grant and proposal writing, research, project management, evaluation, and networking. During my final semester before graduation my father passed away from cirrhosis of the liver from chronic alcohol abuse. The death of my father was the catalyst that brought about the motivation and desire to quit drinking and live healthier. I reflected deeply on the impermanence of all phenomena and through the realization of the dynamic state of all life, I came to treasure my breath like never before.

The more that I became aware of the preciousness of our time on this planet, the more I desired to live in the moment and to be close to life. This is when “Cycles of Life” was visioned and it started with a question. The question that I desired to answer was, “How can I embody, health, happiness, balance and relieve suffering?”. I knew that this wasn’t a question that can be easily answered but it was rather a challenge put forth to myself to see what I can accomplish throughout my life. It anchored me and provided purpose in my time of healing. I began answering this question through a process of visioning that goes through different stages of understanding and culminates with one becoming their vision. I went on my own journey of healing and transformation to reclaim and validate Indigenous teachings that emphasize experiential, spiritual and contextual knowledge. After four years of being on this journey and in the UNM Community and Regional Planning Program, I have come to the conclusion that not only is it possible to transform your self; It is also possible to transform your environment and those around you through your intentions and actions. I was able to document my experiences around the world to tell a story to youth about the importance of visioning and service to others.

Through this 21st Century Indigenous research process, I have come to understand that Indigenous peoples value relationships with all phenomena, not just through words or actions, but rather through a process of learning that is holistic, multidimensional and transmutational. Contrasting Indigenous worldviews with Western worldviews illuminate the shortcomings of a society whose ideology is based on the scarcity of resources and competition. This is in direct contrast to worldviews and epistemologies of Indigenous peoples that value all beings, not as commodities, but sacred interdependent parts of a larger whole. They are based on the dynamic flux of all phenomena and interconnected relationships of all things. The systems of learning in Indigenous societies are complex, intergenerational and place-based. My mentor Dr. Greg Cajete explains that Indigenous thought incorporates cosmic, spiritual and ecological knowledge through stories and lived experiences to relate and make connections. These foundations lie at the heart of the 21st century Indigenous education and create the roots of philosophies that describe and honor these largely ignored areas in Western education. Understanding diverse ways we learn expands our view of what constitutes knowledge and intelligence. By acknowledging the validity, history and application of diverse epistemologies the more one can transform the suppression and domination of one particular way of knowing to an inclusive view that values co-creation, diversity and place-based knowledge.

- JAKE FOREMANVI VII

PROLOGUESituating Self, Culture, Contextand Purpose

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This curriculum “zine” highlights applied decolonizing methodologies that can be used in community-based programs, institutions and neighborhoods across New Mexico and throughout the World to collectively decolonize and indigenize our society and ecology.

he conceptual framework of Cycles of Life is designed around a process that incorporates Indigenous worldviews and research methodologies to co-construct a regenerative educational model. I explicitly value voices and writings of Indigenous scholars, elders and youth from around the world and incorporated these learnings into the research and development process of Cycles of Life. The need for planning that integrates Indigenous worldviews and voices could not be greater due to the continued environmental degradation and health challenges we as Indigenous peoples face in the 21st Century. Indigenous planning and design is experiencing a re-emergence as a distinct discipline and innovation in the way we conceptualize planning and design. As Hirini Matunga states in “Theorizing Indigenous Planning”, Indigenous planning must have as its fundamental aim, “the construction of theory, practice, and methodologies to “plan” these communities out of this state and in so doing refuse/reject their continued oppression” (Matunga 2013).

CONCEPTUAL

TT Indigenous theory, Praxis, and methodologies can enhance our understanding of how we “come to know” and what accounts for knowledge. It is an epistemological quest that is inherently co-creative and experiential. Praxis is a reflective process that incorporates theory with practice. Praxis as defined by Paulo Freire is, “Action and reflection of men and women upon their world in order to transform it” (Freire 1970). It is a pedagogy or way of teaching that is reflective, democratic, co-creative and transformative. It is a critical engaged pedagogy of hope that values humans as co-creators of knowledge and culture. The critical reflective component establishes the dynamic and cyclical process of this transformative pedagogy. It allows for a process that critiques dominant ideology, epistemology and values to refine and enhance our understandings. I feel that this process is similar to traditional Indigenous education because it allows for everyone’s voices to be heard and values contextual and subjective knowledge.

With praxis as the foundation of my research methods, I began reading books pertaining to Indigenous planning, design and education as well as articles relating to health equity and diffusions of innovations. “Look to the Mountain: An Ecology of Indigenous Education” provided me with an Indigenous research process of visioning. Dr. Greg Cajete expresses a 7-stage process of Asking, Seeking, Making, Having, Sharing, Celebrating, and Being that he himself went through writing his book and developing Indigenous science curriculum. I began to put my knowledge into action by visioning and planning a research process that took over four years to complete. “Indigenous Research Methodologies” by Dr. Margaret Kovach and “Decolonizing Methodologies” by Linda Tuhiwai Smith provided me examples of a structure I could use to conceptualize my research process. These scholars also gave me inspiration and words to describe what I have always felt about dominant scholarship that devalues qualitative and experiential knowledge.

Decolonizing theory and methodology became an integral component of my research process because it allowed me to justify and validate the spiritual, place-based and action-oriented design of this project. It required that I immersed myself into a community-based action research process that required me to be a “living model” for social and environmental justice. Story as methodology is an important tool for Indigenous researchers to utilize because it helps provide a frame of reference for people while reframing the notion of objectivity through illuminating the subjective viewpoint of the researcher through storytelling. I decided to digitally document my research process over the course of four years to visually articulate my personal story of healing through designing and planning a critical engaged research project that allowed me to learn 21st skills and build relationships locally and throughout the World. The importance of understanding and incorporating my “indigeneity” into my research process came to me as an inspiration from UNM professor and founder of the Indigenous Design and Planning Institute, Ted Jojola. Professor Jojola explained the need for increased internal capacity within the tribes, increased intergenerational engagement, and a values-based process that utilizes a seven generations planning model. Indigenous education plays a critical role in addressing these issues so I enrolled in an alternative teaching licensure program entitled GENAC: Growing Native American Educators through a partnership with CNM and the Native American Community Academy.

I further developed the Cycles of Life curriculum to incorporate Common Core Standards and Indigenous planning and design principles. I decolonized my mind researching and designing curriculum with archetypes like the 5 elements of Earth, Water, Fire, Air and Space and numerical patterns found in traditional ecological knowledge and our Universe. Understanding patterns and systems requires multidimensional and abstract reasoning all of which are indispensable skills for the 21st Century. We need more Indigenous youth to be engaged in long-term planning processes because they have the most at stake and the power to unite people towards a common vision. Cultivating partnerships between youth and adults can provide many solutions to current community identified issues throughout New Mexico. People from all age levels can engage with their community in positive ways through Indigenous research methodologies that incorporate a process of visioning that manifest solutions and healing. Ultimately we are creating a culture where students will be interested in continuing their education to further help address community needs. It can help expand this field of Indigenous planning and design by ensuring that youth from underrepresented communities have the skills, passion and motivation to help their own communities. These youth will be very valuable assets because they possess a embodied understanding of the culture, values, norms, and issues facing their communities. This will help nurture resilient communities and increase economic, educational and health equity in our World.

The need for positive role models and experiential education gave me both the motivation and support to work with a diversity of schools, community based programs and businesses. As Dr. Linda Tuhiwai Smith asserts, “local theoretical positioning is the modality that renders critical theory effective in the emancipatory process” (Smith 2001). Meaning, it is a dynamic participatory process grounded in an awareness of context and culture and thus is collaborative and applicable to community identified needs. Furthermore, local theoretical positioning honors the contribution of local “organic intellectuals” and scholars. I personally met and attended lectures by some of the most illuminating Indigenous scholars of our time and I am proud to say that many of them call New Mexico home. As a planner I have been very strategic in building and maintaining good relations with Indigenous peoples and planners around the world. I can now say that I truly understand my self, purpose, culture and context and I am constantly seeking out people who have wisdom and knowledge. Utilizing decolonizing methodologies is an explicit way to value the contribution and scholarship of Indigenous peoples and other underrepresented groups. The hegemony of Western academia with predominantly ethnocentric scholarship does not reflect the demographic of New Mexico nor adequately address the complex and interconnected issues that we collectively face.Indigenous scholarship offers a leading edge in re-visioning education that can reframe our perception who we are and how we relate to the World around us.

FRAMEWORKCONCEPTUALFRAMEWORK

COL: What do you teach and how do you teach it? What instructional resources do you use?

HJF: The Cycles of Life curriculum is designed to teach 21st-century skills through a engaging process using Indigenous planning, design, research and education to learn and share innovations in the way we design and invigorate our human experience. Students work both individually and collaboratively to design and plan projects that positively impact themselves and communities in a “studio” environment. Students share and receive critique from peers, facilitators and professionals to refine and enhance assignments and understanding. All of our learning is done in an environment where creative solutions are valued and dialogue is encouraged. Project-based curriculum allows students to exercise their inherent creativity and apply it to real world issues. They gain practical skills and experiences as being educators and designers in a “real world” activity. Students also learn and apply tools to effectively conceptualize, plan and communicate information to diverse and multi-generational audiences. It is an asset based approach where student’s passions are encouraged.

I use the creative Praxis of First Insight, Immersion, Application and Reflection which facilitates a multi-sensory learning experience. During the Immersion stage I provide students “models of excellence” that includes academic work that I have completed for my Master’s Thesis in Community and Regional Planning. I also use social media to elaborate on concepts and themes relating to our “Enduring Understanding” or lesson objective. In the Application stage, students apply what they have learned from primary examples to create their own custom assignments. The Reflection stage is a collective sharing process that gives the students a space to share, critique and affirm their understanding of the lesson as well as clarify any aspect of the lesson and task at hand. I act as a mentor that poses questions and provide critique and guidance in a safe and comfortable environment. I invite guest critique panelists from the community to mimic real-world performance tasks where students collaboratively share projects that they have designed and created. Guests also share experiences from their personal and professional life to motivate youth to continue their education and apply it to positively impact our shared World.

TEACHING, APPLYING AND ASSESSING THE

CYCLES OF LIFE CURRICULUMAn Interview with Henry Jake Foreman

COL: How will you determine the success of this curriculum? What student-generated resources will you have to determine this? HJF: The success of this curriculum will ultimately be determined through multifaceted reflection and individual assignments. Reflection is a critical component of Praxis because it allows for critique and transformation. It is a regenerative pedagogy or process of learning because it is constantly being modified to better serve the our needs through reflection. Each lesson has a reflection stage to solicit critique and questions. Participants will complete final products such as physical and virtual portfolios, video documentaries, magazines, and web resources that highlight the visioning, implementation, and regenerative design of this transformative learning model. The quality of assignments will be collaboratively determined by participants, community members and facilitators. Participants will present final projects that emphasize their creative process which includes drafts, peer critiques, and final versions of assignments. Assessment is designed for measuring improvement through tracking stages of understanding.

COL: How will students apply their newfound knowledge? What opportunities will they have to demonstrate their knowledge and understanding?

HJF: Students will apply their newfound knowledge in a variety of academic and professional experiences. Tools like logic modeling, message mapping and sequential organizing are essential for effective communication and accessing resources. They offer a “first insight” into the fields of planning and education through a culturally resonant project-based learning experience. Incorporated into this curriculum is a regenerative process where students design their own curriculum model that diffuses innovations in health, education, planning and design. These “seed” projects can grow into applied and disruptive innovations that promote foundational goals of freedom, justice and democracy. Teaching students about designing and planning “diffusions of innovations” invigorate our collective resiliency and agency through increasing local internal capacity and multigenerational engagement. Throughout the co-creative process, students collectively explore how Indigenous design, planning, research and education are innovations in how we “come to know” and interact with our shared World. Each assignment and performance task can be applied directly to each individual’s personal and educational goals. 21st Century Skills like collaboration and communication are strengthened through group assignments and presentations. Understanding and applying these skills will positively impact participant’s employability and skill sets. Technology is providing the means and creative outlet for many young technologically savvy individuals to express themselves and share information that is not being picked up by the “mainstream” media. Teaching on the latest current events, innovations in technologies and socio-environmental movements is not only engaging but necessary in understanding the importance of the lessons and tools of our curriculum. Uncovering trends and current events requires critical research skills for accessing information and sharing it with diverse audiences. Students demonstrate their knowledge and understanding through their methodological and pedagogical choices they utilize in their planning and design process. Ultimately students are applying diverse epistemologies or ways of “coming to know” to provide solutions.

mentorship

documentation

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THE ESSENCE OF INDIGENOUS SCHOLARSHIP ISNATIVE SELF

How does history, culture and context impact to our personal understanding of our identity?

15 minINTRODUCTION TO INSTRUCTIONAL FRAME, ENDURING UNDERSTANDING AND ESSENTIAL QUESTION

• Mindful breathing • Collectively define Indigenous, Scholarship,

Decolonization and Indigeniety• Read except from the book, “Reclaiming

Indigenous Planning and Design” -Conclusion pp. 466-467

• Dialogue on the Essential Question

15 min +GATHERING AND SHARING OF INFORMATION

• Create sequential graphic organizer for draft Prologue

• Create columns with titles such as Culture, Context and Passions

• Model Critique protocol and explain the iterative assessment process

15 minREFLECTIONS ON THE WORLD IN ORDER TO TRANSFORM IT

The Reflection stage is a collective sharing process that gives the students a space to share, critique and affirm their understanding of the lesson as well as clarify any aspect of the lesson and task at hand

15 minSTORY AS METHODOLOGY

• Share a personal story of how reflecting and understanding on identity, context, culture and purpose has positively affected your personal and professional life

• Read “Indigenous Methodologies”• -Situating Self, Purpose, Culture and Context• Share sequential graphic organizer used to

write a prologue (3 columns and rows).• Ask questions to solicit dialogue on essential

elements of an autoethnography

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• Work to preserve and strengthen the wholeness of Indigenous people, places and ecologies through critical engaged Praxis

• Read, research, annotate and apply Indigenous worldviews into various performance task• Have self-knowledge of how one understands best and commits to exploring ways to improve his or herself

and the environment around them

CCSS.ELA-LITERACY.RH.11-12.5Analyze in detail how a complex primary source is structured, including how key sentences, paragraphs, and larger portions of the text contribute to the whole.

CCSS.ELA-LITERACY.RH.11-12.7Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem.

INDIGENOUS CORE STANDARDS-ICS 1.1Develop self-awareness by using productive habits of mind and heart to reflect on the meaning of the learning, the experience, and possible outcomes.

INTRODUCE TERMS, CONCEPTS, PARADIGMS, AND “BIG IDEAS” THAT SUPPORT OBJECTIVES

• Model critique protocol and explain the iterative assessment process

• Define key words and “big ideas”ASSESSMENT:• Share and critique sequential graphic

organizers

RESOURCES“Indigenous Methodologies” by Margaret Kovach“Reclaiming Indigenous Planning” Concluding chapter

APPLY THEORETICAL AND CONCEPTUAL KNOWLEDGE THROUGH EXPERIENTIAL AND PLACE-BASED PERFORMANCE TASKS

Write draft Prologue using sequential graphic organizer, “Model of Excellence”, and Co-Creative Assessment

ASSESSMENT:• Complete peer Co-Creative Assessment• Modify and edit prologue• Final instructor Co-Creative Assessment and

critique

ANALYZE, CRITIQUE AND REFLECT ON THE PROCESS AND FINAL PROJECTS TO ENHANCE AND TRANSFORM UNDERSTANDING

Design an engaging presentation and curriculum for peers and target audienceASSESSMENT:• Integrate elements of prologue into digital

story and final portfolio presentation• Performance rubric completed by community

members, peers and educators

IDENTIFY PATTERNS, THEMES AND ARCHETYPES TO ENHANCE COMPREHENSION AND CONNECTIONS

Provide diverse examples of Prologues and Autoethnographies across cultures and mediaASSESSMENT:• Read and critique “Model of Exellence”

prologue provided in curriculum “zine”• Identify essential elements including situating

self, purpose, culture and context• Complete and share Co-Creative Assessment• Instructor check-in and mentorship

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE

INTEGRATIVE TRANSFORMATIVE

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE


ENDURING UNDERSTANDING

ESSENTIAL QUESTION

FIRST INSIGHT IMMERSION

REFLECTION


ESSENTIAL QUESTION


REFLECTION

ASKIN

Gearth

APPLICATIONAPPLICATION

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INDIGENOUS VOICES NEED NO TRANSLATIONS

How can you communicate in a way that resonates with diverse multigenerational audiences?


• Mindful breathing • Collectively define Resonance, Diffusions of

Innovations, 7 Generations Planning and Non-Violent Communication

• Read except from “Reclaiming Indigenous Planning and Design”



• Create sequential graphic organizer for conceptual statement

• Create columns with titles such as Objectives, Theory, Purpose and Value





• Share a personal story of how Non-Violent Communication and voicing your opinion has positively affected your personal and professional life

• Share sequential graphic organizer used to write a conceptual statement (3 columns and rows).

• Ask questions to solicit dialogue on essential elements of conceptual statement

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organizers




ASSESSMENT:• Complete peer Co-Creative Assessment• Modify and edit Prologue• Final instructor Co-Creative Assessment and

Critique






Provide diverse examples of health messaging and advertising across cultures and mediaASSESSMENT:• Complete and share Co-Creative Assessment• Instructor check-in and mentorship• Vision and design visual media for project• Identify essential elements including clarity,

flow, consistency and balance

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE


OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE



ESSENTIAL QUESTION


REFLECTION


ESSENTIAL QUESTION


REFLECTION

SEEKING

water


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PROCESS MUST BE INFORMED BY THE INDIGENOUS WORLDVIEW

How can we reconceptualize and apply Indigenous cosmic, ecological and spiritual knowledge in the 21st century?


• Mindful breathing • Collectively define Indigenous, Worldview,

Paradigm, Cosmology, Epistemology and Pedagogy

• Read except from the book, “Reclaiming Indigenous Planning and Design”



• Create draft logic model using template• Create long and short-term outcomes you hope

to reach• Develop activities that will help you reach your

outcomes• Model Critique protocol and explain the

iterative assessment process




• Share a and excerpt from “Look to the Mountain: An Ecology of Indigenous Education”

• Share social media of logic models used in diverse settings

• Share “Model of Excellence” Logic Model• Ask questions to solicit dialogue on essential

elements of a logic model

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organizers




ASSESSMENT:• Complete peer Co-Creative Assessment• Modify and edit Prologue• Final instructor Co-Creative Assessment and

Critique






Provide diverse examples of Prologues and Autoethnographies across cultures and mediaASSESSMENT:• Complete and share Co-Creative Assessment• Instructor check-in and mentorship• Read and critique “Model of Excellence”

Prologue provided in curriculum “zine”• Identify essential elements including situating

self, purpose, culture and context

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE


OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE



ESSENTIAL QUESTION


REFLECTION


ESSENTIAL QUESTION


REFLECTION

MAKIN

Gfire


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THEIR IS UNITY IN DIVERSITY, ABOVE AND BELOW, FROM THE MICRO TO THE MACRO

What are the moral and practical dimensions of “leading edge” scientific discoveries that validate traditional Indigenous ecological knowledge?


• Mindful breathing • Collectively define Biocultural Diversity,

Microdiversity, General Systems and Mycelium • Read except from the book, “Native Science” • Dialogue on Indigenous science concepts

like Dynamic Flux, Interdependence, and Compounded Phenomena


• Create soil food web with special emphasis on decomposers like fungi, bacteria, and invertebrate

• Share the essential elements of effective composting such as ratios of carbon, nitrogen, water and oxygen




• Share a personal story of how reflecting and understanding Dynamic Flux, Interdependence, and Compounded Phenomena has positively affected your personal and professional life

• Share except from the movie, “Symphony of the Soil”

• Share social media of the benefits of increasing soil microdiversity

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• Define key words and “big ideas”ASSESSMENT:• Create a visual soil food web • Reflective note on the essential elements of

composting

RESOURCES“Indigenous Methodologies” by Margaret Kovach


Collect soil samples from diverse placesAnalyze soil samples using a microscope and techniques from the Rodale InstituteASSESSMENT:• Complete soil lab• Identify microorganisms in soil• Dialogue on ways to increase microdiversity in

soil


Compost and remediate soil using myco-brewed compost teaASSESSMENT:• Brew compost tea using water soluble

mycorrhizae and Effective Microorganisms (EM1)

• Performance demonstration with service learning experience


Provide diverse examples of dynamic and interdependent systemsASSESSMENT:• Complete definitions of soil terms and

microorganisms• Instructor check-in and mentorship• Reflection on social media relating to soil

biology and “leading edges” of agriculture

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE


OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE



ESSENTIAL QUESTION


REFLECTION


ESSENTIAL QUESTION


REFLECTION

HAVING

air


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DESIGNING A 21ST CENTURY INDIGENOUS CURRICULUM IS A CREATIVE PERFORMANCE TASK EXPRESSED AS ART

How can you integrate play, passion and culture into an unified educational framework?


• Mindful breathing • Collectively define Praxis, Mandala, Indigenous

Education, 21st Century Skills, Understanding by Design

• Read except from the book, “Creating Innovators”


• Create Mycelial Archetypal graphic organizer for draft Curriculum Mandala

• Create clusters with titles such as Big Ideas, Assessment and Activities

• Model Critique protocol and explain the iterative assessment process




• Share a personal story of how visioning and designing a 21st Century Indigenous Curriculum has positively affected your personal and professional life

• Share Mycelial Archetypal Storyboard graphic organizer used to create the Cycles of Life Curriculum

• Ask questions to solicit dialogue on essential elements of an Indigenous curriculum

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• Define key words and “big ideas”ASSESSMENT:• Share and critique Mycelial Archetypal

graphic organizer for draft Curriculum Mandala

RESOURCES“Look to the Mountain” by Greg Cajete“Mycelial Archetypal Storyboard” Fig. 1.5


Design draft curriculum using Curriculum Template (Fig. 2.5), sequential Mycelial Archetypal graphic organizer, “Model of Excellence”, and Co-Creative AssessmentASSESSMENT:• Complete peer Co-Creative Assessment• Modify and edit curriculum • Final instructor Co-Creative Assessment and

Critique


Design an engaging presentation and curriculum for peers and target audienceASSESSMENT:• Share and implement curriculum in final

portfolio presentation• Performance rubric completed by community



Provide diverse examples of mandalas and Curricula across cultures and mediaCreate visual depiction of curriculum mandala using archetypes, symbols and colors ASSESSMENT:• Complete and share draft curriculum mandala• Instructor check-in and mentorship

OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE


OBJECTIVE/STANDARDS

FORMATIVE NORMATIVE



ESSENTIAL QUESTION


REFLECTION


ESSENTIAL QUESTION


REFLECTION

SHARIN

Gspace


LIST OF REFERENCESLIST OF REFERENCES

Basic Call to Consciousness.(1978).(A.NotesEd.).Summertown,Tennessee:NativeVoices.

Brandt,J.B.a.R.(Ed.).(2010).21st Century Skills: Rethinking How Students Learn.Bloomington,IN:SolutionTreePress.

Cajete,G.A.(1999).Igniting The Sparkle: An Indigenous Science Education Model(pp.233).Skyand,NC:KivakiPress.

Cajete,G.(2000).Nativescience:Naturallawsofinterdependence.SantaFe,N.M:ClearLightPublishers.

Cajete,G.(1994).Look to the Mountain: An Ecology of Indigenous Education.FirstEdition.Durango,CO:KivakiPress. Freire,P.(1970).Pedagogy of the Oppressed(3rded.,pp.183).NewYork,NY:ContinuumInternationalPublishingGroup.

Kovach,M.(2009).Indigenous Methodologies.Toronto:UniversityofTorontoPress.

Porteous,NancyL.,Sheldrick,BarbaraJ.,Stewart,PaulaJ.(1997).The Logic Model: A Blueprint For Describing Programs.Ottawa,ON:Ottawa-CarletonHealthDepartment.

Rogers,E.M.(1995).Diffusion of Innovations(4thed.).NewYork,NY:TheFreePress.

Rosenberg,M.B.(2003).Nonviolent Communication: A Language of Life (2ndEditioned.).Encinitas,CA:PuddleDancerPress.

RyanWalker,T.J.,andDavidNatcher(Ed.).(2013).Reclaiming Indigenous Planning (1sted.Vol.70).Montreal,Canada:McGill-Queen’sUniversityPress.

Smith,L.T.(2012).Decolonizing Methodologies: Research and Indigenous Peoples. London:ZedBooks.

Stamets,Paul.(2005).Mycelium Running: How Mushrooms Can Help save the World.Berkeley,CA:TenSpeedPress.

Wagner,T.(2012).Creating Innovators(pp.270).NewYork,NY:Scribner.

Waziyatawin,A.W.a.M.Y.B.(Ed.).(2005).For Indigenous Eyes Only: A Decolonization Handbook.SantaFe,NM.

1615

FINAL PERFORMANCE TASK(modified from kickstarter.com)

• Introduceyourselfandanyteammatesinvolvedwithyourproject.

• Explainthecontextandissue(s)youhopetoaddress.Howhave people tried to address this issue in the past? Are there any theoriesorpromisingpracticesthatalreadyexist?Howisyourprojectinnovative?

• Tellthestorybehindyourproject.Shareanyprogressyou’vemade so far. Share any photos of early prototypes or any research you’vedone.Whatskillshaveyoulearnedfromthisprocess(Potentialsupporters appreciate these kinds of details)

• Shareatimelineforhowyouplantocompleteyourproject.Beopenandhonestaboutwhateveryou’restilltryingtosortout.

• Includeyourbudget—evenifit’sjustaroughone.Abudgetisproofthatyou’veplannedahead.Includetheamountofhoursyouhave spent working on the project and quantify the value of your time.

• Shareyourmaterialevidencefromyourportfolioincludingdraftsand peer critiques

• Explaintheprocessforteaching(praxis)aboutyourproject/issueyou hope to address

• Mostimportantly,havefunwithit!Thisisyourchancetoshine.

GUIDELINES

• Prologue• Peer Critique of Prologue• Logic Model• Message Map• Presentation of Message Map • Conceptual Statement• Peer Critique of Conceptual Statement

• Curriculum module• 7 Stages of Visioning• Visual Documentation• Final Performance Task • Professional Critiques• Final Reflection (Individual Contribution)

FINAL PORTFOLIO

LONG-TERMOUTCOME

SHORT-TERMOUTCOMES

TARGETGROUPS

ACTIVITIES

COMPONENTS

LOGICMODEL

CHANGEAGENTS

CIVICINSTITUTIONS

COMMUNITY-BASEDORGANIZATIONS ARTISTS YOUTH

FACILITATE TRANS-DISCIPLINARY PROJECT-BASEDLEARNING EXPERIENCES THAT INCORPORATES

COSMIC, SPIRITUAL AND ECOLOGICAL TEACHINGS

INDIGENOUSEDUCATION

INDIGENOUSPLANNING

INCREASED DEMOCRATIC, INCLUSIVE AND EQUITABLE

SYSTEMS THAT SUPPORT THE HEALTHAND WELL BEING OF ALL LIFE

INCREASED INCLUSIVEUNIFIED EDUCATIONAL

FRAMEWORKS THAT NURTURE LEADERS FOR THE 21ST CENTURY

THROUGH CRITICAL ENGAGEDPRAXIS

INCREASED COMMUNICATIONAND COLLABORATION WITH MULTIPLE CIVIC ENTITIES TO

COLLECTIVELY IMPACT SOCIAL AND ENVIRONMENTAL

TRANSMUTATION

DESIGN AND IMPLEMENT MULTI-GENERATIONALPLANNING PROCESSES USING INDIGENOUS

RESEARCH METHODOLOGIES

DIFFUSE INNOVATIONS ON “RESILIENT” LIVING THROUGH CONDENSED, ACCESSIBLE AND

CULTURALLY RELEVANT SOURCES OF INFORMATION

CREATE AND MAINTAIN AUTHENTIC, RECIPROCAL AND TRANSPARENT RELATIONS WITH YOUTH AND

COMMUNITY MEMBERS TO ENHANCE COLLECTIVE IMPACT

ENHANCED CIVIC ENGAGEMENTAND LOCAL INTERNAL CAPACITY

TO SOLVE ISSUES OF PUBLIC CONCERNS

17 18

1.1 1.2 Chart Overviewthe research design

Cycles of lifeharmonic curriculum module

conceptualization EmphasisMulti-dimensionalresearch design

Curriculum research and developmenta foundational model

Learning activitiescontentaims

Epistemology Society/culture the learner learning theory

evaluation

components

foundation

implementation

adapted from zais, robert. curriculum principles & foundation (1976)cajete, greg. igniting the sparkle (1999)

Video participatoryprocesses

Micro ethnographicstudy and documentary

Multidimensional assessments

Student’s perceptions

Facilitator’s perceptions Portfolio assessment

Integrated reflective curriculum model

Multisensory High context communication

Experiential

Left right brain learning

Critical thinking

De-colonizing activities

Service learning

Indigenous science

Indigenous planning and design

Indigenous health

Western scientificprinciples

Eastern scientific principles

Interdisciplinary

Integrated

Social entrepreneurship

Indigenous Science literacy Indigenous health literacy

Indigenous planning and design literacy

Nurture and expandconsciousness

Create and strengthen connections

Indigenous teaching and learning methods

Western educational philosophy and methodology

Diverse cosmic spiritual ecological epistemologies

Emergent evolutionary culture

Socioeconomic and environmental factors Multiculturalism

Indigenous contemporary culture

Indigenous societal andenvironmental needs and expectations

Technosphere

Holistic orientation

Peer culture

Indigenous cultural and personality configurations Technologically savvy

Holistic learning theory Humanistic orientations Multiple intelligences

Constructivism

Indigenous pedagogy

General systems theory Social learning

Transformative learning Techno shamanism

Teaching as a contextual communicative art

Indigenous teaching and learning styles

Indigenous cultural sciences

Indigenous arts and healing practices

Creative process

Connecting theory with practice (praxis)

Gathering of information Field observations Analysis of content

Researching of existing data

Review of media and the World Wide Web

Creating and maintaining good relations

Rituals and ceremonies

A resonant diffusion of indigenous planning and design, science and health to students at the primary, secondary and postsecondary levels

Participant observation

Research using diverse channels of communication

Relevant consultation

Workshops

Courses

Mentorship interactions

Educational booths

Multimedia presentations

Data gathering

Field observation

Literature review

Creative synthesis

19 20

1.3 1.4

1.5

learner role educatorrole

practicestrategies culture

policies/customsenablers/technologies

learningoutcomes

pedagogicalbelief

• UnderstandPhysicalgeography(global/political)• AnalyzeTimelines• Deconstructhistoricaltext(historiography)• Navigatewebsites• Comprehendcharts/graphsaboutmedals UnderstandanddescribethehistoryoftheOlympics AnalyzehowtheOlympicsaffectnationalism SynthesizemultiplesourcesofinformationtoanalyzeconflictsintheOlympics ConsidertheOlympicsfrommultipleinternationalperspectives Exhibitperspectivesoftherelationshipsbetweenmeritocracy,competi-tion,andglobalpower

CriticalEngagedLiteracy

CriticalThinking

Praxis

Decolonization

CommunityLearning

CivicEngagement

CriticalReflection

Compassionate

Creative

Collaborative

CriticalThinking

Communication/Dialogical

Respect

Responsiblity

Community/Service

Culture

Reflection

Perserverence

Reflection

LivingModel

Facilitator

IndigenousResearcher

Innovator

Entrepeneur

Mentor/Coach

Storyteller

Synthesizer

EducationisapracticeofFreedom

ThereisUnityinDiversityaboveandbelowfromthemicrotomacro

DefinitionofliteracyinSocialStudies:Asynthesisofmultiplesourcesofinformationasagatewaytounderstandingthepastanditsimpactonthepresent,andhowdifferingperspectivesinterpretthoseexperiences,eras,etc.inmultipleways.

CulturalIndigenousAnthropologist/Researcher

Curious

Mindful

Passionate

Integrative

Compasionate

Non-Judgemental

Multi-sensoryLearning

CriticalEngagedPraxis

IndigenousResearchMethodologies

Compentency-BasedEducation

CommunityBasedArtsServiceLearning

Multi-MediaWebResourcesandTech

ProjectorandSpeaker

VinylCutter

AdobeSuite

Asking

seeking

making

Having

sharing

The

Vision

Celebratingbeing

57 8 951 2 3 4 6 5 55 7 8 96 5 5 55 55 7 8 96 5 55 5 5 5 5

1

etherairfirewaterearth

Core values

Introduction to the Rhythm & “Cycles of Life” in our interconnected basket

of the Universe

(Bi)Cycles as the giver of

Movement

Diviners of Harmony: The importance of Art in

everyday that connects us to our spirit body

Hijos del Maiz: Planting the Seed for the Creation of Life & Purpose

Cycles of lifeharmonic curriculum module

2

1

4

3

3 421

12

34

Mind

Interdependence

Heart

First Insight

immersionApplication

Reflection

Transformation Adaptation

Dynamic Flux Compoundedphenomena

Body

Spirit

dodecahedron

octahedron

tetrahedron

icosahedron

hexahedron

=

5 platonic solids

the foundation

seed of life

flower of life

tree of life

85

t(e)=art

visionary artistic

mythic

environmental

communalAffective

cosmic spiritualecology

(cajete 94)

(cajete 94)

Jake Foreman 2012 [email protected]

Cosmic Spiritual ecological

Consciousness

cosmology

philosophy

formative normative integrative transformative

compassion

Balance Diversity

Respect

Equity

justice

21 22

2.0 2.1

The author shares a personal story about his or her culture

The author shares a personal passion

Theauthorexplainsthecontextof where they grew up

Theauthorexplainsawaytheylearn best in their story

Strengths: What parts of the paper do you like? What works well in this paper?

Areas for improvement: What questions do you have about this paper? What parts are not clear?

Suggestions: What ideas do you have on how the writer can approach a revision of this piece of writing?

COMPETENT NOT COMPETENT COMMENTS

PROLOGUE CO-CREATIVE ASSESSMENT

The author shares the theoretical background of their research process

Theauthorexplainsthemethods and value of their research to communities and peers

Theauthorexplainsaprocessoflearningthatisexperiential,place-based and collaborativeStrengths: What parts of the paper do you like? What works well in this paper?

Areas for improvement: What questions do you have about this paper? What parts are not clear?

Suggestions: What ideas do you have on how the writer can approach a revision of this piece of writing?

COMPETENT NOT COMPETENT COMMENTS

CONCEPTUAL CO-CREATIVE ASSESSMENT

LONG-TERMOUTCOME

SHORT-TERMOUTCOMES

TARGETGROUPS

ACTIVITIES

COMPONENTS

LOGICMODEL

2.3 2.4

2423

INTRODUCTION GreetingsFull name Tribe/clans/heritageAcknowledgement of family members in attendancePersonal information (school, grade, interests)Uses native language in addition to English

PERSONAL EXPLANATIONIntroduced name of chosen workClass/TeacherandorClub/ClubleaderidentifiedReasons for choosing the work statedConnection made to Core Values(Respect/Responsibility/Community/Service/Culture/Perseverance/Reflection)ConnectionmadetoanareaofWellnessWheel/PLPgoals(Intellectual/Physical/Community/Social,Emotional,Spiritual)Connection made to future goals Connection made to other academic subject or area of interestConnectionmadetocommunity/worldoutsideofschool

CONTENTPurposeContent Standards identifiedProcessofprojectdevelopmentexplainedContent vocabulary incorporatedClear understanding of subject matter demonstratedSequencingmadesense/Demonstrationwasfluid

ARTIFACTS(Visuals, audio, physical material) Artifacts support demonstration topic and contentVisuals (poster board, power point, ect.) are well organizedWork is neat and free of written errorsSources of ALL information (visual, audio, written, physical) are cited

PRESENTATION SKILLSVoice is clear with correct, precise pronunciationVolume is loud enough but not to loudStudent does not speak to fast or too slowStudent made frequent eye contactBodyLanguageisappropriate/Poisedemonstrated(Standing up straight, no fidgeting)Student demonstrates enthusiasm for their topicStudent was dressed for success(Thought was given to attire: no jeans, t-shirts, hoods)Student taught the audience innovative

FINAL GRADING RUBRICCOMPETENT

NOTCOMPETENT









OBJECTIVE/STANDARDSOBJECTIVE/STANDARDS ENDURING UNDERSTANDING

ESSENTIAL QUESTION


REFLECTION


ESSENTIAL QUESTION


APPLICATION REFLECTION

2.5

25 26

2.7

27 28

INDIGENOUS PLANNING &DESIGN

multigenerational democratic process

tools

7 generations

whole systems

civic engagement

communication

values based

dialogical

INDIGENOUS EDUCATION

living model

context specific

project based

studio critique

praxis

diffusion of innovations

art, science &spirituality

21st century skills

INDIGENOUS RESEARCH

situating self,purpose, culture & context

Process of visioning

condense &diffuseinformation

PHOTOScontact info:[email protected]

screen printingfashionart & design

documentation

sign making

gardening

2.6

LOGOS

29

2010

2012

2013

2.6

cycles of life curriculum zine

Documents