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Find one online resource (news article, study, graphic, video, etc.) that represents:

1. Native American Representation in the Curriculum

2. African American Representation in the Curriculum

3. Identify if this resource is one of the following: Curricular Sovereignty, Curricular Violence, or Black Resistance, Anti-Blackness.

4. Make a unique padlet POST for each. Describe how the resource represents anti-blackness or black resistance; curricular genocide or curricular sovereignty.

5. Include a unique Title, Description, and Image, Graphic.

6. Don't forget your names!

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Melina, Kisha and Jacqueline : Native American Curriculum representation (Curricular Sovereignty) 

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Melina, Kisha and Jacqueline : Native American Curriculum representation (Curricular Sovereignty) 

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Link: https://www.oupress.com/9780806144436/the-students-of-sherman-indian-school/

Summary: This article explains about Sherman Indian High School in Riverside, teaching the students about the history of abuse that their ancestors experienced. It doesn't hide away from the truth. It also connects the children to their culture and teaches them appreciation of who they are and tightens their awareness of their cultural identity through their language, musics, art, clothing (Regalia).

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The Students of Sherman Indian School - University of Oklahoma Press

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Sherman Indian High School, as it is known today, began in 1892 as Perris Indian School on eighty acres south of Riverside, California, with nine students.…

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Deep Dive into LA Organizations: Decriminalizing Black Resistance 

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Deep Dive into LA Organizations: Decriminalizing Black Resistance 

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Summary:

This website provides a list of grassroots organizations fighting anti-Black racism and police violence. Defense funds, Education, Community Outreach and Youth resources.

EDCI 5500 -Tuesday 02/13/2024

Ingrid Gonzalez

Abdurrahman Zaid

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Los Angeles Organizations Committed to Black Lives

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The Liberty Hill Foundation encourages donors to make longterm commitments to a broad landscape of grassroots organizations fighting anti-Black racism and police violence. These recent Liberty Hill grantees and community partners organize for Black lives and advocate for criminal justice reforms thr…

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Popular Culture, Curriculum, and Historical Representation: The Situation of Native Americans in American History and the Perpetuation of Stereotypes

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Popular Culture, Curriculum, and Historical Representation: The Situation of Native Americans in American History and the Perpetuation of Stereotypes

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Leilani Hill-Himmelstein

Daisy Cortes

Classroom history lessons often reflect cultural biases, leading to a dominant, romanticized stereotype of Native Americans as nomadic, buffalo-hunting Plains Indians, overshadowing the diversity of other Native groups. This skewed representation is influenced by mainstream American culture and a Eurocentric narrative that marginalizes the existence and contributions of various Native American communities. Efforts to diversify history curricula with the inclusion of people of color still fail to challenge racial and ethnic stereotypes without a more accurate and comprehensive portrayal of Native American histories and cultures.

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Popular Culture, Curriculum, and Historical Representation: The Situation of Native Americans in American History and the Perpetuation of Stereotypes

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AbstractAn examination of how Native Americans come to be represented in classroom history lessons demonstrates how the shared cultural biases of teachers and students mediate the representation of different racial and ethnic groups in American history.

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Native American Reclaiming Their Identity through photography. 

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Native American Reclaiming Their Identity through photography. 

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An artist reclaims an Indian identity through photography. Thanks to the beautiful images, she shows the complex, beautiful culture, roots, and relationships of the Indian American community. She gives them dignity and tools to heal and cherish their roots.

Sossie Gureghian & Nina Resnik

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A Diné multimedia documentarian, photographer, and poet, Pamela J. Peters of Tachiinii Photography has been taking photos for as long as she can remember. Her work, which she calls "Indigenous Realism," aims to challenge viewers to question mass media stereotypes of Native Americans and to think critically about who contemporary Indigenous people actually are. Her photography has been featured at the Los Angeles Center of Photography; Arts District Los Angeles Photo Collective; These Days Gallery; Venice Arts Gallery; Triton Museum of Art; and in 2021 at the Getty Museum as well as in the Los Angeles Times, Reuters News, Cowboys & Indians Magazine, Native Max Magazine, Los Angeles Magazine, Pasadena Magazine, Indian Country Today, Real Indians, American Indian Quarterly Journal, and many more. Peters belongs to the Tátchii'nii clan (Red Running into the Water) and currently resides in Los Angeles. Cultural Survival recently spoke with Peters.

Cultural Survival: Tell us about your photography. What do you focus on?

Pamela Peters: I mostly take portraits with a narrative of my participants. Lately, however, I've been taking photos back at home [Navajo Nation]. Through the decades, I've been capturing how the landscape has changed. It just feels like it's a land that's dying now. I remember running through the mountains when we would visit some relatives, and now, that land is all gone. Where I grew up when I lived with my grandparents, that whole land was open and free and beautiful; now, it's not as vibrant as it was when I was a kid. My grandfather had an orchard of apple, plum, apricot, and cherry trees. Now it's dried up land. It's really sad.

CS: How does being Diné impact what you do as an artist, and how does your role as an artist and documentarian impact your understanding of being Indigenous?

PP: I am viewing things differently through my Indigenous lens. I feel that I have more of an understanding and a way of respecting the people that I am taking photos of. It's an equal participation between us, and I would never want to go over the boundaries of a person's space. I get to know who my participants are-there is an engagement that we have, a connection. I like that human connection that we have among each other and I do this in a respectful way, in a human way. Other photographers do it more as a task, like, "Ok, we gotta take these photos, let's get it done," and don't really want to know anything about you. I know that feeling; I remember as a kid living on the reservation, we would sell fruits and vegetables on the side of the road where my grandparents lived, and we had visitors needing to pass our home in order to go over the mountain. A lot of white tourists would come, and they always wanted to take photos of us. They were like, "Oh, look at the cute little Indian kids! Can we take photos of you?"

I'm very thankful to my cousin, who was very protective and aggressive, and he would tell them no. But then he would say, well, you guys are going to use our photos, you're gonna have to pay us. Some of them paid, but we were always seen as a spectacle to people, and I don't ever want my images to be seen that way. I know every single person personally in the photos that I take. I do it in a respectful dignified way. I call it my visual sovereignty, to say this is my way of capturing moments and people in photography. But not in a commodified way that a lot of people tend to do.

Portrait of Tongva singer/songwriter/poet known as Kelly Caballero, paying homage to her ancestors who are the original people of Tovaangar (Los Angeles, CA). Photo by Pamela J. Peters, tachiiniiphotography.com.

CS: You talk about being a documentarian and having a purpose. Could you explain this a little more?

PP: Being a documentarian is reclaiming and recapturing our voices. I'm not just researching. I already know about our communities. What I am doing is about recapturing and reclaiming what most people identified in this context of Western ideology. That ideology has been identified as documentary. What I am showing is storytelling for the next generation-something that we have done collectively and with the individual's participation, as opposed to research and observation. I'm one of many Native American cultures, and I am fortunate that I'm learning about other cultures, about their ways and livelihoods. I traveled to South Dakota for the first time about six years ago. It was such an honor to be accepted as part of their community, learning about their history, a little bit about their language, their food, their entire culture. That was such a profound moment for me, because as Plains Indians in the Southwest, we have this connection through Hollywood films. It's odd, yes, but that was Hollywood. I really wanted to dismantle what was embedded through the visual context of what was taught to me in films, in school narratives. Additionally, I've learned so much about other cultures by traveling and being invited to visit the Northwest region, Florida and the Seminole Tribe, as well as learning about the First Nations People and the very similar culture that I have with the Dene Nation in Canada. It's been an amazing experience. There are things about other Tribal communities that I can't take photos of that I will love and cherish.

2016 Real NDNZ Re-take Hollywood© series: Kholan Studi (Cherokee) reminiscent of Tony Curtis. Photos by Pamela J. Peters.

2016 Real NDNZ Re-take Hollywood© series: Shayna Jackson (Dakota and Cree) resembling Audrey Hepburn. Photo by Pamela J. Peters.

CS: Why did you choose to call your work "Indigenous Realism?"

PP:I use the term "Indigenous Realism" because I'm capturing what is currently happening in our community. We're not that static Indian that's still perpetuated in mass media. Just living in Los Angeles, I have to go down this laundry list of my identity: I'm Native American, I'm Navajo, I'm Diné . . . there's already this preconceived perception of what society thinks of when they think "Indian," and then when they look at me, it's like their reality has been shattered. It's hard for some people to grasp that concept, to see me as a human being. When you experience that over and over again, it does take a toll on you mentally and physically, because you question yourself as an individual, like, am I fitting this persona that people want me to be? Or do I have to? In reality, you just have to be who you are. In a lot of my portraits, they're regular people who happen to be Native Americans. You don't see them in Indian attire. You see them as real people, living within their own environment. We're not running around in our regalia, we're not wearing feathers in our hair every day. We have this real life. We don't have to dress up as this perception of what's been embedded into people's idea of what they think is an Indian.

CS: How do you think about your identity?

PP: My main identity is that I'm a human being, first and foremost. For so long, we were not viewed as human beings. I just happen to be Diné, I just happen to be a woman, I just happen to be an artist. But first and foremost, I'm always going to be a human being. That's the thing I want people to understand, that as Tribal people we are human beings, because the narrative and the context of who we are in society is that we don't exist. That concept still is thriving in our education system, in government policies and in mass media. Before I can dismantle all those labels and stereotypes, I like to go back to the concept to say we are human beings, first and foremost. One question we're always asked is, "what are you?" We're even questioned when we say who we are, after that: "I'm Diné." "What is that?" "I'm Navajo." "What is that?" "I'm Native American." "Oh! You are? How much, are you sure?" There's always that question, like they can't believe it, because that fantasy has been so deeply embedded into them from school and from the media. Sometimes I have to show them that I am this person.

Filmmaker/writer Sahar Khadjenoury (Navajo/Persian), photo in sepia tone responding to Edward Curtis' photography. Photos by Pamela J. Peters.

CS: How do you get your message across?

PP:When I first started I thought it was going to be a challenge, but I think most people, if they're really interested, they'll look at the context of the social messages in my creative narratives. I want to change the perspective of how people see photography. It's not just an image; it's beyond an image. It has a narrative, it has a context, it has culture, it is a contemporary Tribal person. To really engage, you have to dismantle and decolonize your mind and take a moment to really understand it. You have to do that in order to understand us as Native American people. I do that purposefully, in a complex way, because we are complex people. We're not just this relic, this one static image. I want people to look at my work and ask, What is that? Why is that person in that image placed in a '50s-style context? Why is he dressed that way? I want them to break down these images I am creating and read and understand the message behind the image.

When I was speaking and sharing my work in Scotland, one of the students asked [why I include people's names and Tribes]. I said, because I want to show that we are still here, and these people have names, and that these people have Tribal communities that they're representing as well. When Edward Curtis captured these images, he identified them as "Indian boy," "Indian girl," "Navajo girl," "Navajo maiden." These are people's families. These are human beings. Edward Curtis is so synonymous with American Indian identity. It's our time now as Native artists, as photographers, to reclaim and restructure our narratives in a humanized way.

Top photo: Pamela J. Peters. Photo by Viki Eagle.

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Here We Are: Reclaiming Indigenous Identity in America

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A Diné multimedia documentarian, photographer, and poet, Pamela J. Peters of Tachiinii Photography has been taking photos for as long as she can remember. Her work, which she calls "Indigenous Realism," aims to challenge viewers to question mass media stereotypes of Native Americans and to think critically about who contemporary Indigenous people actually are.

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Mrittika Chakrobortty, Mara Leppaluoto

Curricular Sovereignty

In this article, the author represent the past experience of the Native Americans and how now days the new schools changing their curriculum to accommodate their students learning.

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Integrating Native People in Curriculum: Learning from the Past and Current Voices

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Having familiarity with the complex history of Native peoples, Native peoples’ perspectives, and media representation of this social group can be helpful in understanding the importance of intentionally integrating Native history, culture, and people in educational experiences.

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Race and Ethnicity Action Classroom Lessons 

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Race and Ethnicity Action Classroom Lessons 

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Mrittika Chakrobortty & Mara Leppaluoto

BLACK RESISTANCE

Summary: Learning for Justice has a wealth of curricular resources specifically related to actions regarding race & ethicity. One can search for lessons by grade level, teaching strategies, and professional development. Lessons include The True History of Voting Rights, The Color of Law: Developing the White Middle Class, and Why Do We (Still) Celebrate Columbus Day?.

https://www.learningforjustice.org/search?query=&type%5Blesson%5D=lesson&field_grade_level%5B35%5D=35&field_grade_level%5B36%5D=36&field_grade_level%5B37%5D=37&field_grade_level%5B38%5D=38&field_social_justice_domain%5B41%5D=41&field_topic%5B1%5D=1

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Join Learning for Justice, along with experts from Northern California public media station KQED, for a webinar on thoughtful, impactful and critical media creation! In this webinar you'll learn about the role of media creation as a part of helping students grow as learners and engage in their communities.

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Learning for Justice provides free resources to educators-teachers, administrators, counselors and other practitioners-who work with children from kindergarten through high school.

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Strange Fruit Indeed: Interrogating Contemporary Textbook Representations of Racial Violence toward African Americans

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Strange Fruit Indeed: Interrogating Contemporary Textbook Representations of Racial Violence toward African Americans

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https://journals.sagepub.com/doi/abs/10.1177/016146811011200108

This article emphasizes the concerns of the lack of attention given to race and racism in the school curriculum. Brown states that contemporary offficial school knowledge addresses historical and contemporary issues of race and racism. The issue in the curriculum is the acts of racial violence directed toward African Americans in the k-12 school textbooks.

Leilani Hill-Himmelstein

Daisy Cortes

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Estefania, Karen Native American Representation in the curriculum. Curricular Sovereignty: This article explains how Governor Brown signed a law to expand Native American's history into the curriculum and it has led to the creation of Ethnic studies as a requirement in school curriculums.

https://edsource.org/2018/native-americans-push-schools-to-include-their-story-in-california-history-classes/600669

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Native Americans push schools to include their story in California history classes

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Native Californian history should include more than just 4th-grade mission projects, some teachers say.

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Making Freedom Digital Curriculum for African Americans-resource for teachers. 

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Making Freedom Digital Curriculum for African Americans-resource for teachers. 

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This is a teacher resource for the classroom based on the revision and update of valuable source books, which are digitally available to all. This resource is based on collaborating with African American scholars and expert teachers.

Sossie Gureghian & Nina Resnik

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African American history is United S tates history.
The recent national reckoning with racial injustice sharpens our focus on the role of education in understanding the experiences, contributions, and perspectives of African Americans in U.S. history. There is a growing call for high-quality curricula about African American history supported by robust professional learning opportunities for educators to support ccurate, inclusive teaching about U.S. history.

Making Freedom: African Americans in U.S. History is Primary Source's pioneering five-volume sourcebook series that spans African American history from the 1600s to 1970, demonstrating the social agency and intellectual achievement of African Americans in the collective history and cultural development of the United States. Since its publication, Massachusetts teachers have utilized these sourcebooks to educate students in alignment with the literacy component of the state's Common Core State Standards for ELA and Literacy in History/Social Studies. Today, these lessons have the potential to support teachers as they engage with contemporary concerns about history and racial justice.
Through the Making Freedom Digital Curriculum project, we will revise, update, and disseminate these invaluable sourcebooks so they will be accessible to teachers everywhere and will have an enduring impact on students. Making Freedom Digital Curriculum will include:

High-quality lessons and robust professional development about African American history

Content spanning 420 years of African American history, with up-to-date resources and teaching strategies in alignment with state standards for high-quality instruction

A focus on an accurate, inclusive understanding of our nation's history, with examples of Black voices, perspectives, and experiences that provide context to conventional narratives in U.S history

Collaboration with African American scholars and expert teachers to create inspiring and engaging multi-dimensional lessons

Educators, contact Deborah Cunningham, Senior Program Director, at deborah@primarysource.org for more information about Making Freedom: African Americans in U.S. History

Contact Judith Katz, Director of Development, at judy@primarysource.org for more information about how you can support the Making Freedom Digital Curriculum project.

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Making Freedom: African Americans in U.S. History & the Making Freedom Digital Curriculum

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African American history is United S tates history. The recent national reckoning with racial injustice sharpens our focus on the role of education in understanding the experiences, contributions, and perspectives of African Americans in U.S. history. There is a growing call for high-quality curricula about African American history supported by robust professional learning opportunities for educators to support ccurate, inclusive teaching about U.S.

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Strategies to Support Black Students and Teachers in Education

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Strategies to Support Black Students and Teachers in Education

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Karen and Estefania: The article talks about a different strategies used to support Black students and teachers. The article talks about the causes of institutional barriers as well as how to validate Black voices being heard. The article states that The Center for Racial Justice has created a guide with several resources to increase Black representation in curriculum.

https://educationnorthwest.org/insights/strategies-support-black-students-teachers-and-communities-schools

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Black History Month serves as a touchpoint for reflecting on the value and rich diversity that Black students, Black educators and staff, and Black communities contribute to our schools. In the Pacific Northwest and across the nation, the ongoing leadership of Black students and Black educators and community members continues to drive innovation and inclusivity in education.

Education leaders can partner with Black communities by creating school environments that center Black voices, recognize community and student assets, and nurture those strengths to achieve success. The strategies below serve as starting points for creating and sustaining these environments in schools all year long.

Center the Voices of Black Students

All work to support Black students should be grounded in the goals, strengths, and needs that students (and their families) identify. Creating opportunities to hear from Black students not only makes space to learn about each student's unique aspirations and perspectives; engaging student voice also strengthens students' leadership, agency, academic achievement, and social and emotional health. These promising practices to sustain student voice in decision-making from the Regional Educational Laboratory Pacific offer ideas for committing to this work throughout the year.

Build Partnerships with Black Families and Caregivers

Similar to student voice, school-family-community partnerships that are built on mutual trust and respect can dramatically improve student outcomes. An evidence-based family engagement plan that respects Black parents as equal partners, applies an asset-based lens to the community, and addresses implicit biases among school staff can build trust and community support that benefit Black students.

Support Black Teachers

Hiring and retaining Black teachers is one key to improving educator diversity and enhancing student outcomes. Research has shown that Black students who are taught by Black teachers are more likely to graduate from high school and to enroll in college compared to their peers who are taught by non-Black teachers. In addition, white students show improved problem-solving, critical thinking, and creativity when they have diverse teachers.

These evidence-based strategies for recruiting, hiring, and retaining diverse teachers provide direction to build and sustain an inclusive workforce. School leaders can also consider this targeted guidance to create inclusive workplaces for Black teachers.

Increase Black Voices and Representation in Curriculum

Black people should be represented in all school subjects all year long-not just in history, and not just during February. Additionally, the curriculum should feature the great diversity among Black people to dispel stereotypes, reflect the diverse backgrounds and experiences of Black students, and recognize the contributions of diverse groups.

The Center for Racial Justice in Education developed a Black History Month guide with several resources to increase Black representation in curriculum. Educators can also find a wealth of curriculum ideas through the National Museum of African American History and Culture and Black Lives Matter at School.

Identify and Eliminate Root Causes of Institutional Barriers to Equity for Black Students, Families, and Teachers

When followed by purposeful action, equity audits can be a useful tool for supporting Black communities in schools and districts. Equity audit data highlight disproportionate student outcomes (like graduation rates) and staff representation (for example, classified versus administrative staff). Once school leaders know where disparities occur, they can begin to analyze why they occur and take action to address the root causes.

Equity audits should consider multiple layers of identity-such as race, gender, or socioeconomic status-and how those layers can intersect to increase barriers for specific groups. For example, Education Northwest recently conducted an equity audit for a district in Washington state and found disproportionately high discipline rates among Black students who were experiencing homelessness. This suggested that additional supports that target housing insecurity may be essential for promoting equity in discipline within this district.

Equip Leaders and School Staff to Build a Climate that Promotes Racial Justice

Plans to improve racial equity will have limited impact without buy-in from leadership. Two free resources that provide guidance for leaders include Education Northwest's Leadership for Equity Assessment and Development (LEAD) Tool and the Learning Policy Institute's Districts Advancing Racial Equity (DARE) Tool.

Educators and other school staff also play a crucial role in creating an environment that promotes Black student success. By using perspective-taking to build relationships with students and developing students' sense of belonging, educators can ensure that schools serve as safe, welcoming spaces that nurture Black students' growth and achievement.

Education Northwest believes that Black lives matter. We are committed to supporting racial equity within our own organization, in our partnerships with schools and districts, and for the Black students in our communities. We have extensive experience engaging in this work through equity audits, family and community engagement plans, teacher diversity initiatives, and professional development on trauma-informed practices and social and emotional learning.

To speak with Education Northwest about supporting equity initiatives in your school or organization, please contact Vicki Nishioka.

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Strategies to Support Black Students, Teachers, and Communities in Schools

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Honoring Black History Month means supporting Black communities in schools all year long. In this blog, we share some ideas on how to make that commitment in your own school.

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Melina, Kisha, Jacqueline: A change in African American Curriculum (Curricular Sovereignty)

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Melina, Kisha, Jacqueline: A change in African American Curriculum (Curricular Sovereignty)

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Link: https://housing.arizona.edu/getting-started/living-learning-communities/black

Summary: This program at The University of Arizona has great benifts for the Aferican American student communities. Such benefits are :

Receive guidance and support for your transition to college

Participate in off-campus projects and service-learning experiences the community

Engage in resume-building/ professional development programming, as well as opportunities to enhance career and academic skills

Be a part of an environment that emphasizes academics and leadership as well as keeping the connection to Black/African American cultural and ethnic identity, and history

to think about identity—past, present, and future

Make new friends

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Building Leaders and Creating Knowledge (B.L.A.C.K.) | Housing & Residential Life

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Embrace a fun and dynamic living space with peers while engaging in an exploration of the African American experience – on campus and nationwide.