Stories of Strength & Resiliency

Division of Performance and Accountability September, 2011

Stories of Strength & Resiliency

Study Guide Bureau of Indian Education Albuquerque Service Center U.S. Department of the Interior

Table of Contents Section 1: Overview Introduction Project Background Purpose of the Guide

Section 2: Presented Videos Categories Cultural Identity Our Strength As Anishinaabe Show of Strength The Circle of Life The Way of the White Mountain Apache Walking In Two Worlds We Are The Red Valley Apache We Walk In Beauty With Kindness & Respect Determined Youth Behind Each Strong Person. . . .

Chemawa Imagine A Life Like Ours It’s All Up To You! Standing Rock Is Standing Strong The Sacred Path We Are Alive Speaking Bravely From Our Lakota Hearts Non-Removable Our Diné Strength Reservation Realities We Are One Family

SEPTEMBER 2011 PAGE 2 OF 42

4 5 6 7

8 9 9 9 9 10 10 10 11 11 11 12 12 12 13 13 13 14 14 15 15 15 16 16 16

Section 3: Screening Suggestions Selecting the “Right Videos” to Screen Classroom School Assemblies Community Presentations Section 4: For the Classroom Preparation Lesson Plan Vocabulary Critical Viewing Assignment Section 5: Telling Your Own Stories Getting Started Tools Media Education Professionals Publications Acknowledgements

SEPTEMBER 2011 PAGE 3 OF 42

17 18 19 20 21 22 23 24 26 28 30 31 34 37 39 41

S ECTION 1:

OVERVIEW

SEPTEMBER 2011 PAGE 4 OF 42

Introduction The Bureau of Indian Education (BIE) is committed to ensuring that its students have safe and secure learning environments that provide them with the knowledge and skills to become leaders in our community. Substance abuse is one of the biggest threats to school campus safety and security. Abuse of alcohol and drugs directly affects students’ academic performance and social development. Students who use drugs and alcohol are more likely to be absent or tardy, and to drop out of school.

Illicit substances on a school campus bring with them the potential for violence and crime.

Statistics from the 2008 Youth Risk Behavior Surveillance System (YRBSS) and the 2008 National Survey on Drug Use and Health (NSDUH) show that, compared to other demographic groups, Indian youth are more likely to: o Have abused drugs and/or alcohol within the last year o Have engaged in risky behaviors, such as driving while drinking or selling drugs o Carry a handgun, bring a gun to school, get into a serious fight at school, be involved in gang-on-gang fights, or attack someone with intent to harm o Have known risk factors such as unstable home situations or easy access to drugs o Have less exposure to protective factors such as hearing prevention messages at school, participating in a program to deal with drug or alcohol use, or talk to their parents about the dangers of drug or alcohol use.

To address this issue, the BIE launched a substance abuse prevention initiative as part of a larger program to improve school safety and security. For one component of this initiative, two nationally recognized videographers visited twenty schools and worked with 200 students who ultimately created a series of videos for the public.

These videos are now available to used as a means to promote dialogue within classroom and community forums. The goal is that these videos will engage youth in how to create positive change not just for themselves but also for future generations.

SEPTEMBER 2011 PAGE 5 OF 42

Project Background Stories of Strength & Resiliency is a video project designed to provide a public voice for American Indian students about topics related to substance abuse and its prevention. The project engaged more than 200 American Indian students attending BIE schools and dormitories in telling their own stories.

The twenty schools and dormitories that participated in this project are the schools that provided information on school safety and security to interviewers who came to the schools. At the time of those school visits, the interviewers told school administrators that, for their participation in the data collection effort, their schools would be provided with an opportunity to create a video that would uniquely express how youth find the strength and resiliency needed to feel safe and succeed.

During the 2010/2011 school year videographers Kristine Sorensen and Mike Hazard visited each of the twenty schools. They led discussions about how young people experience the world, where they find strength, and what they feel put themselves and others at risk. From these discussions, students determined a message that they would craft through the making of a video. They wrote scripts, learned to operate cameras, conducted interviews and acted. They pulled together all aspects of the content seen in these pieces and provided an outline for editing that would be used by the videographers who ultimately complete post-production and take the videos to their final forms.

The completed videos clearly demonstrated the inherent resiliency of the students who attend tribal schools and dormitories, and the resources they draw on to keep themselves strong.

Pictured above: students from the Bug O Nay Ge Shig School, Bena Minnesota

SEPTEMBER 2011 PAGE 6 OF 42

Purpose of the Study Guide This study guide is designed to assist educators in presenting videos from the “Stories of Strength & Resiliency” project.

Please take the time to read each video description listed on pages 9 through 16.

Choose 2-3 videos that you feel will connect with students and begin a conversation.

The guide will provide you with sample discussion questions, exercises and steps that can be taken to start presenting your own videos stories. .

Isabella Eagle Sanchez video taping for the production of “Non-Removable,” Nay Ah Shing School, Mille Lacs Lake Minnesota.

SEPTEMBER 2011 PAGE 7 OF 42

S ECTION 2:

PRESENTED VIDEOS

SEPTEMBER 2011 PAGE 8 OF 42

Categories Of the twenty videos produced by BIE Schools and Dormitories, three primary categories emerged.

These categories – cultural identity, determination, and community - should provide you with some guidance in selecting which videos will best suit the interests of your students.

Cultural Identity The videos listed within this category stress the role that cultural identity plays in providing young people with the strength they need to navigate their way through a complex world.

Our Strength As Anishinaabe

Running time: 12 minutes Bug O Nay Ge Shig School, Bena Minnesota

Our Strength As Anishinaabe is a documentary short that looks at how young people find strength from their Anishinaabe culture and traditional practices. The video speaks to how culture acts as the foundation for education (and all aspects of living) and strengthens youth, preparing them to become leaders within their own community.

Additional tags: grief, substance abuse, language, Ojibwe, Anishinaabe,

Show of Strength

Running time: 13 minutes Flandreau Indian School, Flandreau South Dakota

Show of Strength introduces a group of students that find strength in their culture, families and education.

They share songs and advice, demonstrating their pride in a school that encourages them to use their traditional values as the foundation for life-long education.

Additional tags: music, songs, Lakota, tradition

SEPTEMBER 2011 PAGE 9 OF 42

Section 2: Presented Videos - Cultural Identity (continued) The Circle of Life Running time: 9 minutes Circle of Life School, White Earth Minnesota

The Circle of Life is a video documentary that looks at the sacred number four – the seasons, life, the four directions, and how having an understanding of this continuum brings strength and hope.

Additional tags: Anishinaabe, nature, four directions, Ojibwe, struggle

The Way of the White Mountain Apache

Running time: 12 minutes John F Kennedy Day School, Cedar Creek Arizona

The Way of the White Mountain Apache is a docu-drama that demonstrates the pride Apache youth have in their culture and the freedom they are given to live and just “be” in their community. The video also shows the love and care they have for others and how they are committed to growing up as strong Apache leaders.

Additional tags: Apache, Crown Dance, ceremony, freedom, peer pressure

Walking In Two Worlds

Running time: 13 minutes Richfield Residential Hall, Richfield Utah

Walking in Two Worlds is a video documentary that expresses how a group of Diné youth adjust to living away from home while pursuing their goals of graduating high school and more. Students talk about how they grapples with the fears they face when they first move to an unknown community and how they draw upon their traditional values to stay strong and remind themselves of who they truly are.

Additional tags: separation, independence, Navajo, education, travel, dormitories

SEPTEMBER 2011 PAGE 10 OF 42

Section 2: Presented Videos - Cultural Identity (continued)

We Are The Red Valley Apache – We Are Great People Running time: 16 minutes Cibecue High School, Cibecue Arizona

We Are The Red Valley Apache – We Are Great People is a documentary that explores what it means to live above the influence, to show pride in your language and culture and most importantly what it means to be Apache. The video includes traditional songs and ceremonial dances that honor a strong Apache culture.

Additional tags: school life, discipline, identity, sports, arts, creativity, Apache, Crown Dance, War Dance, academics, learning, friendship

We Walk In Beauty Running time: 10 minutes Wingate High School, Fort Wingate New Mexico

We Walk In Beauty pays honor to the ancestors, songs, and histories of the Navajo people. The video uses poetic sequences and the words of young people to show what it means to “walk in beauty” and carry your culture with you as you pursue an education.

For those not familiar - the opening song is a mountain song in honor of Mount Taylor. The song sung throughout each poetic sequence is a beauty song.

Additional tags: education, substance abuse, songs, family, history, tradition, Navajo, Apache

With Kindness and Respect

Running time: 16 minutes Blackfeet Dormitories, Browning Montana

With Kindness and Respect is a documentary short that tells how the members of the Blackfeet community are committed to sustaining the traditional value of respect in a contemporary world. The video includes interviews with youth and community members, all who share a common belief that if all Blackfeet can practice the tradition of kindness within everything they do, their community will stay strong forever.

Additional tags: Blackfeet, tradition, environment, elders, respect, horses, mother earth

SEPTEMBER 2011 PAGE 11 OF 42

Section 2: Presented Videos

Determined Youth The videos listed within this category show the strong determination young people have to succeed, to life above negative influences and to stay true to themselves.

Behind Each Strong Person Lies A Story of How They Got There Running time: 7 minutes Kinteel Dormitories, Aztec New Mexico

Behind Each Strong Person . . . . is a docu-drama that illustrates how young people find strength from their own life experiences. The video explores what it means to work through pain, learn to trust and learn to let go, so they can ultimately follow their dreams.

Additional tags: bullying, separation, fear, Navajo, sports, military, photography, art

Chemawa (Happy Home)

Running time: 16 minutes Chemawa Indian School, Salem Oregon

Chemawa - Happy Home is a documentary about life at Chemawa Indian School. The video includes spoken word pieces as well as candid interviews about what it has meant for these students to leave their homes to go to a boarding school. The video tells the story of how Chemawa has become like a second home for them, and learned about how other young Native people feel about their culture.

Additional tags: family, loss, abuse, fear, tradition dormitories, boarding school, home

SEPTEMBER 2011 PAGE 12 OF 42

Section 2: Presented Videos – Determined Youth (continued) Imagine A Life Like Ours

Running time: 22 minutes Sherman Indian School, Riverside California

Imagine A Life Like Ours is a powerful collection of video shorts that range from narratives to poems to stories and songs shared. The students who created this piece wanted to express the diversity they experience at their boarding school where youth travel from all over the United States to pursue an Indigenous centered education.

Additional tags: tradition, songs, depression, identity, community, creativity

It’s All Up to You

Running time: 9 minutes Many Farms School, Many Farms New Mexico

It’s All Up To You looks at how a group of young storytellers experience strength in their lives, and how they use sheer determination, physical, mental and emotional strength to achieve their goals. The video includes interviews that are interwoven with the story of a young man trying to reach his goal of running to the top of a mesa so he can look out upon the world.

Additional tags: physical discipline, goal setting, hopes, friendship, trust, Navajo

Standing Rock is Standing Strong

Running time: 8 minutes Standing Rock Schools, Standing Rock North Dakota

Standing Rock Is Standing Strong is a documentary short that illustrates how the youth of this school find strength through music, friendship and sports. The video includes interviews with students and educators who believe strength exists within all of the students of Standing Rock School.

Additional tags: physical discipline, goal setting, hopes, friendship, trust, Lakota

SEPTEMBER 2011 PAGE 13 OF 42

Section 2: Presented Videos – Determined Youth (continued) The Sacred Path

Running time: 14 minutes Cherokee Schools, Cherokee North Carolina

The Sacred Path is a video documentary that looks at how the students of Cherokee School build strength through teamwork, athleticism and an understanding that they are walking a sacred path. The video explores the meaning of sacredness to the Cherokee Nation which includes the values of respect, truth and care.

Additional tags: Cherokee philosophy, respect, community, belonging

We Are Alive Running time: 13 minutes Circle of Nations School, Wahpeton North Dakota

We Are Alive is a video documentary that celebrates the knowledge and heart of young Native people. It explores the “warrior spirit” of youth that bravely travel from throughout the United States to attend this residential facility and demonstrates how youth use the common bonds of culture and family to get to know each other Additional tags: family, culture, history, belonging, education

SEPTEMBER 2011 PAGE 14 OF 42

Section 2: Presented Videos Speaking Bravely The videos listed within this category speak to the vulnerability young people face as they seek to survive difficult circumstances. Many of these video pieces reach out to the broader community to find ways together to heal from generations of grief and pain.

From Our Lakota Hearts

Running Time: 19 minutes Pine Ridge High School, Pine Ridge South Dakota

From Our Lakota Hearts is a video documentary that uses candid interviews to create a dialogue between generations of tribal members about depression, teen suicide, and other issues that are tearing at the hearts of the Lakota Nation. Interviews include statements from youth, tribal leaders, social workers, educators and elders – all looking to find ways to connect with one another to make their community strong.

Additional tags: Lakota, community, intergenerational, families, suicide, depression, substance abuse, bullying

Non-Removable

Running time: 14 minutes Nay Ah Shing School, Mille Lacs Lake Minnesota A documentary short that addresses the grief felt by members of the Mille Lacs Lake Band of Ojibwe as they grapple with a series of teen deaths. The piece begins a conversation about the impact of substance abuse on youth and what they need from their families and community to walk the red path.

Additional themes addressed: substance abuse, grief, history, tradition, family, culture

SEPTEMBER 2011 PAGE 15 OF 42

Section 2: Presented Videos – Speaking Bravely (continued) Our Diné Strength

Running time: 18 minutes Rocky Ridge School, Kykotsmovi Arizona

Our Diné Strength is a video documentary that tells the story of how deeply the youth of this small Navajo village value their traditional way of life and how climate change is proving to be the greatest risk to their lives as a Diné people. The youth presented in this video have deep love and respect for their community and tell the story of how they plan to use education as a means to fight for the rights of their community.

Additional tags: tradition, language, elders, Navajo, family, songs, climate change

Reservation Realities

Running time: 10 minutes Little Wound High School, Kyle South Dakota

This video presents a series of short stories and spoken word pieces that speak to the pain and hope experienced by the youth of Kyle South Dakota. The videos use the art of spoken word to express their hopes and fears about growing up in a struggling community.

Additional tags: Lakota, spoken word, suicide, gangs, family, struggle

We Are One Family

Running Time: 7 minutes Riverside Indian School, Anadarko, Oklahoma

We Are One Family was produced by the students of Riverside Indian School. The video tells the story of a sister and brother - one that follows a traditional path, and the other that follows a path towards gang life.

Additional tags: gangs, tradition, ceremony, songs, fear, family, peer pressure,

SEPTEMBER 2011 PAGE 16 OF 42

S ECTION 3:

S CREENING S UGGESTIONS

SEPTEMBER 2011 PAGE 17 OF 42

Screening Suggestions It is important to understand the dynamics of your audience when presenting videos from the Stories of Strength & Resiliency Collection (SSR). Here are some general suggestions to consider: 1. Select videos that are age appropriate.

2. Look for themes and topics that your audience will be familiar with.

3. Select between 2 and 3 pieces to show in one screening so your audience can compare and contrast.

4. Watch each video to be screened at least once prior to screening publicly so you are aware of themes being presented.

5. Review Section 4 – Study Guide, for guidance in developing talking points.

6. Consider seriously how you will engage the audience in a discussion about the videos presented and how they connect with their own life experiences.

7. Have fun, laugh and dig deep, as this collection provides an opportunity to begin meaningful discussions related to how young people can further build their own sense of strength and resiliency.

Student Davis Little John listening to a flute player while working on his video The Sacred Path.

Davis attends Cherokee Central School in Cherokee North Carolina.

SEPTEMBER 2011 PAGE 18 OF 42

Section 3: Screening Suggestions

(continued)

Below are some suggestions for how to present videos from the SSR Collection in different audience settings. Feel free to go beyond these guidelines and share work publicly with parents, other educators, and neighboring community venues.

Classroom Classrooms screenings typically provide a safe venue for videos to be presented and discussed. Students tend to be more open to sharing their ideas and engaging in thoughtful discussion about the ideas being presented.

Classrooms settings provide you with opportunities to integrate videos from the SSR Collection into Language Arts, Social Studies, Health and more. Encourage students to watch the videos and ask them to write a short paragraph or two about what they noticed. Once students have had the opportunity to write about their ideas, they will be better able to express what they think about the video they just viewed. If you like, you can frame their writing in a series of questions related to the topics broached.

Some students may be reticent about sharing their feelings in a group setting. In those circumstances, it may be worthwhile to collect their writing pieces and then frame a series of short discussions based on what they actually wrote.

Students from Standing Rock School work together using video cameras to present to the world how they find strength and resiliency at their school.

SEPTEMBER 2011 PAGE 19 OF 42

Section 3: Screening Suggestions

(continued)

School Assemblies School Assemblies provide great opportunities to engage an entire student body in acting upon issues raised within the SSR Collection.

Here videos are best presented when framed with a guest speaker who can professionally connect the content presented to everyday challenges faced by the student body.

If a guest speaker is not an option, consider working with a staff member, parent, or alumni who might be willing to take the content shown into a personal and compelling story that your student population will find deep meaning in.

If conducive, you may also consider a talking circle, or Q&A session so that students have the opportunity to provide input and brainstorm solutions that may be of benefit to the entire school community.

Students from Riverside Indian School in Anadarko Oklahoma work together to write, direct and produce the only narrative piece of the SSR Collection entitled We Are One Family.

SEPTEMBER 2011 PAGE 20 OF 42

Section 3: Screening Suggestions

(continued)

Community Screenings Community screenings can be large or small. Their purpose is to engage groups from outside the day-to-day school environment.

Examples include Parent Teacher Association meetings, State of the Band presentations, Boys & Girls Club activities, etc.

These types of audiences are often attending with a set idea of the topic or agenda for the session, so it is important to plan ahead, set an agenda for the screening and use discussion points as a basis for raising awareness or affecting change.

I d

Students from Rocky Ridge School (Kykotsmovi Arizona) had the opportunity to spend an entire production day interviewing local elder and activist Kathryn Smith for their powerful documentary about climate change and how it is impacting the quality of life in their community.

SEPTEMBER 2011 PAGE 21 OF 42

S ECTION 4:

F OR T HE C LASSROOM

SEPTEMBER 2011 PAGE 22 OF 42

Preparation Once you have selected the videos that best “fit” your students’ viewing needs, the next step will be to frame a series of discussions or writing points that will bring a depth of appreciation to the topics addressed.

Because the videos cover a broad range of topics, this section will focus on how you can work with students to deconstruct what they are seeing so they in turn may develop thoughtful opinions.

By describing in technical terms what they are seeing and hearing, students will be able to comment more easily on what they think the video is trying to communicate and how they believe certain conventions (ways of constructing) were used to relate their messages.

Students from Sherman Indian School preparing for their production of Imagine A Life Like Ours.

Part of their preparation involved viewing and critiquing other youth produced videos.

SEPTEMBER 2011 PAGE 23 OF 42

Lesson Plan Outline For those wishing to incorporate viewing materials into a core curriculum, the following lesson plan can be adapted to your specific curricular area.

Purpose This lesson will introduce students to fundamental critical viewing skills.

Goal Students will be able to apply basic critical viewing skills when watching videos.

Objectives The student will: • demonstrate knowledge of basic critical viewing vocabulary; • deconstruct a short video; • apply critical thinking skills; • provide an informed opinion about a video work using informal observation techniques.

Estimated Length of Session The instructor should plan two 50-minute sessions for this lesson.

Handouts • vocabulary • critical viewing worksheet Equipment The following equipment is recommended: • television monitor or video projector; • DVD player with appropriate connection cables; • Extension cords and/or multi-strips as needed.

Viewing Material Please select 2-3 videos presented on pages 9-16. These videos may be viewed online at: http://www.youtube.com/user/resiliencystories?ob=5 Process The following steps should be taken when introducing critical viewing concepts: • Give the presentation and hold a discussion about the purpose of viewing and responding to media works • Provide an overview of critical viewing vocabulary, explanation and appropriate use • View a video and provide group practice in critical viewing • View a video and give the assignment, Critical Viewing In Practice

SEPTEMBER 2011 PAGE 24 OF 42

Section 4: Discussion – Lesson Plan Outline

(continued)

Assessments The following assessment strategies are recommended for this lesson: • Informal observation of student participation, particularly during critical viewing assignments; • Grading of given writing assignments, vocabulary quiz.

One of the most important aspects of the SSL Project was that students were involved in every aspect of production including writing scripts and getting behind the camera. Pictured above is Tiffany Brown, an aspiring young filmmaker from Wingate High School.

SEPTEMBER 2011 PAGE 25 OF 42

Vocabulary The following terms provide a basic foundation for talking about the videos you will screen.

Film Styles: Every video artist uses certain approaches to express the stories they have to tell. By using images and sounds in specific patterns or within a context, artists are able to speak to their audience in ways they will understand. Listed below are some of the most commonly recognized video production styles: • • •

Documentary A film that is based on factual information. This style usually includes interviews, pictures and/or historical items.

Narrative A fictional story that is organized so parts relate to each other through a series of casually related events occurring in a specific time and space.

Experimental These types of films focus on a concept and use visual images and sounds in a non-narrative (nonlinear) manner. This film style often employs images and sounds to represent ideas. Experimental films often emphasize sequence and layering to express the artist’s message.

Criticism: The process of analyzing and evaluating an artwork; the action of critically viewing an artwork in order to bring meaning to the “reading” of it.

Analysis: The process of identifying the elements and processes used by the artist in relationship to the message of the work.

Artist: The originator of the media artwork; the person who constructs and manipulates the image being viewed.

Audience: The viewers of the created work. The audience often has no connection to the artist and brings a unique perspective to the viewing process.

Students from the Kinteel Dormitories worked together to produce their video Behind Each Strong Person . Collaboration and cooperation were key aspects of this video production.

SEPTEMBER 2011 PAGE 26 OF 42

Section 4: Discussion – Vocabulary

(continued)

Cultural Context: The values, traditions, artistic emphasis, languages, etc., of a given culture that heavily influence the creation, presentation, and resulting interpretation of a media artwork. It is important to identify the culture(s) from which the artwork originated as well as the cultural influences of the artist who created the artwork.

Formal Description: A detailed objective description of a media artwork and the viewer’s knowledge about it. Formal descriptions typically include references to the use of subject matter, formal elements, physical properties, processes, and styles, as well as contextual information. The formal description should be objective and refrain from personal insights or perspectives.

Historical Context: History strongly influences the themes and styles of media artwork. Events, fads, values, accessible technology, and social concepts of a time period often have a bearing on the themes and styles within an artistic work.

Interpretation: The act of reading or conceptualizing a work of art.

Interpretation can vary based on the viewer’s perspective or worldview.

Media Artwork: Image-based artwork that includes photography, film, video, animation, and/or digital video. A media artwork is constructed with images using of light, contrast, and color, and--in some instances-- movement and sound.

Point Of View: In media arts, point of view refers to the values, knowledge, opinions, education, etc., that the viewer brings to his or her interpretation of an artwork. The artist carries a point of view when creating the artwork; the viewer’s point of view comes into play when interpreting the artwork.

These perspectives may vary greatly or carry great similarities.

Viewer: The audience of the created work. The viewer often has no connection to the artist and brings his/her unique perspective to the viewing process.

Eli Bendle is a student at Chemawa Indian School.

He, along with other students worked long beyond the school day to complete his video Chemawa – Happy Home.

SEPTEMBER 2011 PAGE 27 OF 42

Viewing Assignment This assignment may be used to introduce students to critical viewing techniques. Again, you are the expert with your students, so you may choose to treat these questions as talking points or format them into a written assignment.

Title of Video: Who do you think is the audience for this video?

What was the video about? Describe its primary message.

Film style used:

Why do you think the filmmakers chose this style to convey their message?

Name three examples of how images and sounds were used to convey or enhance its message.

1.

2.

3.

SEPTEMBER 2011 PAGE 28 OF 42

Section 4: Discussion – Viewing Assignment

(continued)

What did you like and dislike about the video? What is your opinion of the film? Be specific, and cite examples from the video that illustrate your opinion.

Were the filmmakers successful in conveying their message? Explain why or why not. Be specific, and cite examples from the video that illustrate your opinion.

The students of Cibecue High School included traditional dance and song as part of their video We Are the Red Valley Apache – We Are A Great People. This required that school staff assist them in coordinating production activities - providing transportation and guiding the process to ensure accuracy of every element portrayed.

SEPTEMBER 2011 PAGE 29 OF 42

S ECTION 5:

T ELLING Y OUR O WN STORIES

SEPTEMBER 2011 PAGE 30 OF 42

Getting Started The process of making a video can be overwhelming under the best of circumstances but don’t be discouraged. Start small, engage students and members of the community in helping, and take it slow. Remember this is storytelling. Enjoy the process and use video as a simple tool for giving a public voice to your students. Listed below are some tips for getting started on collecting and sharing stories: 1. IDENTIFY: Determine what tools you have to work with. Can you access a video camera at your school? Or perhaps there is a photo camera that offers a video setting. Sometimes a student will have a camera that can be used. Even cell phones can be excellent for a starter video camera. Look around, ask and see what is available.

2. LEARN THE TECHNOLOGY: No matter what recording tool you use, you will need to spend some time learning how to make it work for you.

•

RECORDING VIDEO: At first, just focus on how to record. Look for record start, record stop and erase functions.

•

UPLOADING: Second, try to figure out how you transfer what you have recorded up to a computer. This second step is tricky as there are many ways in which this can be done. Some of the most common forms are Moviemaker (for PC based computers) and iMovie (for MAC based computers). Sometimes you can even upload a video directly from your camera to an online venue such as YouTube.

•

EDITING: Once you are comfortable with the first two steps, you may want to consider editing your video. You can add titles and credits. You can also cut out video clips that you do not want to present publicly. This is an area where you may want to identify a student or community member to assist.

Students from John F Kennedy Day School combined narrative techniques with interviews to convey their story of strength, resiliency and an Apache way of life in the video – The Way of the White Mountain Apache.

SEPTEMBER 2011 PAGE 31 OF 42

Section 5: Telling Your Own Stories – Getting Started

(continued)

3. BRAINSTORM: Talk to your students.

What stories of strength and resiliency do they want to share with others? Spend time on this and work towards consensus. Keep the storyline simple.

Listen and take notes.

4. PLAN: It is important to plan any video you will create. If you are new to this process, keep it simple. Start with interviews. Put together one or two questions, and then identify who should answer the questions.

5. PERMISSION: Always inform parents, guardians and school officials that you are working on creating a video for public viewing with students. If the school does not already have an “image” policy signed by students, it will be important to send out a permission form that allows for the students to be portrayed in a school produced video.

6. PRACTICE: You may find that students need time to practice. Always keep in mind that if they are not comfortable in front of the camera, the interview may not take. Work with students to find out which ones like being in front of the camera and which ones would prefer to stay behind the scenes.

Above: Student Vern Jackson from the Circle of Life School recorded guitar music for use in his school’s video The Circle of Life.

Left: Nathan Werito demonstrated his talent for filmmaking. He had never been behind a camera before the production began for It’s All Up To You! He led a group of ten other students from Many Farms School in the production.

SEPTEMBER 2011 PAGE 32 OF 42

Section 5: Telling Your Own Stories – Getting Started

(continued)

7. PRODUCE: Get the video camera out and begin your production. Take your time, repeat, and get the students behind and in front of the camera. Your role should be that of the facilitator, allowing the students to take control providing they follow school protocols.

8. CRITIQUE: For each class session spent on video production, a second session should be spent on review and critique. Make sure that the images collected are visually interesting, and that your sound can be heard easily. Also make sure that answers to questions recorded stay on topic. Repeat production as needed.

9. EDIT: The ease of editing will depend dramatically on the tools you have access to.

As a beginner, try to focus more on collecting clips in the camera and present without editing. When you are confident in this area you may begin the process of identifying editing software such as iMovie or Movie Maker. For those who have more experience there are more sophisticated editing programs, but remember that editing takes time to learn. The simpler your project concept, the easier it will be to learn to edit.

10. PRESENT: Once you are satisfied with your video, you will need to decide how you will present it. Start by sharing it with another class, then consider uploading it to YouTube or your school’s website. Once you have produced a couple of videos, begin strategizing how you can connect the videos you have produced directly to a live audience such as a student assembly, parent/teacher conference, etc. When students who have produced a video can actually participate in receiving feedback, it serves to strengthen everyone and reinforce that the voice of youth is a powerful teaching tool.

Alexandra Pilger has a powerful understanding of the importance of land to the people that call the Pine Ridge Reservation home. In the movie From Our Lakota Hearts, Alexandra led a group of students in the collection of interviews and landscapes so that their video could become a reminder to the community about their collective history and responsibility to future generations of Lakota.

SEPTEMBER 2011 PAGE 33 OF 42

Tools The production tools you use will determine the level of detail and craft you can bring to this contemporary art of storytelling. Listed below are a series of commonly used products available for sale in 2011. Be prepared – products consistently change in this field, so what is recommended here may not be available a year or two from now. Products are listed based on ease of use in a classroom setting.

VIDEO CAMERAS SONY HDR-XR160 Video Camera Approximate cost: $500 www.sonystyle.com This camera requires no tape. Instead it has a built in hard drive (like a computer) that can store 4-6 hours of video at one time. You can then present video directly onto a monitor or upload it to your computer.

SONY MHS-TS20/S Bloggie Touch Approximate cost: $200 www.sonystyle.com This camera is small (about the size of a point and shot photo camera), and easy to use. The quality is not as good as the HD camera listed above but is still solid and very affordable.

COMPUTERS APPLE BRAND – MAC COMPUTERS Approximate cost: $1200 www.apple.com You can’t go wrong when purchasing an Apple Brand computer for video editing.

Most educators can acquire a computer for under $1200 equipped with iMovie editing software.

Most laptops and iMacs are able to handle your video editing needs without having to purchase additional software or hardware features. Shop and find the right fit for you and your students. Try not to spend any more than $1500 and work with a representative to get an educational discount.

SEPTEMBER 2011 PAGE 34 OF 42

Section 5: Telling Your Own Stories – Tools - Computers (continued) iPAD MACINTOSH TABLET Approximate cost: $500-800 This technology is becoming increasingly popular in school settings. These tablets provide wireless Internet capabilities and the ever popular iMovie APP. The iPad 2 also has an onboard video camera. This is potentially a great starter item, but remember that it will still take some time to get comfortable with how to work all aspects of the tablet to your needs.

SONY VAIO COMPUTERS Approximate cost: $900 - $1900 www.sonystyle.com The Sony VAIO is becoming recognized as a solid PC purchase for multimedia platforms. Most PC computers can handle basic editing software such as Moviemaker. Stay away from the tablets and mini-laptops as they won’t have the editing power you will need.

SOFTWARE FOR THE MAC iMOVIE is an excellent video software application available exclusively for MAC-based computers and tablets. For those looking to create professional grade videos, FINAL CUT PRO is the choice, providing infinite possibilities for post-production. Keep in mind – iMOVIE is a free application, where Final Cut Pro will cost approximately $300.

Visit www.apple.com for more information.

FOR THE PC MOVIE MAKER is the standard editing software for Windows based computers. You can download this software onto your computer for free at this site: http://www.videohelp.com/tools/Windows-Movie-Maker The professional app for the PC is Adobe Premiere and costs about $350 (this is the educational price). It is an excellent application but may be more than you need for a classroom project. You can purchase this software by visiting this site: http://www.adobe.com/education/purchasing/education_pricing.html

SEPTEMBER 2011 PAGE 35 OF 42

Section 5: Telling Your Own Stories – Tools (continued) ADDITIONAL PRODUCTION TOOLS As you begin to build resources remember to consider the following accessories: • • • • •

CAMERA BAG TRIPOD MICROPHONE EXTRA BATTERIES EXTERNAL HARD DRIVE

There are many online stores that have experienced staff that can help direct you towards the best purchase given your budget. Some recommended vendors include: •

B & H Photo:

www.bhphotovideo.com

•

Apple Store:

www.apple.com

•

Sony Style:

www.sonystyle.com

One of the unexpected treasures of the SSR project was the gift of song presented by many of the young storytellers that participated in the project. The students of Richfield Residential Hall were no exception. Here Lucy Slick contributes a traditional Diné song for the soundtrack of Walking In Two Worlds.

SEPTEMBER 2011 PAGE 36 OF 42

Media Education Professionals There are many youth media organizations throughout the nation that can act as a resource for your video production work. Their services vary dramatically, but are worth checking out.

The two primary organizations involved in the Stories of Strength & Resiliency Project included the following:

IN PROGRESS In Progress is a non-profit digital storytelling organization located in Saint Paul, Minnesota. The organization works with a team of artists and consultants who are experienced in media based program design, curriculum development and media production consultation. Executive Director Kristine Sorensen has twenty-five years experience working with tribal communities designing video-based programs and activities and will provide initial consultations and general inquiries free of charge. In addition to their partnerships in Minnesota, In Progress has worked with schools and communities throughout the United States including a majority of the schools involved in the SSR project.

To find out more about In Progress, please visit: www.inprogress.org You can inquire about rates and services by emailing Kristine Sorensen at: inprogress301@g mail.com or calling: 612-8050514 In Progress artist David Sam (pictured on the right) worked with students from the Circle of Nations School as they filmed their video We Are Alive. David attended the school as a young boy and was honored to have the opportunity to return as a teaching artist for the SSR project.

SEPTEMBER 2011 PAGE 37 OF 42

Section 5: Telling Your Own Stories – Media Education Resources (continued)

The Center for International Education The Center for International Education is a small non-profit located in Saint Paul Minnesota. Artist Mike Hazard is the lead artist and director of the organization. He is well versed in teaching youth the art of video and emphasizes the art of poetry and story. His work with Native American schools includes Cherokee Central School, Flandreau Indian School, Circle of Nations School and Standing Rock School. Mike works as an artist inresidence and is willing to travel to schools throughout the United States.

To find out more about The Center or International Education, please visit: www.thecie.org You can inquire about rates by emailing Mike Hazard at: mediamic@ bitstream.net

Several students from the participating schools recorded traditional and contemporary music for use in the videos created for the SSR project. Here students record a traditional Cherokee flute song for use in their video The Sacred Path.

SEPTEMBER 2011 PAGE 38 OF 42

Publications As you begin to act on your ideas for implementing a video production with students you may find the following publications worth reviewing:

Stories of Strength & Resiliency Planning Guide This guide provides hands on planning tools and a sequential step-by-step process that you can adapt for your classroom needs. The study guide includes permission forms, brainstorming worksheets and more.

You can purchase a copy of the guide for $10 by visiting Lulu.com at this link: http://www.lulu.com/product/paperback/stories-of-strength-resiliency/12571972 or email Kristine Sorensen at inprogress301@gmail.com and she will send you a downloadable version of the guide at no charge.

Through The Eagles Eye – Innovative Approaches to Teaching Media Arts

This extensive curriculum guide that supports teachers and administrators in building innovative and academically challenging media arts programs. The guide includes lesson plans, assessments, and an array of activities ready to introduce into the classroom.

You can purchase a copy of the guide for $55 by visiting Lulu.com at this link: http://www.lulu.com/product/paperback/stories-of-strength-resiliency/12571972 or email Kristine Sorensen at inprogress301@gmail.com and she will send you a downloadable version of the guide at no charge.

The students of Little Wound High School were bonded by their determination to create a video that expressed their hurt and concern for their peers that suffer from depression and neglect as revealed in their video Reservation Realities .

SEPTEMBER 2011 PAGE 39 OF 42

Browning Montana is home to skilled horseman, traditional teachers and young respectful storytellers.

Dale Marceau was the lead videographer for the video With Kindness and Respect, produced by the students of Blackfeet Dormitories.

Dale, along with several other students at the Dorms, spent four days listening to elders, writing and speaking to the respect they have for their life in the small northwestern community.

SEPTEMBER 2011 PAGE 40 OF 42

LLC

T h is g u id e w a s p ro d u c e d b y th e V a n d e r W e e le G ro u p u n d e r th e d ire c tio n o f th e D iv is io n o f P e rfo rm a n c e a n d A c c o u n ta b ility o f th e B u re a u o f In d ia n E d u c a tio n o f th e U .S . D e p a r tm e n t o f th e In te r io r .

P r in c ip a l A u t h o r o f t h is S t u d y G u id e K ris tin e S o r e n s e n In Progress Contributions were made also by: Mike Hazard, Media Educator The Center for International Education Victoria Stein, Consultant Vander Weele Group The participating Students and Staff from the following schools Kinteel Residential Hall (Aztec, NM) Blackfeet Dormitory (Browning, MT) Bug-O-Ne-Gay-Shig (Bena,MN) Chemawa (Salem, OR) Cherokee Central Schools (Cherokee, NC) Cibecue (Cibecue, AZ) Circle of Life (White Earth, MN) Circle of Nations (Wahpeton, ND) Flandreau (Flandreau, SD) John F. Kennedy Day School (White River, AZ) Little Wound (Kyle, SD) Many Farms (Many Farms, AZ) Nah Ah Sing (Onamia, MN) Pine Ridge (Pine Ridge, SD) Richfield Residential Hall (Richfield, UT) Riverside Indian School (Anadarko, OK) Rocky Ridge (Kykotsmovi, AZ) Sherman Indian School (Riverside, CA) Standing Rock Community Schools (Standing Rock, ND) Wingate High School (Ft. Wingate, NM) Electronic copies of this guide will be available on the web site of the Bureau of Indian Education at:

http://enan.bia.edu/home.aspx SEPTEMBER 2011 PAGE 41 OF 42