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|Title / Content Area: |Diversity and Cultural Traditions in Latin America | |

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|Developed by: |Natalie Arsenault, Teresa Lozano Long Institute of Latin American Studies, University of Texas at Austin | |

|Grade Level: |Grades 6–12 | |

|Essential Question: |How do various traditions and celebrations in Latin America reflect its history and diversity? | |

|Contextual Paragraph: |Much like the United States, the countries of Latin America reflect a mixture of various peoples and cultures. Latin America is | |

| |not a single, monolithic culture; each country in the region has its own history and cultural roots. Indigenous, European, and | |

| |African influences—among others—have blended to form unique nations that maintain some traditions among small groups and | |

| |incorporate other traditions into their national identity. Music, dance, and festivals offer an entrypoint into each country’s | |

| |history and diversity. | |

Annotated Resource Set (ARS)

|Resource Set |

|Dancing Zamba, Argentina |Carnival in Oruru (Bolivia) |Candomblé (Bahia, Brazil) Ritual |A Feast Day in San José, Costa Rica|African Dance (Cuba) |Fiesta in a Village Near Quito |

| | |Dance | | |(Ecuador) |

|Couple in traditional costumes |Carnival dancer in an elaborate |Women in traditional dress dancing |Religious procession with floats |Guajiro (Cuban peasant) performing |Men in feathered headdresses |

|dancing zamba, one of Argentina’s |devil costume. Carnival in Oruru |a ritual from Candomblé, a religion|that feature young women and girls |traditional dance in front of bohio|performing traditional indigenous |

|most popular dances. From the |has a strong religious connection, |based on African beliefs that |dressed as angels and saints. The |(thatched huts that go back to the |dance at a fiesta in a town outside|

|Peruvian zamacueca, adopted in |seen in its two most prominent |incorporates Christian elements. |Virgin Mary and St. Catherine of |Taíno Indians, the island’s |of Quito. |

|Chile as the cueca. |icons: Pachamama (Mother | |Alexandria are two of the figures |original inhabitants). | |

| |Earth/Virgin Mary) and Tio Supay | |depicted. | | |

| |(Uncle/Devil). | | | | |

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|[pic] |[pic] |[pic] |[pic] |[pic] |[pic] |

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|Playing the Marimba (Guatemala) |Carnival Costumes (Haiti) |Dance and Popular Dress (Haiti) |Creation of the Fifth Sun Festival |Indian Style Ferris Wheel (Mexico) |Oaxacan Feather Dancer (Mexico) |

| | | |(Mexico) | | |

|Indigenous man playing a marimba |Two masqueraders in costumes that |Dancers elegantly dressed in 18th |Musicians in costume wearing |Voladores in Mexico held against |Oaxacan dancer in an elaborate |

|made of different-sized gourds. The|are simultaneously pigs and humans.|century clothes worn by free people|distinctive headdresses. The |the length of the poles as they |costume that features intricate, |

|marimba is believed to have |Haiti has a long tradition of |of color (gens de couleur) when |creation of the fifth sun is part |revolve around the wheel in the |detailed headdress, breastplate, |

|originated in southern Africa. |animal papier- maché Carnival |Haiti was a colony of France |of Aztec mythology about the |middle. Each individual on the |and shield. The Guelaguetza is a |

| |masks. |(called St. Domingue). |origins of the world. |wheel wears a large, circular |festival that celebrates Oaxaca’s |

| | | | |headdress that is itself like a |folk traditions and dances. |

| | | | |wheel. | |

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|[pic] |[pic] |[pic] |[pic] |[pic] |[pic] |

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Notes/Comments: Set of 22 photos includes the following countries (one photo each unless noted otherwise): Argentina, Bolivia, Brazil, Costa Rica, Cuba, Ecuador, Guatemala, Haiti (2 photos), Mexico (4 photos) Nicaragua, Peru (2 photos), Trinidad & Tobago (2 photos), Uruguay (2 photos), Venezuela (2 photos).

|Masks Used in Native Dance (Mexico)|Dance (Nicaragua) |“Bury dance,” Carnival, Peru |Fiesta “Huayno,” a Folk Dance |Steelband Playing on the Beach |Attending Muslim Festival (Trinidad|

| | | |(Peru) |(Trinidad & Tobago) |& Tobago) |

|Indigenous dancer wearing seven |Folk dancers in Nicaragua, |Carnival scene in Cuzco, Peru with |Indigenous dancers preforming |Old Oak Starlift Steel Orchestra |Men attending Hosay festival stand |

|masks around his head that are used|performing an informal version of |indigenous men, women, and children|huayno, the most representative |playing steel drums, a Trinidadian |in front of a tadjah (model |

|in the Dance of the Seven Vices. |the traditional Las Inditas. |in traditional clothing performing |folk dance of the Andes. |invention resulting from the |mausoleum). |

| | |a dance. | |British outlawing the use of | |

| | | | |regular drums by Africans in 1783. | |

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|[pic] |[pic] |[pic] |[pic] |[pic] |[pic] |

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|Montevideo Celebrates Carnival |Parade, The Three Kings Celebration|Fiesta baile Chichimaya, Zulia |El Tambor de Curiepe Dance |Panamanian girl in a pollera | |

|Dancing Candombe (Uruguay) |(Uruguay) |(Venezuela) |(Venezuela) |(brightly colored national dress | |

| | | | |worn for festivals and Carnival) | |

|Women dressed in costume, part of a|Men dressed as kings, with crowns, |Indigenous people in the state of |Men and women dancing in the town |This photograph shows a Panamanian | |

|carnival band dancing Candombe. |flowing capes, and long beards, |Zulia performing a traditional |of Curiepe. Founded in the early |girl in a pollera, a | |

|Candombe is a drum-based |mounted on horses greet their |dance. The northwestern part of |1700s by liberated slaves, Curiepe |brightly-colored national dress | |

|Afro-Uruguayan rhythm that has |"subjects." Tres Reyes, or Three |Zulia is inhabited by the Guajiro |is known for its annual San Juan |worn for festivals and carnival, | |

|roots in the Bantu regions of |Kings Day, celebrated on January 6,|Indians, the largest indigenous |Festival and its famous drums |with an elaborately decorated | |

|eastern and equatorial Africa. |is when Uruguayan children receive |group in Venezuela. | |headdress and earrings of a similar| |

| |Christmas gifts. | | |pattern. | |

| | | | |[pic] | |

|[pic] |[pic] |[pic] |[pic] | | |

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|Foundations Annotations |

| Curriculum Connections |

|Social Studies, adaptable for use in Spanish, Music, Dance |

|Curriculum Standards |

|Texas Essential Knowledge and Skills for Social Studies |

|§113.18. Social Studies, Grade 6 |

|(1)  History. The student understands that historical events influence contemporary events. The student is expected to: (A)  trace characteristics of various contemporary societies in regions that resulted from |

|historical events or factors such as invasion, conquests, colonization, immigration, and trade. |

|(15)  Culture. The student understands the similarities and differences within and among cultures in various world societies. The student is expected to: (D)  analyze the experiences and evaluate the contributions of|

|diverse groups to multicultural societies. |

|(17)  Culture. The student understands relationships that exist among world cultures. The student is expected to: (D)  identify and define the impact of cultural diffusion on individuals and world societies. |

|(18)  Culture. The student understands the relationship that exists between the arts and the societies in which they are produced. The student is expected to: (A) explain the relationships that exist between |

|societies and their architecture, art, music, and literature; (B)  relate ways in which contemporary expressions of culture have been influenced by the past. |

|21)  Social studies skills. The student applies critical-thinking skills to organize and use information acquired through established research methodologies from a variety of valid sources, including electronic |

|technology. The student is expected to: (A) differentiate between, locate, and use valid primary and secondary sources such as computer software; interviews; biographies; oral, print, and visual material; and |

|artifacts to acquire information about various world cultures; (B)  analyze information by sequencing, categorizing, identifying cause-and-effect relationships, comparing, contrasting, finding the main idea, |

|summarizing, making generalizations and predictions, and drawing inferences and conclusions. |

| |

|§113.34. World Geography Studies |

|(5)  Geography. The student understands how political, economic, and social processes shape cultural patterns and characteristics in various places and regions. The student is expected to: (A)  analyze how the |

|character of a place is related to its political, economic, social, and cultural characteristics. |

|(16)  Culture. The student understands how the components of culture affect the way people live and shape the characteristics of regions. The student is expected to: (A) describe distinctive cultural patterns and |

|landscapes associated with different places in Texas, the United States, and other regions of the world, and how these patterns influenced the processes of innovation and diffusion. |

|(18)  Culture. The student understands the ways in which cultures change and maintain continuity. The student is expected to: (C) analyze examples of cultures that maintain traditional ways. |

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|§113.33. World History Studies |

|(5) History. The student understands causes and effects of European expansion beginning in the 16th century. The student is expected to: (A) identify causes of European expansion beginning in the 16th century; and |

|(B) explain the political, economic, cultural, and technological influences of European expansion on both Europeans and non-Europeans, beginning in the 16th century. |

|(20) Culture. The student understands the relationship between the arts and the times during which they were created. The student is expected to: (B) analyze examples of how art, architecture, literature, music, and |

|drama reflect the history of cultures in which they are produced. |

|(25) Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of sources including electronic technology. The student is expected to: (C) analyze |

|information by sequencing, categorizing, identifying cause-and-effect relationships, comparing, contrasting, finding the main idea, summarizing, making generalizations and predictions, and drawing inferences and |

|conclusions; (D) explain and apply different methods that historians use to interpret the past, including the use of primary and secondary sources, points of view, frames of reference, and historical context. |

|Content & Thinking Objectives |

|Content Objective 1: Students will be able to name the groups that contributed to Latin American culture. |

|Objective 2: Students will identify indigenous, European, and African characteristics of Latin American cultural traditions. |

|Objective 3: Students will describe the degree to which Latin American traditions blend characteristics from different cultures. |

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|Thinking Objective 1: Students will analyze photographs to determine the subject/event of each photo and its cultural roots. |

|Objective 2: Students will categorize Latin American countries/traditions by their dominant influences. |

|Objective 3: Students will compare and contrast cultural influences of various Latin American countries. |

|Inquiry Activities & Strategies |

|[If this has not been covered previously] Provide a brief overview of the history of Latin America, establishing that indigenous cultures were present when Europeans arrived in the sixteenth century and that |

|Europeans established slave economies throughout the region. Explain that, as a result, Latin American cultures represent the blending of these three primary groups. Introduce the term “syncretism” (noun, the |

|combination of different forms of belief or practice; adj., syncretic); syncretism is a blending of various cultural traditions to make something new and it is common throughout Latin America. {Extension: discuss |

|later waves of immigration, including that from other parts of Europe, Asia, and the Middle East, during the twentieth century.} |

|Explain that students will see the influence of these three groups in music, dance, and celebrations in Latin America. The class will be looking at historical photos for evidence of which groups have influenced |

|traditions in different Latin American countries. |

|Model the activity by discussing the last photo in the set, the color image of the Panamanian girl in the pollera. Work through the Photo Analysis Worksheet (linked below) using this photo, having students share |

|their responses to each section. |

|Divide students into groups of 4–5. Each group will be given a set of photographs, one for each student in the group. Groups should not have more than one photograph from any country. Note: groups do not have to have|

|completely different sets; there can be some overlap of photos if needed. |

|Individual analysis: Each student will analyze his/her photo using the Photo Analysis Worksheet: photo_analysis_worksheet.pdf. Students can work together to |

|analyze the photos, but each student will be responsible for his/her photo and worksheet. |

|Group discussion: Again, begin by modeling the discussion using the Panamanian photo. Each group discusses its set of photos and answers the following questions (which can be displayed on board): |

|Does this photo look like it was taken at a public event or in a private setting? Based on this, do you think the photo is part of national or local culture? Explain your answers. |

|Which cultural groups—indigenous, European, African—have influenced what is taking place in the photo? Explain your response. |

|Homework: each student conducts research on the cultural tradition depicted in his/her photograph. Provide students with the contextual information (listed above the photos) for each photograph as background |

|information to start their research. Students should write a one-paragraph caption for their photos, illustrating their understanding of the tradition and the people who practice it. Captions should include |

|information on: (1) the tradition, (2) the country (location, size of population, etc.), and (3) the ethnic heritage and/or history of the country. They need to provide a list of at least three sources for their |

|information (you can choose whether or not Wikipedia can be used). |

|Model the activity by providing the following caption for the Panamanian photo: Girl in Panama dressed in a traditional pollera. Polleras are long, ruffled skirts, with matching shirts, that were worn in Spain as far|

|back as the seventeenth century. The pollera is now the national costume of Panama, the southernmost country in Central America, with a population of 3.5 million. Panama has a very mixed population reflecting its |

|native roots (such as the Kuna), its history of African slavery, and European immigration. The dominant influences in Panama are Caribbean and Spanish, as reflected in the pollera, which has been worn in Panama for |

|at least 150 years. |

|In class the next day, set up four areas in the classroom, labeled as follows: Indigenous, European, African, Blended. Each student should go to the category that he/she feels represents the tradition in his/her |

|photo. Students in each group explain their photos to one another. [There is no right/wrong answer. Students should go where they feel their photos fit best.] |

|Before returning to a whole class discussion, create a list on the board with each category and the countries represented in that group. Students should return to their seats and you can discuss the following |

|questions as a class: |

|Go through each country and discuss under which category(ies) it fell. What explains the influence of that culture on that specific country? |

|Based on the groupings on the board, the photos, and your research, do you think Latin America is all the same? How are countries similar and how are they different? |

|Final reflection: What surprised you about what you learned during this activity? [Can be done as homework.] |

| Assessment Strategies |

|Photograph caption completed during activity. |

|Final assessment: students should demonstrate an understanding of diversity among Latin American countries, as well as within each country, through a visual representation (PowerPoint, tri-fold, booklet, etc.) with |

|images and background information that depict diversity in the region (using photos they find in their own research; not from the collection used in the classroom). Students must discuss at least two countries in the|

|region. |

|Alternate assessment: students should demonstrate their understanding of Latin American diversity by researching a country not included in the photo collection and creating a visual representation of that country’s |

|cultural influences and history. |

|Other Resources |

|Web Resources |

|Map: The Atlantic Slave Trade Routes Map, 1500-1619: |

|Map shows early slave trade, including regions of Africa from which slaves were drawn and their destinations. |

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|Map: Slave Trade From Africa to the Americas, 1650–1860: |

|Map shows flow of slaves, providing background information on numbers of African slaves in various parts of the Americas as well as the economic sectors they served. |

|“Europeans in South America”: |

|Discussion of European populations in South America. |

|Latin American Music and Dance: |

|Background on traditions and influences, including observations on the three main influences. |

|Latin American Network Information Center: |

|Good starting point for research on Latin America; all links are critically reviewed. |

|Secondary Sources |

|Collier, Simon, Thomas Skidmore, Harold Blakemore, eds., The Cambridge Encyclopedia of Latin America and the Caribbean, 2nd ed. New York: Cambridge Univ Press, 1992. |

|Mann, Charles C. 1491: New Revelations of the Americas Before Columbus. New York: Vintage, 2006. |

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