Lindsay Tanner Katherine Mustard CURR335 (8 Lesson assignment) Canadian ...

Lindsay Tanner Katherine Mustard CURR335 (8 Lesson assignment) Canadian History (1919-1929)

Grade 10 Applied

Focus on Power Struggles and the Social History of the "Roaring Twenties"

Lesson Title: Introducing 1919 -1929 A) Overview: Students will be introduced to the worldviews from 1919 to 1929 through a cartoon and an interactive activity that involves student reflection and background knowledge.

B) Learning Goal: Students will list what they know (previous knowledge) about unit topics that will be covered in class. Students will reflect on what they know and what they do not know about power struggles in the 1920s. They will write a learning goal for themselves based on that reflection.

C) Curriculum Expectations: Grade 10 Applied; B: Canada, 1914 ? 1929

1. Overall Expectation: B ? Social, Economic, and Political Context: describe some key social, economic and political events, trends, and developments in Canada between 1914 ? 1929, and assess how they affected the lives on people in Canada.

D) Materials:

i. Video Clip 1.1 ii. Poster paper (6 pieces) iii. Markers

E) Plan of Instruction: 75 minutes

Step 1: Warm up (10 minutes) Teacher will play Video 1.1 Students will be asked to give their opinions and perspectives on the video. Why would this cartoon be coming out in the early 1930s? Who is the target audience? What background would the audience have had? What background would the parents of the target audience have? Are there any power struggles being presented in this cartoon? Are there any discriminatory representations of minorities? The teacher should point out the "black face" at the end of the cartoon The teacher should inform the students that the cartoon is from 1931

Step 2: Discussion (background knowledge) (15 minutes) The teacher will ask students what year WWI ended (this should be review as they just completed studying WWI) Next, the teacher will ask students what would have changed at the end of the war. Would people go right back to living the lives they had before the war? Were Canadians the same after the war? The teacher will teach the students about power struggle after the war. o After the struggle in WWI, Canadian law makers asserted their power over women, minorities, and those who were vulnerable. A power struggle occurred

after WWI within Canadian society. Some of those with less power fought back, some were unable to.

Step 3: Modeling (5 minutes) The teacher will tape 6 pieces of poster paper around the room and give each student a marker. Each poster paper will have one of the following titles; o Soldiers after WWI o Women in the 1920s o Aboriginal people in the 1920s o Immigrants in the 1920s o Flappers o Canadian Identity o Characters of the 1920s (Cartoons, books, movies) The teacher will then divide the class into 7 groups and assign each group a poster. Students will then participate in a jigsaw activity.

Step 4: Guided Practice (21 minutes) Students will spend 3 minutes on each poster paper. Students will write down what they know about the topic. Repetition is not encouraged but for this activity it is acceptable. This is to be used as assessment for learning.

Step 5: Independent Activity (10 minutes) Students will then reflect on an element they would like to know about in this unit (focus, power struggles from 1919-1929). Students will reflect on what they know and what they do not know about power struggles in the 1920s. They will write a learning goal for themselves based on that reflection. o What do they want to know more about? What are the students not looking forward to? This will be submitted not for marks but for the teacher to inform his/her teaching of the unit.

Step 6: Sharing / Discussing / Teaching (14 minutes) The teacher will review the posters with the students (10 minutes) o The students should explain some of the repeated items, and explain why they deserved repeating o The teacher should take this opportunity to expand on some of the topics as appropriate The teacher will then ask the students to share what they wrote and what they are looking forward to and not looking forward to in this unit (4 minutes)

F) Assessment

The assessment for learning will be the poster papers. The teacher should use these as a reference for what the students know. They should be posted somewhere in the classroom to reflect on during the corresponding lessons to show the students what they have

learned. If there is no room in the classroom, bring the poster out during the corresponding lesson. The teacher will also use the Independent writing activity as an assessment for learning.

Lesson 2: Flappers and their importance in the culture of the "roaring" twenties

A) Overview: The decade of the 1920's was one of exciting change in gender role dynamics as well as one of a struggle to return to normalcy post World War I. Many people, women and veterans especially found it difficult to return to a life of convention after the Great War, and the youth culture of the "jazz age" found its expression in a new kind of rebellion. Particularly young women, termed "flappers" as a new kind of girlhood and emerging womanhood cut their hair short, wore shorter dresses, smoked cigarettes, drank alcohol in public places and went dancing. Flappers went against the traditional grain of how a proper woman should act, and broke many of the gender divides between men and women. They stand in our historical and cultural memory as significant in how we view gender values and norms in a slowly changing society. Thus, this lesson connects to our overall goal of approaching history from social and cultural aspects; and viewing major trends in society and how they affected the people of Canada.

B) Learning Goal: At the end of this lesson, students will understand more about how historical events and time periods shape social notions such as gender norms. Relating to historical significance, they will be able to ask, and formulate an answer to; were flappers historically significant? Did the shifting gender dynamics result in any real, important change? Did flappers and jazz age culture in general reveal anything significant about Canada in the 1920's? And do flappers occupy a meaningful place in our culture's dominant narrative today? Most of these questions have complex, multifaceted answers, and it is up to the student to finally decide, but I would argue that although flappers still occupy a space in our cultural mindset as a symbol of feminism, and female liberation from certain patriarchal constraints (eg. the corset), that overall, these changes were superficial at best, and the 1920's was primarily a decade of subordinating females to males.

C) Curriculum Expectation: Grade 10 Applied; B: Canada, 1914 ? 1929 1. a) Overall Expectation: B ? Social, Economic, and Political Context: describe some

key social, economic and political events, trends, and developments in Canada between 1914 ? 1929, and assess how they affected the lives on people in Canada.

b) Specific Expectation: B1.1 ? describe some key social developments during this period (eg. changes in immigration, the broadening of citizenship rights for many women, the treatment of "enemy aliens in WW1, the challenges facing returning veterans, the rise of the flapper in popular culture) and assess their impacts on the lives of different people in Canada.

2. Historic Thinking Concept: Historical Significance

D) Materials: Video 2.1 Picture 2.1 Handout 2.1 Homework Handout 2.1 Basic Formative Rubric

E) Plan of Instruction: 75 minutes

Step one: Warm-up (5 minutes) Show class video 2.1 from 1929: Ask the students to share anything they noticed about the video. Also, show picture 2.1 (refer to appendix). Prompt the discussion with leading questions, like "What did you notice about the fashion?" etc.

Step 2: Discussion ? Activating Prior Knowledge (10 Minutes) Tell students to take out their notebooks and a writing utensil. Remind the students to take notes, and lecture to activate their prior knowledge/introduce them to the topic:

Lecture: Following last classes conversation about the status of women in Canada during the

1920's and their journey to equal voting and legal rights, people often think about a certain kind of woman emerging in this time period. The flapper. She has a shorter, almost boy-like haircut, she wears a shorter dress, or skirt that is tailored straight, not tight or constrictive like the more traditional corsets women wore, which freed her up to promote an ease of movement. With this physical sartorial freedom, she now participates in sports, ride bicycles and dances provocatively. Flappers also freely drank alcohol, as a deviant act against the recent prohibition acts of the late 1910's and early 1920's. She even smoked cigarettes in public, which was at the time considered a more male habit.

In the 1920's, the flapper became a symbol for a new and exciting popular culture1. She represented a new and more modern time for women. They enjoyed new and emerging forms for entertainment, like dance, jazz, and driving2. Flappers' behaviour was quite scandalous and helped redefine women's roles. Flappers directly challenged Victorian era women's gender roles, which were tied up in simple living, and a complete devotation to family life, the private sphere i.e. home and religion. Flappers also largely supported women's right, such as the vote. She stood for independence, the mixing of the public and the private sphere, personal choice and consumerism.

Step 3/4: Modeling/guided practice (30 Minutes) Distribute the handout on "Historical Significance". Ask students, how do we know something is historically significant? Then go through it together: according to Dr. Peter Seixas and Tom Morton, authors of the "The Big Six", which we have been following this semester to guide us in our historical thinking; the guideposts to historical significance are four-fold. Firstly, events, people, or developments have significance if they resulted in change. Secondly, if they are revealing, in other words, does it shed light on enduring or emerging issues in history or contemporary life? Thirdly, we must remember that historical significance is constructed, as in the person/event etc. is historically significant if it occupies a meaningful place in a narrative. And finally, we should also keep in mind that historical significance various over time, and from group to group. Go through each guidepost of historical significance and explain thoroughly. Give examples for each one, with information relevant to them. Ask guiding questions to

1 Dennis DesRivieres, Colin M. Bain. "Experience History: Canada since World War 1" pg. 72 2 ibid.

activate their prior historical knowledge, and get them thinking deeply about this historical concept. Pose the question: were flappers significant? How? Why? What do they mean to a larger view of history/that time period/ or changing gender roles of that period. Tell students we will unpack this as a class. Divide students into groups and attempt to answer these questions. Have volunteers give answers. Do a mind-map on the board with the information on flappers we may find historically significant. Get the ball rolling, teacher writes: Flapper on board, then around it things like "jazz age", "looser fitting clothing" etc. and calls of students to add key points to the mind-map

Step 5: Independent practice: (15 Minutes) Pose the question: How historically significant are flappers? Give students a few minutes to ponder this question independently, then play the folding line game with them. Take students out into the hall, and ask them to line up in order of least ? to ? most historically significant. Get the students to discuss amongst themselves their position. Then fold the line in the middle, so students are discussing with a partner from the opposite perspective. Have each student explain their own reasoning to their partner. Return back to the classroom.

Step 6: Sharing/Discussing/Teaching (5-10 Minutes) Once students are seated again, have a class discussion on the historical significance of flappers in the 1920's. Ask students to volunteer their opinions, and rationales. Ask students if after the line was folded, did their partner change their mind? Why, or why not. Hand out homework.

F) Assessment: Once again, most of the assessment is formative in this lesson. Note the students' enthusiasm, understanding and engagement in topic. Take note of who was struggling with the historical concept ideas. Revisit difficult topics in future lessons. Hand out homework assignment (refer to appendix homework handout 2.1) to be due for the next class. Mark with a simple rubric.

Lesson 3: Evidence in the paintings of the Group of Seven A) Overview:

Students will look at paintings by the Group of Seven and explore how these men contributed to Canadian identity.

 Students will reflect on a primary source and a secondary source, while considering how the group challenged the authority of the European model of painting by finding their own style.

B) Learning Goal: Students will analyze a painting by the Group of Seven with help of a secondary source on the painter or the events occurring at the same time as the painting was created. By asking questions and supporting their primary source with secondary material, as well as their own previous knowledge of WWI (last unit), students will understand the proper steps to take when working with Evidence while at the same time, learning about how the Group of Seven helped contribute to Canadian identity.

C) Curriculum Expectation: Grade 10 Applied; B: Canada, 1914 ? 1929 1. a) Overall Expectation: B ? Social, Economic, and Political Context: describe some

key social, economic and political events, trends, and developments in Canada between 1914 ? 1929, and assess how they affected the lives on people in Canada.

b) Specific Expectation: B1.1 ? describe some key social developments during this period (eg. changes in immigration, the broadening of citizenship rights for many women, the treatment of "enemy aliens in WW1, the challenges facing returning veterans, the rise of the flapper in popular culture) and assess their impacts on the lives of different people in Canada.

2. Historic Thinking Concept: Evidence

D) Materials:

Handout 3.1 Pictures 3.1 ? 3.13 Rubric 3.1

E) Plan of Instruction: 75 minutes

Step 1: Warm up (10 minutes) Students are asked to take out a pen and paper to prepare for a brief writing exercise. First, ask the students to think about a location that makes them feel like home. Ask them to write a few sentences about this place describing what it looks like. Next, the students will write about a specific location in this place (for example, if they were writing about a house, they should write about their favourite room. If it is a city, perhaps there is a scenic point or caf? they can write about.) Ask them to write about what is there, and who is there. Next, the students should put themselves in their narrative. What are they doing? After the writing task is complete, ask them to share with their elbow partner. After the students have had enough time to share with each other, ask if anyone wants to share with the class.

Step 2: Discussion (Background Knowledge) (15 minutes) Show students Tom Thomson's In the northland (1915).

 Ask the students if they recognize this painting? Who is it by? What does it represent? Tell them it is a famous Tom Thomson painting (if they didn't guess it). Tom Thomson

was an honorary member of the Group of Seven, the famous Canadian group. He was an honorary member because he died in 1917, before the group decided on a name, and while his many of his fellow painters were fighting in WWI. Next, ask the students what they think soldiers would be feeling after WWI. Have them reflect on their own narrative they have just written. The soldiers all probably had a favourite place which kept them comforted when they were fighting in a foreign country. After World War One, what do you think people at the time were feeling? Have the students think-pair- share. Then have them share it with the class. "The First World War had intensified Harris's ideas of what he wanted to pain. Simply, he wanted to express what he felt about Canada. His reaction was characteristic of many Canadians of the times, who responded to the futility of war with a desire to discover their own country. Only a new and properly organized spirit should make a new Canada work, he and others believed." (Murray, 2003. p.30)

Step 3: Modeling (10 minutes) The teacher must inform students that the members of the Group of Seven wanted to find an artistic style that represented Canada. This was difficult at the time, because other artists and art critics in Canada believed that European artistic style was the superior style. When the group first showed works, many criticized their work. This did not stop men like Lawren Harris, who was the unspoken leader of the group. After coming back from war, he wanted to find a way to express how he felt about Canada, and believed that artistic expression was essential for a nation's identity. The teacher will introduce F.H. Varley's image The Sunken Road (1919). The teacher will then proceed to ask questions to evaluate the Evidence (Varley's image). What questions can we ask about this painting? Who? Varley was a member of the Group of Seven. He was also a wartime artists in WWI. What? An image of a slaughtered German infantry. When? Why? Where? What were the world views in Canada at the time? What was going on in 1919? What can we learn from the content of this image? How does it tie into Canadian Identity?

Step 4: Guided Practice (15 minutes) To help answer some of these questions, the teacher and the students will look at the article "Years of Tragedy". The students will attempt to answer some of the questions using the context of who the author is, what was happening in the world and why people may respond to it. History is interpretation based on inference made from primary sources, so what does this painting tell us?

Step 5: Independent Activity (15 minutes)

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