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Description
The purpose of this study was to examine the attitudes and opinions of Navajo students toward the Navajo language and culture programs within the schools they were attending. Although in the final year of the No Child Left Behind, a majority of the 265 schools on and near the Navajo reservation have not been making Adequate Yearly Progress, a concern for the parents, teachers, administrators, school board members, and the Navajo Nation. The study entailed conducting a survey at five schools; three of which were not meeting the requirements of the No Child Left Behind. The purpose of the survey instrument (27 questions) administered to the students at the five schools was to examine their attitudes and opinions as to participating in Navajo language and culture programs, to determine if the programs assisted them in their academic achievements, and to examine whether these programs actually made a difference for schools in their Adequate Yearly Progress requirement Approximately 87% of 99 Navajo students, 55 boys and 58 girls, ages 9 through 14, Grades 3 through 8, who lived off the reservation in Flagstaff, Arizona and Gallup, New Mexico, and took the survey knew and spoke Navajo, but less fluently and not to a great extent. However, the students endorsed learning Navajo and strongly agreed that the Navajo language and culture should be part of the curriculum. Historically there have been schools such as the Rock Point Community School, Rough Rock Demonstration School, Borrego Pass Community School, and Ramah Community School that have been successful in their implementation of bilingual programs. The question presently facing Navajo educators is what type of programs would be successful within the context of the No Child Left Behind federal legislation. Can there be replications of successful Navajo language and culture programs into schools that are not making Adequate Yearly Progress?
ContributorsTsosie, David J (Author) / Spencer, Dee A. (Thesis advisor) / Appleton, Nicholas A. (Committee member) / Koerperich, Robbie (Committee member) / Arizona State University (Publisher)
Created2013
Description
This project sheds light on trombonist Andy Martin's improvisation and provides tools for further learning. A biographical sketch gives background on Martin, establishing him as a newer jazz master. Through the transcription and analysis of nine improvised solos, Martin's improvisational voice and vocabulary is deciphered and presented as a series of seven thematic hooks. These patterns, rhythms, and gestures are described, analyzed, and presented as examples of how each is used in the solos. The hooks are also set as application exercises for learning jazz style and improvisation. These exercises demonstrate how to use Martin's hooks as a means for furthering one's own improvisation. A full method for successful transcription is also presented, along with the printed transcriptions and their accompanying information sheets.
ContributorsWilkinson, Michael Scott (Author) / Ericson, John (Thesis advisor) / Kocour, Michael (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013
Description
Museums reflect power relations in society. Centuries of tradition dictate that museum professionals through years of study have more knowledge about the past and culture than the communities they present and serve. As mausoleums of intellect, museums developed cultures that are resistant to relinquishing any authority to the public. The long history of museums as the authority over the past led to the alienation and exclusion of many groups from museums, particular indigenous communities. Since the 1970s, many Native groups across the United States established their own museums in response to the exclusion of their voices in mainstream institutions. As establishments preserving cultural material, tradition, and history, tribal museums are recreating the meaning of "museum," presenting a model of cooperation and inclusion of community members to the museum process unprecedented in other institutions. In a changing world, many scholars and professionals call for a sharing of authority in museum spaces in order to engage the pubic in new ways, yet many cultural institutions s struggle to find a way to negotiate the traditional model of a museum while working with communities. Conversely, the practice of power sharing present in Iroquois (Haudenosaunee) tradition shaped a museum culture capable of collaboration with their community. Focusing on the Akwesasne Museum as a case study, this dissertation argues that the ability for a museum to share authority of the past with its community is dependent on the history and framework of the culture of the institution, its recognition of the importance of place to informing the museum, and the use of cultural symbols to encourage collaboration. At its core, this dissertation concerns issues of authority, power, and ownership over the past in museum spaces.
ContributorsHeisinger, Meaghan (Author) / Fixico, Donald (Thesis advisor) / Szuter, Christine (Committee member) / Warren-Findley, Jannelle (Committee member) / Arizona State University (Publisher)
Created2013
Description
The Kootenai River landscape of southwestern British Columbia, northwestern Montana and the very northern tip of Idaho helped unify the indigenous Ktunaxa tribe and guided tribal lifestyles for centuries. However, the Ktunaxa bands' intimate connection with the river underwent a radical transformation during the nineteenth century. This study analyzes how the Ktunaxa relationship with the Kootenai River faced challenges presented by a new understanding of the meaning of landscape introduced by outside groups who began to ply the river's waters in the early 1800s. As the decades passed, the establishment of novel boundaries, including the new U.S.-Canadian border and reserve/reservation delineations, forever altered Ktunaxa interaction with the land. The very meaning of the river for the Ktunaxa as a source of subsistence, avenue of transportation and foundation of spiritual identity experienced similar modifications. In a matter of decades, authoritarian lines on foreign maps imposed a concept of landscape far removed from the tribe's relatively fluid and shifting understanding of boundary lines represented by the river at the heart of the Ktunaxa homeland. This thesis draws on early ethnographic work with the Ktunaxa tribe in addition to the journals of early traders and missionaries in the Kootenai region to describe how the Ktunaxa way of life transformed during the nineteenth century. The works of anthropologist Keith Basso and environmental philosopher David Abram are used to develop an understanding of the powerful implications of the separation of the Ktunaxa people from the landscape so essential to tribal identity and lifestyle. Two different understandings of boundaries and the human relationship with the natural world clashed along the Kootenai River in the 1800s, eventually leading to the separation of the valley's indigenous inhabitants from each other and from the land itself. What water had once connected, lines on maps now divided, redefining this extensive landscape and its meaning for the Ktunaxa people. However, throughout decades of dominance of the Western mapmakers' worldview and in spite of the overwhelming influence of this Euro-American approach to the environment, members of the Ktunaxa tribe have been able to maintain much of their traditional culture.
ContributorsColeman, Robert (Author) / Warren-Findley, Jannelle (Thesis advisor) / Szuter, Christine (Committee member) / Fixico, Donald (Committee member) / Arizona State University (Publisher)
Created2013
Description
Despite a large body of research on stereotypes, there have been relatively few empirical investigations of the content of stereotypes about Native Americans. The primary goal of this research was to systematically explore the content of cultural stereotypes about Native Americans and how stereotypes about Native Americans differ in comparison to stereotypes about Asian Americans and African Americans. Building on a classic paradigm (Katz and Braly, 1933), participants were asked to identify from a list of 145 adjectives those words associated with cultural stereotypes of Native Americans and words associated with stereotypes of Asian Americans (Study 1) or African Americans (Study 2). The adjectives associated with stereotypes about Native Americans were significantly less favorable than the adjectives associated with stereotypes about Asian Americans, but were significantly more favorable than the adjectives associated with stereotypes about African Americans. Stereotypes about Native Americans, Asian Americans and African Americans were also compared along the dimensions of the stereotype content model (SCM; Fiske, et al., 2002), which proposes that stereotypes about social groups are based on the core dimensions of perceived competence, warmth, status, and competitiveness. Native Americans were rated as less competent, less of a source of competition, and lower in social status than Asian Americans, and less competent and lower in social status than African Americans. No significant differences were found in perceived warmth across the studies. Combined, these findings contribute to a better understanding of stereotypes about Native Americans and how they may differ from stereotypes about other racial groups.
ContributorsErhart, Ryan S (Author) / Hall, Deborah L. (Thesis advisor) / Roberts, Nicole A. (Committee member) / Newman, Matthew L. (Committee member) / Arizona State University (Publisher)
Created2013
Description
Jazz continues, into its second century, as one of the most important musics taught in public middle and high schools. Even so, research related to how students learn, especially in their earliest interactions with jazz culture, is limited. Weaving together interviews and observations of junior and senior high school jazz players and teachers, private studio instructors, current university students majoring in jazz, and university and college jazz faculty, I developed a composite sketch of a secondary school student learning to play jazz. Using arts-based educational research methods, including the use of narrative inquiry and literary non-fiction, the status of current jazz education and the experiences by novice jazz learners is explored. What emerges is a complex story of students and teachers negotiating the landscape of jazz in and out of early twenty-first century public schools. Suggestions for enhancing jazz experiences for all stakeholders follow, focusing on access and the preparation of future jazz teachers.
ContributorsKelly, Keith B (Author) / Stauffer, Sandra (Thesis advisor) / Tobias, Evan (Committee member) / Kocour, Michael (Committee member) / Sullivan, Jill (Committee member) / Schmidt, Margaret (Committee member) / Arizona State University (Publisher)
Created2013
Description
Ultimately, the examples and foundation provided at home will impact the child as a student and lifelong learner. In Navajo society, there are some families who continue to instill the importance of heritage language and culture. And then there are those who choose not to, or who are not capable of doing so due to the lack of knowledge to share such teachings. Diné language and culture are vital elements of who we are as Diné. They are what identify us as a people. Our language and culture separate us from the western society. As parents and educators, our attitudes affect our homes, schools, and children. Our way of thinking may inhibit or perpetuate cultural teachings. However, no one knows how parents' attitudes affect cultural integration at an immersion school. This quantitative study examined parents' attitudes toward cultural integration in a Navajo language immersion school (Ts4hootsoo7 Diné Bi')lta' with the Window Rock Unified School District #8 in Fort Defiance, Arizona). Surveys were used to examine parents' attitudes about language and cultural integration. The survey asked about Navajo language and culture, about the extent to which it was practiced at home, and their opinions about how Navajo language and culture was being taught at school. The data were reported in basic descriptive statistics for the total group of respondents and then disaggregated by age, place of birth (on the reservation or off), gender, marital status, and highest grade completed in school. The data has shown that overall parents are supportive of Navajo language and culture. Their attitudes may vary based on age, place of birth, gender, marital status, and education. In spite of this, Navajo language and culture are in the home. However, the degree to which it is spoken or practiced is not measured. Parents are supportive of the school teaching Navajo language and culture.
ContributorsPlatero, Audra J (Author) / Spencer, Dee Ann (Thesis advisor) / Appleton, Nicholas A. (Committee member) / Gilmore, Treva (Committee member) / Arizona State University (Publisher)
Created2012
Description
This study examines the multiple and complicated ways that Native American students engage, accept, and/or reject the teachings of a Native American literature course, as they navigate complex cultural landscapes in a state that has banned the teaching of ethnic studies. This is the only classroom of its kind in this major metropolitan area, despite a large Native American population. Like many other marginalized youth, these students move through "borderlands" on a daily basis from reservation to city and back again; from classrooms that validate their knowledges to those that deny, invalidate and silence their knowledges, histories and identities. I am examining how their knowledges are shared or denied in these spaces. Using ethnographic, participatory action and grounded research methods, and drawing from Safety Zone Theory (Lomawaima and McCarty, 2006) and Bakhtin's (1981) dialogism, I focus on students' counter-storytelling to discover how they are generating meanings from a curriculum that focuses on the comprehension of their complicated and often times contradicting realities. This study discusses the need for schools to draw upon students' cultural knowledges and offers implications for developing and implementing a socio-culturally sustaining curriculum.
ContributorsSan Pedro, Timothy Jose (Author) / Paris, Django (Thesis advisor) / Romero-Little, Mary Eunice (Thesis advisor) / Mccarty, Teresa (Committee member) / Ortiz, Simon (Committee member) / Chin, Beverly A (Committee member) / Arizona State University (Publisher)
Created2013
Description
This dissertation explores how American Indian literature and the legacy of the Red Power movement are linked in the literary representations of what I call "Indigenous Cosmopolitics." This occurs by way of oral tradition's role in the movement's Pan-Indigenous consciousness and rhetoric. By appealing to communal values and ideals such as solidarity and resistance, homeland, and land-based sovereignty, Red Power activist-writers of 1960s and 1970s mobilized oral tradition to challenge the US-Indigenous colonial relationship, speak for Native communities, and decolonize Native consciousness. The introductory chapter points to Pan-Indigenous practices that constructed a positive identity for the alienated and disempowered experience of Native Americans since Relocation. Chapter one examines the Red Power newspapers and newsletters ABC: Americans Before Columbus, The Warpath, and Alcatraz Newsletter among others. These periodicals served as venues for many Natives to publish their poems in collaborating with the politics of the Red Power movement. Among the poems considered is Miguel Hernandez's "ALCATRAZ," which supports the Native resistance and journey towards sovereignty during the Island's occupation. Chapters two and three explore the use of oral tradition in the journalism of Simon Ortiz (Acoma Pueblo), who was then working within the collaborative contexts of the National Indian Youth Council (NIYC) and ABC: Americans Before Columbus, which represents the Indigenous cosmos and appeal to Indigenous peoples' cosmopolitical alliance and resistance throughout the hemisphere and across the world. The final chapter turns to the work of two poets, Joy Harjo (Muskogee Creek), Wendy Rose (Hopi/Miwok), and a singer-songwriter Buffy Sainte-Marie (Cree), showing their appropriation of storytelling modes and topics from within the inclusive functions of oral tradition - storyweaving, employing persona, and performing folk music. Harjo, Rose and Sainte-Marie push on the boundaries of the movement's rhetoric as they promote solidarity between colonized women in and beyond the US. The Red Power movement's cosmopolitics remains persistent and influential in Native nationalism, which stands as the master expression of the decolonizing process. The flexibility of oral tradition operates as a common ground for reciprocal, transformational, and inclusive interactions between tribal
ational identity and Pan-Indigenous identity, developing Native nationhood's interactions with the world.
ational identity and Pan-Indigenous identity, developing Native nationhood's interactions with the world.
ContributorsKim, Seong-Hoon (Author) / Horan, Elizabeth (Thesis advisor) / Ortiz, Simon J (Committee member) / Castle, Gregory (Committee member) / Arizona State University (Publisher)
Created2014
Description
Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close.
ContributorsSneider, Elliot (Author) / Rogers, Rodney (Thesis advisor) / DeMars, James (Committee member) / Hackbarth, Glenn (Committee member) / Solis, Theodore (Committee member) / Arizona State University (Publisher)
Created2013