Cree-Dene songwriter and educator Sherryl Sewepagaham begins with an introduction to First Nations people and communities. This resource features lessons and activities that emphasize the role of music in spiritual healing, connectedness with nature, the importance of song sharing and intergenerational knowledge, expressions of love and connection, and self-reflection.

Students in K-12 will learn about First Nations music and traditional instruments like drums and flutes, focusing on their role in ceremonies, celebrations, and self-expression. Featuring captivating stories like The Courting Flute and ready-to-go lesson plans including Magpie’s Laughter and Heart of the Water Song, this guide offers a variety of interactive learning experiences sure to spark student connection with and appreciation for First Nations culture.

The traditional First Nations teachings and historical content contained in this document are representative of teachings obtained through various Cree elders, drum teachers, and family members. They do not represent all First Nations or Indigenous peoples throughout Canada. The teachings vary within families, communities, and nations, but share commonalities on a general level.

—Sherryl Sewepagaham

First Nations people harvested food and traditional medicines from the earth, which they called Mother Earth, in the fall. They picked various berries and mint for food and took traditional plants like tobacco, fungus, sage, sweetgrass, pine, and cedar for medicines. Different plants and roots were used for different ailments and sicknesses. For instance, “rat root,” also called muskrat’s food, grows in the water and is a common medicine that is still used today for a cold, a cough, a sore tooth, or a sore throat. Whatever was taken from Mother Earth was replaced by laying down tobacco in its place as an offering of thanks and gratitude.

Parents’ roles

All family members helped in hunting and harvesting as a part of survival. Men and older boys would hunt, trap, and fish, and the women and older girls would gather berries, mint, wild rice, and wild carrots and onions. The men and boys would travel and hunt farther away from the camp, and the women and girls would gather closer to the camp. The mothers would take the babies along in moss bags carried on their backs as they travelled and made baby swings out of rope made from hide when stopped at their gathering places. Everyone worked together to help in everyday chores and to prepare for the winter. 

Children’s roles

The boys started practicing their hunting skills by hunting little animals such as rabbits, squirrels, and prairie chickens with bows and arrows and slingshots. The girls made dolls out of straw and learned to sew doll clothes. They also learned how to cook. In the spring when there was a lot of water around the camps, the children would dig little ditches to create streams to divert the water away from the camp. They would be rewarded with tiny carved canoes, and the children would put pebbles inside and watch them float down their streams. Boredom was not a part of everyday living on the land because there was always something to do.

Grandparents’ roles

In the winter months, the grandparents told legends to the children before bed. The legends were similar to boogeyman legends but each of the legends had a lesson to teach about respecting and interacting with each other. Disciplining of children was done through these legends, to teach, about the consequences of unacceptable behaviour.

First Nations people hunted moose, deer, caribou, buffalo, and elk in the fall. When they killed an animal, they thanked the animal’s spirit for giving up its life to feed the people. The animal meat would be cut up to make dry meat and pemmican (pemmican is pounded dry meat mixed with berries and animal fat). Pemmican provided food in the long winter months and could be stored for long periods of time when food was scarce. Fats were an important part of the diet for cooking. Tanned moose hides were used for clothing and other items such as moccasins, mittens, vests, drums, etc. The rawhides were used for drums and rattles. Rawhides could be sewn together to make tipi shelters before canvas was used. Bear hides were used as blankets or rugs on the tipi floor. Rabbit skins were used as liners inside moccasins, and newborn babies were wrapped in rabbit skin to keep them warm. Muskeg moss was collected and dried to use inside of babies’ moss bags, to prevent skin rashes. No part of the animal was wasted; every part was used. For example, the antlers were made into gun racks or used for hanging jackets, pots, pans, etc. They used the leg bones for tools such as scrapers and knives.

When a young boy successfully hunted his first moose, there was a large feast to celebrate his accomplishment, because this meant food in the winter, clothing to keep warm, and new tools for survival.

Traditional games were created to play for enjoyment and to pass the time after the work was done. Adults, children, and even visitors played together.

Hand drums, powwow drums, log and box drums, water drums, and rattles/shakers are used in First Nations music across Canada. Animal skins from moose, deer, caribou, elk or buffalo are used in making hand drums, depending on which animals inhabit the region. The drum’s appearance and construction varies for each nation, but the common elements are animal hides, wooden frames of various wood types, and sinew or cut hide to make a long leather piece for tying the hide together over the frame or to bind the skin to the frame.

The stomach of the animal is sometimes used in making the rattles, as the skin is thinner. Rattles are filled with tiny pebbles, dried corn, rice, or beads to create the shaker sound once the skins are dried.

Traditional drum and rattle instruments are used when singing songs. They are also used for celebrations, games, ceremonies, and in prayer. To see various images of drums on the internet, type in “Cree hide drums,” “Iroquois water drums,” or “powwow drums” in the search box.

The structure and use of the drums varies across the many First Nations groups across Canada. Coast Salish songs in the west are considerably different from M’ikmaq songs of the east; Cree songs are different from Blackfoot songs; northern songs are different from southern songs. Even within a single First Nation, traditional drum songs are different from contemporary drum songs; rattle songs are different from drum songs; sacred and ceremonial songs are different from social and dance songs; round dance songs are different from powwow songs; and hand game songs are different from stick game songs. It is important to know that the songs vary in the melodies, meanings, purposes, chants, and rhythms for each nation, but each song is very important to the nation, family, or individual.

Favourite and special songs can be shared over many tribes and nations. Songs can be passed down through the generations and to family members through the oral tradition. Some songs are even known to be over 400 years old! Modern technology allows social and traditional songs to be learned quickly, even across great distances. Sacred songs stay within the appropriate ceremonies and are rarely shared with outsiders or recorded.

When songs are sung, it is important to acknowledge where they come from and, if known, what is their history and background. Songs that are recorded on CD or written in musical notation are meant to be shared with others who want to sing them, but it is still respectful to acknowledge who or where the song each song comes from.

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Oral tradition is the passing on of traditional knowledge orally (without written language). Oral tradition has long been used to share songs, stories and legends, hunting practices, language, and knowledge of medicine gathering, traditional cooking, etc. The learner observes and listens to what is being said and taught and follows along in the learning process. Once the knowledge is learned, the learner has earned that knowledge and can pass it onto others through the same process.

Some people are known to be song holders and have had many old songs passed onto them by Elders and senior song holders. They are given the task of preserving, creating, and sharing songs with others, especially the younger generation. They know which social songs to share and which to keep sacred for special ceremonies. The song holders can pass them along at their own will. When others are interested in learning specific songs from the song keepers, they go to them and follow the protocol of requesting a song. Song holders can be as young as teenagers, as long as they have earned and have been given the right to that title by the community. The protocol varies within each tribe across Canada, and the request can be granted or denied. This decision is respected, and the reason behind each decision depends on the song holder. (See lesson plan on Song Holders).

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Protocol describes the appropriate and suggested procedure to follow when knowledge is requested from an Elder or another person who possesses a great deal of knowledge in the community. When someone requests the teaching (song, prayer, ceremony) from the Elder or knowledge keeper, gifts are given in thanks and in exchange for the teaching. Gifts can include a pouch of loose tobacco, a blanket, a meter of broadcloth, a braid of sweetgrass, something handmade, etc. It is important and respectful to ask the person directly beforehand what protocol should be followed and what gifts should be offered, as protocol items vary within and among First Nations groups

Songs are classified into various categories. They can be sacred or social and can also be further classified as ceremonial, honouring, prayer, dance, celebration, flute, etc. Each song has a purpose and is important to the tribe, nation, family or individual. This is because when you are singing these songs, you are preserving the song – others can hear it and learn it – and the essence of the language or chant style with the drum or rattle is shared. It is said the spirit of the people’s history or family lines are within those songs. Some people can identify the general area where a traditional song comes from geographically, based on the characteristics of that song.

Flute Songs

The flute is a form of prayer through melody. When one plays the flute, it’s often an interpretation of how the player is feeling. For example, when a flute player is asked to play for an event, in the final song, the flute player will play a song for the people travelling home. He/she will think of the people on their journey, and the flute is played like a prayer so that people will arrive safe and sound.

Like the traditional hide drum, the flute is played to celebrate First Nations people and culture. Songs are played from the heart and can be improvised in the moment as well as composed. A flute player takes care of the flute as one takes care of the drum, as both flute and drum are more special than ordinary objects. The flute is treated with care, and the player is careful that it doesn’t get wet, dirty, cold, or damaged. It is often kept in a cloth bag or a wooden container.

— Amanda Lamote, Upper Nicola First Nation, BC

Target grade(s): 4-9

Objective: Students will listen to the sound of the traditional flute and interpret what they hear and understand through artwork. The artwork should reflect a natural environment either as a landscape or as an abstract form to reflect emotions.

Materials: Recording of Walter MacDonald White Bear’s flute song “Magpie’s Laughter”; writing paper; drawing paper; coloured pencils

The traditional First Nations flute was used for spiritual healing, meditation, connecting with nature, and for courtship. It is hand carved and made out of specific types of wood such as redwood, cedar, cherry, etc. Most flutes have a minor pentatonic scale system and have between 5-9 holes. The music is soothing and expressive. The playing of the flute is passed down through generations.

About “Magpie’s Laughter”

The secret of life is inside of you. The magpies are seen as custodians of the spirit and the earth and as cleaners of the earth. They are believed to take away emotional “garbage” such as heartbreak, negative thoughts, or anger. They take those emotions off of your spirit and take them away to where no one can get hurt. The bouncy melody of the song mimics the sound of the magpie.

Step 1. Before listening to “Magpie’s Laughter,” think of images in nature such as a river flowing, a dense forest, birds, animals grazing on the land, trees swaying, grassland fields, etc. Perhaps you can remember a time when you were camping, hiking, travelling through a forest road, being on a canoe or horse, going for a walk, etc.

Step 2. Play “Magpie’s Laughter.” Close your eyes and listen. Write down images that initially come to mind. Think of a time when you were out on the natural land. Try and remember what you saw and felt when being there. What was around you? Were there rivers, hills or mountains, or large trees? Did you see any animals?

Listen once or twice more throughout the art-making process to guide your creation.

Step 3. Share your artwork with others and describe what your inspiration was for your art.

Step 4. Close this activity with a group discussion.

• Do you feel you were able to capture your visual image in your art?
• What could you have done to enhance or change your artwork?
• Did the music inspire you to create? How?

Extension activity

Look at the recurring motif in the “Magpie’s Laughter” score.

Even if you are not a music reader, do you feel the flute player was able to capture the essence of the magpie in the notation? How?

Play the motif on another melodic instrument. Does that instrument’s sound capture the same essence of the magpie?

Target Grades: 4-6

Objective: Students will discuss the significance of being a holder of a special song. Students will also discuss the meaning of “value.”

Materials: Three song lyrics sealed inside envelopes

• Write or type out three “special” songs and seal them inside three envelopes.
• Prepare songs for listening on YouTube or through another source. Suggested songs include John Lennon’s “Imagine,” Bob Marley’s “Redemption Song” or The Beatles’ “I Wanna Hold Your Hand.”
• Prepare song lyrics to be viewed later on the SmartBoard or on chart paper.
• Research the impact the songs had on the world to lead the discussion.

Step 1. Select three song holders to keep the secret songs safe. Give the selected students the envelopes and have them leave the room for 10 minutes. Each song holder will have a character role. The roles are:

• A teenage male youth who earned the song holder title from fellow community members.
• A grandmother to whom the songs were passed down from her father.
• A wise elder whose ancestors were also song keepers.

Step 2. Divide the remaining students into three equal groups. Ask each group to select a scribe to write for the group and a speaker to speak for the group.

Each group will discuss 4-6 ways that the song can be requested, based on the needs and character of the song holder. Ideas can include trading a song, performing a helpful task (chopping wood, carrying heavy items, making things), telling a joke or a story, or giving a handmade gift. Useful gifts could include blankets, clothing, hunting or carving tools, moccasins, food, etc. The scribe will write ideas down. Once each group has 4-6 ideas, the song holders will return to the room.

Step 3. Each chosen speaker will take the scribed list and request the song from any of the song holders. If the song holder feels that offers and ideas are satisfactory and of value, the song holder will open up the envelope and read the name of the song and the composer for later listening and discussion.

Step 4. Once all groups have finished learning the name of their song, listen to the song and look at the lyrics to see why these songs are special and why the composers might have been reluctant to share these songs. Discuss the lyrics and the messages contained in the lyrics.

Step 5. Close this activity with a group discussion.

• What did you learn about sharing special songs?
• What did you learn about the meaning of value?
• How important is it for a song holder to be selective when sharing songs?
• How would you feel if the song holder decided not to share their song?
• Do songs have to have lyrics to be special? (up to interpretation)
• What if someone took the special song that was shared and claimed it for him/herself?

Target grade(s): K-6

Objective: Students will learn a traditional-based Cree song and play along to the simple beat. Students will discuss the meaning of the song and how they interpret the song to their own personal reflection.

Materials: frame drums with mallets, rattles, maracas, congas, bongos, or other percussion instruments of your choice; “Nisakihaw (Love Song)” sheet music

Nisakihaw in Cree means “I love them” and in this song, it is referring to our mother and father. The words “nisakihaw nikawiy, nisakihaw nohtawiy” mean “I love my mother, I love my father.” This song is to honour the love we have for our parents and caregivers.

Even if they have passed on and are not with us physically, or even if we’ve never met them, we can still share our love for them.

Step 1. Teach the Nisakihaw song a cappella.

Step 2. Discuss the meaning of the song and how it can relate to one’s parents or caregivers.

Step 3. Select a few students to play the frame drums when singing again.

Step 4. Add in rattles to play along on the beat with the drums.

Step 5. The song can be sung repeatedly as many times as you like, and can be instrumentally arranged to your liking. Try adding the rattles in during the second section of the song, or making other instrumental variations.

Step 6. Encourage the students to think about their own parents or caregivers when singing this song.

Step 7. Close this activity with a group discussion.

• Is it important to acknowledge our parents or caregivers? Why?
• What does this song mean to you?
• Why is it important to learn songs from other languages and cultures?

Target grade(s): 6-12

Objective(s): Students will experience and learn a First Nations chant song and play along to the slow beat. Students will also experience movement as they sing. 

Materials: frame drums with mallets, rattles, maracas, congas, bongos, or other percussion instruments of your choice; “Heart of the Water Song” sheet music

First Nations songs can be about emotions and nature. These songs are meant to provide a space for self-reflection and for looking within yourself to figure out how you are feeling at that moment. Songs can uplift the spirit and can be healing for the soul. Songs can also remind people of being outside in a natural environment. This song has a feeling of softly drifting on a boat or padding with oars.

Step 1. Teach the song a cappella. As this song reflects being outside in nature and the feeling of drifting, it can also be about experiencing the feeling of paddling a boat.

Emphasize the 1-2-3, 4-5-6 rhythm, but play on beats 1 and 4. The paddling feeling is two paddles on each side of the body on the beat. This will emphasize the downbeat.

Step 2. Select a few students to play the frame drums as you sing again.

Step 3. The song can be sung repeatedly as many times as you like, and can be instrumentally arranged to your liking. Try adding the rattles in during the second section of the song or making other instrumental variations.

Step 4 (optional). Create a fluid movement or dance sequence with the body or by using props (such as scarves) to accompany the song.

Step 5. Close this activity with a group discussion.

• Has a song ever uplifted your spirits or mood?
• Did the visual image of paddling the oars or drifting come to mind when singing the song? Describe what you saw.
• Did the action of paddling the oars help you to feel the slow beat in the song?