The information shared in this resource is presented to increase Indigenous knowledge and develop skills in singing and dancing in Mi’kmaq while having fun. Having this knowledge at a young age can be the starting point of reconciliation, bringing our communities together in song and dance. When we share these things, we are welcoming others to see where we come from and what it means to us to be Indigenous.

There will be three songs, and one dance intermixed with stories and language-learning. Eventually, each child will know how to say “hello” in Mi’kmaq. We hope that these children—the leaders of tomorrow—enjoy the songs and dances. Learning about and respecting Indigenous culture brings us one step closer to reconciliation with each other.

The big idea: Learning about the Mi’kmaq Culture through music and dance.

Curricular competencies: Choose elements, processes, materials, movements, technologies, tools, techniques, and environments of the arts; and apply learned skills, understandings, and processes in new contexts.

Content: Elements in the arts, including but not limited to: body, space, dynamics, time, relationships, and form.

The dance lesson featured in “Amalkay” embodies understanding of biological processes in nature expressed through four of the elements of movement: body, space, dynamics and relationships.

Body / What?

Locomotor (travelling) movements: walk, run, hop (one foot to same foot);

• Standing in a circle holding hands
• Moving arms in a circular motion while moving feet to the right with a side step for your feet
• Ending with all dancers in centre around the drummer and moving back for next round where you dance to the left this time

Non-locomotor (stationary/axial) movements: Stretch/extend, bend/flex, twist, rotate, etc… 

• Turn, rise/grow, elevate, fall, swing, rock, shrink, shake, enclose, open, close, etc…
• Theme is together, moving forward to let go of the negative

Space / Where?

• Place: Space large enough for everyone to be in a circle
• Size of movement: big, small
• Size of reach: near, mid, far
• Level: low, medium, high
• Directions: forward, back, sideways (right/left), diagonal, upward, downward
• Pathways: (floor and traced in air) curvy, straight
• Shapes: curved, straight, angular, twisted, asymmetrical, symmetrical, still forms
• Laban Movement Analysis: pin (long, linear), ball (round, spherical), wall (flat, wide), pyramid (wide base with point on top), screw (twisted, spiraling)

Dynamics / How?

Qualitative vocabulary: Mi’kmaw chant

Qualities combining different effort factors:

• Weight: strong/light
• Time: quick/sustained
• Space: direct/indirect

Relationships / Who?

Individual/group and environments: near, gathering, together

Cultivating a uniquely rich and colourful culture, the Mi’kmaq People have lived in their traditional lands – referred to as the Mi’kmaq’ki – for thousands of years.

In terms of geographical area, the Mi’kmaq’ki comprises Prince Edward Island, Nova Scotia, the Gaspé of Quebec, and parts of New Brunswick, Newfoundland, and the State of Maine.

Akin to many other Indigenous groups within what we now call Canada, the Mi’kmaq culture bears deep-rooted connections to the natural world. The culturally-fixed interconnectedness between the Mi’kmaq People and their environment is evident in Mi’kmaq traditional ways-of-life, belief systems, arts, and a wide variety of other cultural practices. Enduring the attempted assimilation of Indigenous cultures in the wake of European colonization, the Mi’kmaq People and associated culture remains profoundly resilient today.

Music holds a great importance within the Mi’kmaq culture. In the same way that knowledge and stories have been communicated from time immemorial, traditional song and dance continue to be handed down from one generation to another. Today, this form of musical expression remains an important element of Mi’kmaq cultural ceremonies—including spiritual rituals, powwows, and other forms of gathering.

A symbol of Mi’kmaq and other Indigenous cultures, the Medicine Wheel represents various aspects of the natural world, including the seasons of the year and the cardinal directions.

Prior to European colonization, the Mi’kmaq People did not have a centralized or permanent system of governance. In modern times, however, Mi’kmaq governance is closely integrated within the contexts of Western society. Following initial contact with European settlers, the Mi’kmaq People established seven districts similar to our Provinces in Canada. Within this system, each district would appoint an Elder who represents them at the Grand Council – which would be like the national government office. There would be elections to decide who would be the leader of the Grand Council, and they would be called the Grand Chief. Each community would have a leader that would be called Saqamaw (sag-a maw) or chief.

Mi’kmaq groups and organizations

• The Mi’kmaq Confederacy of PEI
• Lennox Island First Nation, PEI
• L’nuey | Moving Towards a Better Tomorrow
• Gespe’gewa’gi Mi’gmaq: Speaking About Our Land

Mi’kmaq music

• Eastern Owl
• Wolf Castle
• Emma Stevens
• Quinn Bonnell

Mi’kmaq visual and performance art

• Ursula Johnson
• Loretta Gould
• Alan Syliboy
• Leonard Paul

Mi’kmaq theatre and literature

• Rita Joe
• Megan Gail Coles
• Mi’kmaq Legends
• Daniel Paul

Display the following Mi’kmaq “welcome” to your students. Once you have learned it yourself, recite the welcome out loud in a confident voice:

“Kwe, pjila’si, en teluisig (your name)”

As a class, practise saying each individual word together. Next, encourage each individual student to recite the welcome phrase—with their own names added.

Share with the class your acknowledgement of the territory on which you are gathered upon. This might be said in the following manner:

“I would like to acknowledge that we are gathered upon unceded, sacred Mi'kmaq Land.”

A statement like this might lead some students to challenge their own existing ideas on land ownership. Be prepared for open discussion and reflection.

It is time to sing the “Tahoo (ta-hoe) Song,” written by Mi’kmaw Elder Junior Peter-Paul. As the educator, it is your role to learn, teach, and lead the singing of this song. Students will only need to learn one word in order to sing along. This word is “Tahoo.” A loose translation of this word in English would be “amen!” When attending a Pow wow or Mawiomi, a community member who hears something they agree with or enjoys might yell “Tahoo!”

Tahoo Song Lyrics

Repeat (3x); introduce clapping on the beat

Way ha way hi ya
Way ha way hi ya ha
Way ha way hi ya
Let’s sing a big Tahoo
TAHOO (everyone)

The discussion should now transition to a historical/cultural narrative of the Mi’kmaq People. Ask the students: “Where do you think the Mi’kmaq live?”

Explain to students that the traditional area lived in by the Mi’kmaq is referred to as “Mi’kmaq’ki” (Mig-mah-gee). This land encompasses Prince Edward Island, New Brunswick, Nova Scotia, Newfoundland, a part of Quebec, and a part of Maine in the United States.

Next, introduce the idea of a Creation Story. Explain that we all have a creation story – different beliefs of how we came to be. Encourage students to share the stories and experiences that have led to who they are today. 

Explain that the Mi’kmaq Creation Story began many years ago. Give students the option of closing their eyes while they listen to the Mi’kmaq Creation Story as you share it aloud. 

The story of where the Lnu or the Mi'kmaq People all came from starts long, long ago. In the beginning, there was only darkness and the Wise One. The Wise One lived in that darkness all alone, and he held all the knowledge and wisdom of what had to be done. One day, he looked around the darkness and decided it was time to bring light! Leaving it dark would just not be right.

He began to use his lips and whistle, and with this music coming from his strong mouth and lips, he created stars and then the entire universe! The Wise One was very happy with the beauty he had just created—but soon he realized that he was still alone with no one to share his joy with. And so, he decided to create a Companion—a friend—someone he could share all of his knowledge with.

The Wise One then began to create beautiful red clay that he molded into a shape of a man, and with the power from the Wise One's mind and body, he created Glooscap! This man was created with extra-human strength and power! Glooscap's body had the strength of ten people, and his mind was very, very smart.  Together, they created the beautiful Mniku (Island) of Prince Edward Island. Just as the Wise One had created Glooscap, together, they molded the rich red clay to form a home for the Mi'kmaq People here. They were so inspired by the beauty of their creation, they thought this new land would be fit to place in the stars. But, after some time of thinking, they decided to place it in St. Lawrence, and they call it Epgewitg (Ep-be-gwit) or cradle in the waves. Together, they knew it was time to now create people who would look just as they looked.  Thus, they took the bright red clay and molded it to create the Mi'kmaq People.  

The Wise One sent Glooscap to go and stay with the newly created people—and Glooscap taught them how to hunt and fish, to trap, and to find and harvest the medicines they would need in order to stay healthy.

Conclude the creation story with an acknowledgement that this has been a lot of information to consider. Encourage students to discuss what they have learned and to ask any questions that may have come to mind.

Try challenging the students to answer the following questions:

• What did the Wise One create first?
• How strong was Glooscap?
• What was the name of the leader of the Grand Council?

As a final wrap-up to this lesson, revisit the “Tahoo Song” from before! Those who were at first shy or reluctant to participate may now be more comfortable in engaging with the song.

Just as you did in the first lesson, begin with the Mi’kmaq “welcome.” Lead the group in reciting the phrase—as a group, and then individually:

“Kwe, pjila’si, en teluisig (your name)”

Next, revisit the “Tahoo Song.” Encourage students who feel more comfortable with the song to assist in leading those who might not yet feel confident. Sing through the song as a group.

It is time to introduce the Round Dance. Present the following narrative to your students:

Background for the Round Dance

Long long ago, the Mi’kmaq People lived all over the beautiful land of Mi’kmaq’ki—just as we learned last time. Now, you will learn that they lived in small family units in the winter. They would find the perfect place, build a lodge, and live there together all winter long. These families all looked different, just as they do now. Some families lived with their parents and grandparents, some lived with their siblings, and sometimes it could just be a couple.

Now, all winter long they still hunted, and at night, they would sit and tell stories by the fire. This is how they shared their past, their culture, and their traditions. Once spring came, the air got warmer and the ice slowly melted. It was time to gather and celebrate the survival of another winter. This usually took place around June 21st. The Mi’kmaq people would come back to their communities and dance, sing, feast, and visit with friends and families. This was a time of joy, and many songs and dances came from that time of gathering. The one we would like to share today is the round dance.

Listen to the Round Dance song: 

Once students are familiar with the Round Dance song, it is time to learn the accompanying steps and movements.

Have the students stand up and stretch, and then hold hands in a circle.

Explain to the students that they will learn the Round Dance one step at a time, beginning with their hands, then their feet, and then their shoulders.

Arms: While holding hands in a circle, the arms should move in circles like the wheels of a train. Try using the sounds “chugga-chugga-chugga-chugga.” Students should make small circles as they hold the hands of their neighbour—like they are tracing a watermelon. The motion should take part mostly from the elbows down.

Feet: The group should begin to move in a clockwise direction. The right foot steps over toward the partner on the right. Then, the left foot moves over to your right foot. Try saying “step... and together... step... and together.” This is a simple and fun side-step—and young people catch on to this fast!

Shoulders: If you feel that the group is ready for a challenge, it is time to learn the shoulder movements. As the arms circle, push the shoulders and arms up while hands are up, and let them fall as your hands go in downward motion. The body will naturally end up doing this, but for those young ones that want to do super-fast power circles with their hands, it should slow them down to the natural rhythm.

Level 1

Standing in the centre of the circle while performing a steady rhythm on a drum or percussive instrument of your choice, have the class move in a clockwise direction. Explain that in the East, the Round Dance always begins clockwise; however, in the West, all ceremonies and dance begin counter-clockwise.

Level 2

After the class has finished singing the Round Dance song, have the group remain holding hands. Explain to the students that in order to get rid of all the negative energy, they will give a great big yell at the count of three.

You might say:
“Are you ready? Are you really ready? One… Two… Three…”

Have the class walk towards you. Once students have reached the centre, they should embrace the group with a big hug!

Level 3

While everyone is at the centre of the circle, repeat the song once more with the group moving in a counterclockwise rotation. At the same time, the group should also begin to space back out into the large circle.

Level 4

Once students have become comfortable with the movements, you are encouraged to invite one, two, or three students to take your place in the centre of the group.

After completing the Round Dance, have the group return to their regular positions in the classroom for a period of discussion and reflection.

Lead the discussion by asking the following questions:

• How did that make you feel?
• Do you think it is hard to stay angry or sad while dancing together?
• Did you get all that negative energy out?

Ask the students what they believe negative energy means. Explain that negative energy is when someone says something to you or you think of something that makes you angry or sad. These are not fun feelings, but when you dance, sing, and have a group hug, you let go of the negative energy by sending it up into the air.

Once again encourage students to discuss what they have learned and to ask any questions that they might have.

You might choose to test the memory of the group by asking the following questions:

• What type of dance is You Way Hi Ya?
• When and why did the Mi’kmaq do this dance?
• Did the Mi’kmaq live all together in the winter?
• What do you say when you think something you do or hear is good?

Acknowledge the hard work and participation of the group—and encourage them to follow up with any questions that arise following the past two lessons.