Lesson 3: Resistant capital
Illustrating stories of resistance
Interdisciplinary Unit Plan - 7th grade
Jason Garcia, Rainbow (2007)
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit
Lesson 3: Page
In “Illustrating Stories of Resistance” students will study the work of Jason Garcia, a
contemporary artist from Santa Clara Pueblo in New Mexico. Students will appropriate
the visual language of comic book covers to illustrate a contemporary or historical act of
resistance – oppositional behavior challenging inequality – told from a transformative
point of view.
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Introductory Information:
Jason Garcia, GTA Winter Girl (2007)
Lesson 3: Illustrating stories of resistance
7th grade
STAGE 1: DESIRED RESULTS
A. ENDURING UNDERSTANDING:
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Artists and writers tell resistance stories that validate the experiences of
marginalized people.
Stories of resistance can inspire people to become agents of social change.
B. ESSENTIAL QUESTION:
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How do artist resist mainstream narratives?
 How do artists and writers use storytelling to influence social change?
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit
Lesson 3: Page
Massachusetts Visual Arts Frameworks
 Standard 1: Methods, Materials, and Techniques. Students will
demonstrate knowledge of the methods, materials, and techniques
unique to the visual arts.
 Standard 6: Purposes and Meanings in the Arts: Students will describe
the purposes for which works of dance, music, theatre, visual arts, and
architecture were and are created, and, when appropriate, interpret their
meanings.
 Standard 10 Interdisciplinary Connections: Students will apply their
knowledge of the arts to the study of English language arts, foreign
languages, health, history and social science, mathematics, and science
and technology/engineering.
Massachusetts English Language Arts
 Standard 9: Making Connections. Students will deepen their
understanding of literary or non-fiction work by relating it to its
contemporary context or historical background.
 Standard 11: Theme. Students will identify, analyze, and apply
knowledge in the literary work and provide evidence from the text to
support their understanding.
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C. STATE STANDARDS ADDRESSED:
D. LEARNING OBJECTIVES:
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Students will explore a marginalized “point-of-views” by researching a
historical or contemporary story of resistance.
Students will empathize with a story of resistance by placing themselves
(using the cartoon developed during Lesson 1) into the composition and
context of the story they research and illustrate.
Students will make connections between the work of Jason Garcia, themes
from The Absolutely True Diary of a Part-Time Indian, and images of
“Indians” in popular visual culture.
STAGE 2: ASSESSMENT EVIDENCE
A. PERFORMANCE TASK OR FINAL PRODUCT: A successful final project will
illustrate a historical or contemporary “story of resistance”. The illustration will
appropriate forms of popular visual culture like comic book covers while
introducing a transformative (informed by their research and experience) pointof-view and knowledge.
Jason Garcia, Pueblo Revolt Runner (2007)
Students will turn in sketches for their final project.
Students will research a story of resistance and turn notes in.
Students will write out and turn in their own definition of “resistant capital”.
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit
Lesson 3: Page
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B. CONTINUUM OF ASSESSMENTS:
C. CRITERIA:
Theme of Resistance: Shows comprehension
of resistance as a theme for storytelling.
Illustrates a personally meaningful historical
event from a “transformative” perspective.
Integrates previous lessons: Applied
comic and cartooning skills developed
during the first two lessons.
Clarity of the Story: The art piece is clearly
communicating a story. There are visual
keys communicating location, time, and
main participants.
Use of Materials: Shows proficiency in
materials and techniques demonstrated
throughout the unit.
1….2….3….4….5….6….7…..8….9….10
1….2….3….4….5….6….7…..8….9….10
1….2….3….4….5….6….7…..8….9….10
1….2….3….4….5….6….7…..8….9….10
Jason Garcia, Tewa Tales of Suspense #1 (2008)
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit
Lesson 3: Page
A. MATERIALS AND EQUIPMENT:
 Access to computers
 Assortment of comic book magazines
 Images of Jason Garcia’s work
 Jason Garcia’s Artist Statement
 Sharpies (25)
 Drawing paper (25)
 Acrylic paint (many colors)
 Sketchbook (25)
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STAGE 3: LEARNING PLAN
B. VOCABULARY WITH DEFINITIONS:
Resistant capital: Refers to those knowledges and skills fostered through oppositional
behavior that challenges inequality. Furthermore, maintaining and passing on the
multiple dimensions of community cultural wealth is also part of the knowledge base of
resistant capital.
C. TEACHER INSTRUCTION:
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Teacher will read from page 35 of The Absolutely True Diary of a Part-Time
Indian.
Teacher will give a presentation on the US policy “Kill the Indian, save the man”.
Teacher will introduce the definition of Resistant capital.
Teacher will introduce the work of Jason Garcia, focusing on his Tewa Tales of
Suspense series.
Teacher will generate a list of r “stories of resistance” the students could
research and give students access to the computer lab and.
Teacher will demo the use of acrylic paint, in combination with sharpies.
QUESTIONS TO GENERATE DISCUSSION:
 What is your reaction to learning about “Kill the Indian” policy?
 How is Jason Garcia’s work an example of Resistant capital?
 How are the images by Garcia similar and different from the images of
“Indians” in visual culture?
 Whose point-of-view are the stories in the paintings being told from?
 What does it mean that the artist is combining native methods with
contemporary styles and forms of artwork?
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Students will write down reactions to “Kill the Indian, Save the man”.
Students will brainstorm ways in which they have resisted normative or
dominant cultures in their own lives.
Students will participate in an inquiry-based discussion of Jason Garcia’s work.
Students will research other “stories of resistance”.
Students will experiment with acrylic and sharpies.
Students will research visual images or styles to appropriate.
Students will illustrate a story of resistance.
Students will incorporate their character (from Lesson 1) into the illustration.
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit
Lesson 3: Page
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D. LEARNING ACTIVITY:
E. VISUAL IMAGE RESOURCES:
Garcia, Jason. (Artist). (2007). Rainbow [Ceramic Tile], Retrieved February 22, 2011,
from http://www.okuupin.com/portfolio
Garcia, Jason. (Artist). (2007). Winter Girl [Ceramic Tile], Retrieved February 22,
2011, from http://www.okuupin.com/portfolio
Garcia, Jason. (Artist). (2007). Pueblo Revolt Runner [Ceramic Tile], Retrieved
February 22, 2011, from http://www.okuupin.com/portfolio
Garcia, Jason. (Artist). (2008). Tewa Tales of Suspense #1 [Ceramic Tile], Retrieved
February 22, 2011, from http://www.okuupin.com/portfolio
Garcia, Jason. (Artist). (2008). Tewa Tales of Suspense #6 [Ceramic Tile], Retrieved
February 22, 2011, from http://www.okuupin.com/portfolio
Garcia, Jason. (Artist). (2008). Kha’Po Owinge [Ceramic Tile], Retrieved February 22,
2011, from http://www.okuupin.com/portfolio
F. TEXT, MEDIA AND WEB RESOURCES:
Lesson 3: Page
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Alexie, S. (2007). The Absolutely True Diary of a Part-Time Indian. New York, NY:
Hachette Book Group.
Bell, L. A. (2010). Storytelling for Social Justice. New York and London: Routledge
Taylor & Francis Group.
Yosso, T. J. (2006). Whose Culture Has Capital? A Critical Race Theory Discussion of
Community Cultural Wealth. In A. D. Dixson, & C. K. Rousseau, Critical Race
Theory in Education, (pp. 167-190). New York: Routledge.
Luis David Soltero
Resistant capital – Illustrating stories of resistance
EDS 178 – Interdisciplinary Unit