5.VA:RE7.1

2 Spirit 4 Ever © Andie Martin (Wailaki)

Two Spirit: Understanding and Celebrating Identities

Connecting—Anchor Standard 11, 1.VA:RE7.1, 5.VA:RE7.1, 6.VA:RE7.1, 8.VA:RE7.1, W.8.2, W.8.4, W.8.6, W.8.7, W.8.8, RI.8.1, RI.8.2, RI.8.4, RI.8.6, SL.8.2, WL.CL2.N: Cultural Products, Practices, and Perspectives, WL.CL4.A: Intercultural Influences, 7-8.1.8.G, 7-8.2.2.G, 7-8.4.4.G

This four-lesson unit offers middle school students an opportunity to explore the rich history and cultural significance of Two-Spirit identities within Indigenous communities. Students will begin by understanding the distinctions between gender, sex, and sexuality, setting the foundation for a deeper exploration of Two-Spirit identities. Lessons describe the history of Two-Spirit people, highlighting their roles and traditions within Native American and Indigenous cultures, and differentiating these identities from Western LGBTQIA+ concepts. Lessons emphasize the power of visual art in expressing identity. Students will analyze artwork created by Two-Spirit artists, exploring how art serves as a medium for cultural expression, identity affirmation, creating community and belonging. Throughout the unit, students will engage in discussions and activities that foster empathy, cultural awareness, and respect for diverse identities. A key focus of the unit is the Wiyot Tribe's advocacy for Two-Spirit individuals, exemplified through their collaboration with Humboldt County Supervisors to create a Two-Spirit Proclamation. Students will analyze this proclamation, identifying its key elements and reflecting on its significance in raising awareness, promoting inclusion, and combating discrimination. Students will gain insight into the importance of advocacy and community involvement in effecting positive social change. They will have the opportunity to see themselves as advocates and be empowered to draft a Two-Spirit Proclamation of their own. By the end of the unit, students will have a comprehensive understanding of Two-Spirit identities and the importance of recognizing and celebrating these identities within both Indigenous communities and broader society.

Dal Castro, Maidu Walk

HSS 3.3.1, HSS 3.2.4, HSS 4.3.3, HSS 5.3, 5.VA:RE7.1, 6.VA:RE7.1

This powerful lesson invites students to engage deeply with a significant and painful chapter in California’s history through the lens of Nisenan Maidu artist Dalbert Castro and his compelling painting Maidu Walk. By exploring this artwork, students will uncover the human stories behind the forced removal of the Maidu and Nomlaki peoples during the Nome Cult March—a 133-mile journey marked by hardship, loss, and resilience. This lesson is designed not only to teach historical facts but to center Native perspectives and voices, fostering empathy and understanding through art as a form of storytelling and social commentary. As students analyze the painting using the SIGHT technique, they will build critical thinking skills while reflecting on the emotions, challenges, and strength of those forced from their homelands. The interactive activities invite students to connect personally with history, encouraging thoughtful expression and respect for Native experiences. This lesson is a meaningful opportunity for educators to guide students in confronting difficult truths with honesty and care, and to inspire them to appreciate the ongoing significance of Indigenous history and culture in California and beyond.

Jump Middle Stick by Brian Tripp, Photo of Print

Imagining the Native American Native California Artists Brian Tripp (Karuk)

HSS 5.1.2, HSS 5.3.5, 5.VA:RE7.1, 6.VA:RE7.1, 8.VA:RE7.1, Responding—Anchor Standard 8, Connecting—Anchor Standard 11

This lesson introduces students to the life and artwork of Brian D. Tripp (Karuk), a groundbreaking Native California artist, poet, singer, and ceremonial practitioner. Tripp was a powerful early voice in the modern Native California art movement. His work blends traditional imagery and symbolism from Karuk, Yurok, and Hupa cultures with bold, modernist expression, giving visual form to cultural identity, ancestral memory, and contemporary Native experiences. Through teacher-guided slides, class discussion, and observation, students will explore how Tripp used line, color, shape, and meaningful materials—like driftwood and ceremonial symbols—to communicate stories and perspectives from the Klamath River region in Northwestern California. His art celebrates the beauty and richness of Native traditions while also confronting viewers with truths about cultural erasure, social justice, and the need to see Native California beyond stereotypes. Tripp’s artwork offers a unique opportunity to engage with themes of sacred land, cultural pride, resilience, and belonging, encouraging students to think about how art can reflect both personal journeys and collective histories. By the end of the lesson, students will gain a deeper appreciation for how Native California artists, like Brian D. Tripp, uses visual storytelling to honor their heritage and challenge what is often overlooked in colonial perspectives and narratives. They'll also reflect on their own sense of place, identity, and voice.

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