HSS 5.1.2

Traditional Plank House Village: Resources, Engineering & Social Roles

HSS 4.2.1, HSS 5.1.1, HSS 5.1.2, HSS 5.1.3, 4.VA:CR2.1, 5.VA:CR2.1

This unit teaches about the traditional living houses of the Indigenous people of Northern California, primarily the Karuk Yurok, Hoopa, Wiyot and Chilula Tribes. This is a basic overview and summary of the construction and societal makeup revolving around these traditional plank houses. Students will learn about the materials, process and some cultural aspects of plank houses. The lesson expands and applies that knowledge to traditional plank house villages. Activities include classroom discussions and a building project.

Ella Williams Designing her 3D Diorama of a Traditional Miwok Home.

Native Homes: Sustainability and the Environment (3D Diorama)*

HSS 4.2.1, HSS 4.5.5, HSS 5.1.1, HSS 5.1.2, HSS 5.1.3, SL.4.1, SL.4.2, SL.5.1, SL.5.2, 4.VA:CR2.1, 5.VA:CR2.1

This ELA, Social Science and Environmental History lesson introduces students to architectural practices and knowledge of structure and design through dioramas. Native Youth will guide you by modeling the project. Your students will learn about Hoopa and Miwok structures and culture and then will research and complete their own project. This unit may take a few weeks, but it is worth it. It is a lot of fun and will provide a deep understanding of Native culture for your students if done correctly.

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.

“Fish Dancer” ca 1973-75 By Frank Day © Oakland Museum of California

Imagining the Native American Native California Artists Frank Day (Konkow Maidu)

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

In this lesson, students are introduced to Frank Day, a key figure in the development of modern Native California art and widely regarded as the “grandfather” of the movement. A member of the Koncow Maidu tribe, Day used his deep cultural knowledge, passed down from his father and community elders, to create art that bridges traditional Maidu storytelling with modern visual expression. Although largely self-taught, Day painted over 200 images that reflect a lifetime of personal experience, tribal memory, and cultural pride.

Imagining the Native American Native California Artists1

Imagining the Native American Native California Artists Frank Tuttle (Yuki/Konkow Maidu)

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

This lesson introduces students to the powerful role of Native California artists as cultural storytellers and social commentators, using the life and work of Frank Tuttle (Yuki/Konkow Maidu) as a central case study. Students will explore how Native artists convey identity, cultural resilience, historical trauma, and personal narrative through visual language, particularly within the cultural context of California tribes.

Imagining the Native American Native California Artists Frank LaPena (Nomtipom Wintu)

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

This lesson introduces students to the concept of art as a powerful tool for storytelling, cultural identity, and historical reflection through the work of Native California artist, Frank LaPena (Nomtipom Wintu). Students will explore how Native artists act as “culture bearers,” sharing community traditions, beliefs, and experiences through visual expression. By examining LaPena’s artwork, students will learn how images can communicate ideas, preserve oral traditions, and honor tribal geographies and ceremonies. The lesson supports students in developing visual literacy by analyzing how LaPena used bold forms, traditional stories, sacred figures, and natural landmarks—like Mt. Shasta—to express a worldview rooted in Native cultural values. Through class discussion, vocabulary building, and reflection, students will consider how LaPena’s artistic choices speak to both resilience and historical trauma, including themes of identity, spiritual belief, and the enduring presence of Native peoples in California. The lesson culminates in opportunities for students to connect their own lives to the themes of memory, tradition, and place. This lesson deepens students' understanding of California history by centering Native voices and recognizing the significance of Indigenous perspectives in shaping both past and present. In doing so, the lesson encourages respectful engagement with Native California cultures while fostering empathy, critical thinking, and cultural awareness.

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