Overview
Author(s) :
Stephanie Silvia, Educator and Artist
Lesson Contributor/Editor/Format by Maggie Peters (Yurok/Karuk) NASMC Learning Specialists Humboldt County Office of Education
Grade(s) : 5 and 6
Suggested Amount of Time : 5 lesson Unit (10- 11 sessions, including follow-up writing periods)
Lesson 1 : 55 minutes
Lesson 2 : 45 minutes
Lesson 3 : 55 minutes for Session 1 and 45-55 minutes for follow up writing session
Lesson 4 : 55 minutes for Session 1 and 45 minutes for follow up writing session
Lesson 5 : 55 minutes for Sessions 1-4 (4 part lesson)
Learning Goals
Students will understand the role of the US Poet Laureate and be able to talk about the historical significance of Joy Harjo’s position as the first Native American appointee.
Students will be able to identify Indigenous cultural themes in Harjo’s poems.
Students will be able to read out loud and/or recite their own and other’s poetry.
After working with mentor poems, students will write poems from their own viewpoint and shared viewpoints.
Students will begin to understand and incorporate writing conventions associated with poetry, like line breaks and writing free verse.
Students will be able to collaborate on a group poem and chorale presentation.
Lesson Overview
This interdisciplinary poetry unit invites students to explore voice, identity, memory, gratitude, and interconnectedness through the lens of Joy Harjo’s poetry and worldview. Over the course of five multi-session lessons, students will read, analyze, and respond to poems by Joy Harjo—the first Native American U.S. Poet Laureate—while crafting their own original poetry. Blending reading, writing, visual art, and social-emotional learning, the unit supports students in reflecting on their lived experiences and expressing themselves creatively.
The unit opens by introducing Joy Harjo’s background, poetry, and role as Poet Laureate. Students begin by reading her poem Remember, engaging in discussion about the significance of place and cultural identity. They annotate the text and participate in a mapping activity to visually explore personal and geographic roots. In the second lesson, students explore the theme of memory by viewing artwork by Native artist Jaune Quick-to-See Smith and listening to Harjo read Remember aloud. These experiences serve as inspiration for students’ first individual poem, a piece rooted in personal memory and reflection.
The third lesson shifts from individual writing to group collaboration. Students gather in poetry groups to co-create a collaborative poem, weaving lines from their personal Remember poems into one shared work. This process mirrors the act of basket weaving—intentional, cultural, and expressive. Students rehearse and perform their group poems, practicing rhythm, repetition, and spoken delivery.
In the fourth lesson, students return to individual writing with a new thematic focus: interconnectedness. Through Harjo’s Eagle Song and Eagle Poem, along with a haiku by Issa, students consider how humans are linked with animals and the natural world. They write “Animals Are Alive” poems using word banks and imagery from their own lives, working closely with a poetry partner to give and receive feedback.
The final lesson explores the theme of gratitude. Inspired by Joy Harjo’s Praise the Rain, students write individual Praise Poems, beginning with a gratitude list and moving into free verse composition. They learn about the emotional benefits of giving thanks, linking poetry to social-emotional wellbeing. In the final sessions, poetry partners form small groups to create and rehearse a second collaborative poem using lines from their individual Praise Poems. These are performed in class, providing a celebratory close to the unit.
Throughout the unit, students participate in meaningful writing, rich discussion, and creative collaboration. They create three individual poems and two group poems, while also decorating poetry folders and contributing to a class art project that maps identity and connection. Optional extensions include publishing a class chapbook, hosting a poetry reading, or exploring Native American artists and poets more deeply.
This unit honors the belief that poetry is a living practice—and that every student’s voice, story, and perspective matters. By engaging with the work of Joy Harjo and creating their own poetic expressions, students come to see poetry not only as literature, but as a tool for reflection, connection, and cultural awareness.
Teacher Background
When teaching poetry by or about First Peoples of the United States—often referred to in Indigenous contexts as Turtle Island—it is essential to approach the material with humility, cultural awareness, and a commitment to accurate representation. Indigenous cultures across North America are distinct and diverse, each with their own languages, traditions, histories, and worldviews. Therefore, educators must resist the urge to present a monolithic or “pan-Indian” narrative that flattens this diversity into a single storyline.
This unit, centered around the poetry of Joy Harjo (Muskogee/Creek Nation), offers students an opportunity to hear directly from an Indigenous voice and begin to understand how place, memory, community, and spirituality are deeply interwoven in Native literature. Harjo’s poetry reflects her own tribal identity and lived experience. It should not be treated as representative of all Indigenous cultures. As a best practice, consistently name her specific nation and cultural background when introducing her work. Situating her poetry within the context of her tribal nation affirms both her individual voice and the specificity of her community.
Avoid stereotypes—whether visual (e.g., feathers, tipis, stoic warriors) or conceptual (e.g., Indigenous people as relics of the past, always in harmony with nature, or defined solely by suffering). While Indigenous poets often engage with themes of land, identity, and resilience, they do so in modern, complex, and varied ways. Indigenous peoples live in contemporary society and hold diverse beliefs, experiences, and aesthetics. The goal is to help students appreciate the richness of Indigenous poetry without reducing it to tropes.
Use materials created by Indigenous authors, artists, and educators whenever possible. Joy Harjo’s work provides a strong foundation for this unit because it is both accessible and deeply rooted in her heritage. In addition to reading Harjo’s poetry, you may wish to incorporate Native-led resources such as interviews, readings, and websites from tribal organizations or Native literary journals (e.g., Yellow Medicine Review, Native Literatures Today).
Build background knowledge as needed, but avoid “othering” Indigenous cultures. Rather than treating Indigenous histories as something separate or ancient, position them as ongoing, relevant, and connected to present-day issues. Use maps that show Indigenous territories—both historical and contemporary—and encourage students to learn about the tribes local to their area. When discussing the concept of Turtle Island, explain its origins in Indigenous storytelling and cosmology, and emphasize that not all Indigenous nations use or identify with that term.
Create space for student reflection and connection, but be cautious about assigning writing that asks students to imagine themselves as Indigenous people. Instead, invite students to reflect on their own place in relation to land, memory, identity, or community—topics that offer entry points for empathy and shared human experience, without appropriating Indigenous perspectives.
Throughout the unit, model curiosity, openness, and respect. Let students know it’s okay to ask questions and to feel uncertain, as long as the conversation remains thoughtful and grounded in a willingness to learn. Offer moments for discussion, reflection, and listening. If students or families in your class identify as Indigenous, approach with care and sensitivity. They are not responsible for representing anyone but themselves, and any sharing should be entirely voluntary.
Ultimately, teaching Indigenous poetry is not just about the texts—it’s about how we teach them. By honoring the voices of Native poets like Joy Harjo with care and contextual understanding, educators can foster deeper respect for Indigenous knowledge and storytelling while empowering students to explore their own identities through poetry.