Found 10 Collections
This collection is built around a waka Māori currently on display in the National Museum of Natural History.
A waka is a traditional canoe. It is designed as a portal to Te Ao Māori - The indigenous worldview Māori are the native people of New Zealand. Its traditional name is Aotearoa meaning Land of the long white cloud.
This waka was made from a single 100-year old Tōtara tree. Tōtara is a large native New Zealand hardwood that grows throughout the North and South Island. It is light weighted and high natural oil content which prevents rotting or deterioration. Waka are extensions of Māori tribal history and are the traditional technology responsible for mobilising navigators across the Pacific Ocean. The infamous explorer Kupe, discovered New Zealand in 925 AD.
The name of the waka is Tuia te here tangata meaning Binding the ties of humanity. It celebrates the connection established in 1840 between the US Exploring expedition and Māori. The name and physical artefact hope to inspire understanding. The collection aims to digitally illustrate the mauri or life force of the waka. We can transform our wounds into wisdom by seeking first to understand, and then to be understood.
In the lesson in this issue of Smithsonian in Your Classroom, students closely examines four of the 13 million photographs in the Smithsonian. The pictures represent four important steps in the history of the medium: the introduction of portrait photography, the invention of a photographic printing process, the capture of instantaneous action, and the advent of home photography.
Click on the PDF icon to download the issue.
This collection is a curated collection of images that can be used with a lesson plan on curation. Each of the images has some possible connection to a social justice theme and the question asked by the creator of the collection is, "How might we approach conversations about curation and social justice?" Each of these images adds a unique and interesting dimension to a conversation about curation, the people whose stories are selected for view, and how those stories are empowered and/or disempowered by the stories that they are surrounded by. How do we make decisions about these topics? What do we do when we are asked to include in a curated collection pieces that change the story we might want to tell? How do we deal with the multi-faceted stories and sometimes contradictory stories of the people we select for our collections?
It is important to ask these questions and have dialogues with students about how we come to our conclusions, make our decisions, and wrestle with these concepts. In a world of tweets and ever expanding stories/information it is important sometimes to talk about how we work with the realities of physical spaces where there isn't always enough wall real estate to highlight everyone all of the time. In those situations, how decisions are made, who is brought to the forefront (and who is not), and how our own beliefs/biases/views of the world play into those decisions all matter.
How might you curate this collection in many ways? Who is still missing and why does it matter that we ask the questions at all?
While this is intended to be a companion collection to a lesson on curation, the questions above may stand on their own. This collection is intended to be the beginning of a conversation, and not a stand alone collection; however, the lesson is also available in the collection as a downloadable PDF.
Korean Goryeo period (918-1392) celadon has famously elegant surface decorations. The delicate flowers, birds, and fish are incised with thin perfection into the clay pots and accented by inlaid white and black slip. Then the whole design is softly but beautifully highlighted by the glass like jade-green glaze. Using this six part lesson plan, students will research Goryeo celadon, compare its decorative techniques to other similar etched techniques, experiment with unique watercolor techniques to create similar effects, plan their own art work using a celadon like look, create their masterpiece, and evaluate whether they have achieved the desired goal of reproducing the look of Goryeo celadon decoration in watercolor. Completing this process, they will have created a painting that they could not have imagined before they began the exploration into Goryeo celadon pottery decoration. In the first addendum students will be introduced to techniques using acrylic paste and pouring mediums which can produce an even more realistic appearance of Goyreo celadon incised and inlaid decoration.
Here in part 1. are some examples of green glazed, incised ceramics from Korea's Goryeo period. They are from the Freer Art Gallery's collection. Sort them into three groups according to their type of decoration. Then determine if the type of decoration is related to the time period in which they were created. Next, take time to explore where this particular decoration style originated and how the Goryeo period potters in Korea perfected the technique. In part 2, compare these pieces to other types of art that are made using similar etching techniques, such as scrimshaw and leather stamping, Then compare them to watercolor paintings of similar subjects to determine how to reproduce the Goryeo celadon look in watercolor painting. One goal of this learning lab is that students will make connections between different mediums and periods and in that process, discover new ways to use the mediums that they are familiar with. Later, in parts 3 and 4, students will be using the Goryeo celadon designs for inspiration when they practice new techniques and plan their own artwork which they will create in step five of the learning lab. In step 6 the students will evaluate their art works to see if they have achieved their goal of making a painting with the look of Goryeo celadon decoration. Addendum 1. is not intended to be part of the watercolor lessons because of the time required to do the activities and the considerable mess involved, but it introduces the student to Acrylic mediums that can be used to make pictures that not only look like incised and inlaid Goryeo celadon, but are made with very similar techniques. #AsiaTeachers, #Watercolor, #GoryeoCeladon, #Ceramics, #NewAndCombinedPaintingTechniques. #Etching, #StudentArtProjects, #KoreanHistory, #ScratchedAndImpressedWatercolorPaper. #AcrylicPouringMedium, #AcrylicPasteMedium.
Most people are familiar with the Farm Workers Movement but many do not know the long history of resistance in the fields. This activity will provide an introduction into the role Asians and Asian Americans played in providing food across the United States and the pivotal role they played gaining farm worker rights. #APA2018
You will find student instructions for each section on the arrow slide dividers. Click on each for instructions.
Throughout this experience consider the 3 Ys:
- Why might this snapshot of the role of Asians and Asian Americans in the fields matter to me?
- Why might it matter to people around (family, friends, fellow students, community)
- What might it matter to the world?
At the end of this activity focus on what it means to be an ally and revisit your Universe of Obligation activity.
This collection of resources uses oral histories as well as photographs and articles to explore race relations and the impact of Executive Order 10925 at NASA. Signed by President John F. Kennedy on March 6, 1961, EO 10925 required government contractors to "take affirmative action to ensure that applicants are employed and that employees are treated during employment without regard to their race, creed, color, or national origin."
Resources in this collection - photographs and articles as well as oral histories - are compiled to supplement the SITES traveling exhibit Destination Moon. This collection is not comprehensive; instead, it provides a launching point for further research.
This collection is closely associated with the "Destination Moon" traveling exhibit. For more information see https://airandspace.si.edu/exh...
Each item in this collection reflects the changing culture of America between the two World Wars. As we read The Great Gatsby and Of Mice and Men, consider how these pieces show the change of mindset across the decades.
Your task: select 5 artifacts and write a short paragraph for each saying how the object relates to 1) the era it is from, 2) to two texts, and 3) the other objects in you collection. Do not answer the three items like a list; rather, think about having your entire paragraph answer these questions: Why did I choose this object for this collection? What does it add to the whole? How can I interpret this object for the visitors of my gallery?
For your writing voice, sound authoritative, like a museum placard (those little signs next to objects). You do not need direct text evidence, but you do need to reference one or both of the texts.