<p>"European sailors told of being able to smell the pine forests of North America before they were within sight of land. Early explorers sometimes described possible settlements along the coast in tempting terms. Captain John Smith of Virginia made a whaling expedition to New England [which he is credited with naming] in 1614; he subsequently published a book describing the region's genial climate, fair coasts, and natural harbors...Immigrants endured hardships on their journeys and in their first years in America. Some portion of each new settlement perished from hunger, exposure, disease, or conflict, yet the stream of settlers kept coming. They crossed the Atlantic for many reasons: some for wealth, some to escape political or religious institutions they saw as oppressive or corrupt."</p> <p>However, some "early colonists came to the New World expecting to gain wealth through some combination of luck and hard work and return to their home cities or towns to enjoy their prosperity. The names of the places they settled - New Spain, New England, New York, Nova Scotia - and the nature of the portraits they commissioned tell us that they did not think of themselves as Americans, but as transplants."</p> <p>The artistic world and the literary world share much in common with respect to this approach. They were not writing "American literature" yet - - because in a sense such literature did not yet exist. Rather they were writing as transplanted Europeans, in a European voice and style. However, many American literature courses will begin with this period because in a sense, works such as John Smith's <em>Historie of Virginia</em> and William Bradford's <em>Of Plymouth Plantation</em> became our nation's first attempt at literature.</p> <p><em>* All quoted material from the <strong>Smithsonian American Art Museum's America's Art" #SAAMteach</strong></em></p>

<p>#SAAMteach</p>

<p>Paintings used to launch 6th grade short story unit, "Sweet Music in Harlem," written by Debbie A. Taylor</p> <p>#SAAMteach</p>

<p>Images to use as a discussion launch before each selected poem, addressing elements related to the creation of mood, atmosphere, and sensory imagery (among other topics). #SAAMteach</p>

<p>This lesson is used after students have finished reading William Shakespeare's "The Tempest."</p> <p>1. I print each of the paintings in this collection (most uploaded from The Folger Shakespeare Library's Digital Collection), and then post them across the board, around the room to create a "Gallery Walk" environment.</p> <p>2. I remind students, before they begin, that the keyword in this play is "art." Just as it is Prospero's "art" to control Ariel and Caliban through magic and bring his abusers to the island, so it is the dramatist's art to create an enchanted island on a simple wooden stage. I share with them that artists have been, in turn, then inspired by what has appeared on the stage during productions of "The Tempest," for centuries. The various works of art posted around them span from the 1700's through the 20th Century.</p> <p>3. Students are asked to walk through the gallery, and select one painting, one artistic interpretation of "The Tempest" that speaks to them, appeals to them, for any reason. Conversely, they should pick one they believe, for them personally, misses the mark as far as how they would interpret or envision this character, this scene, this play in general. They are to mark their names - - only their names - - on the board under the paintings.</p> <p>4. When finished, we have then have a discussion about their choices - it's quite free wheeling - - no wrong answers here - - wonderful sharing of ideas. Many of the ideas and conversations I subtly steer to reflect some of the questions they will address in the wrap up writing assignment that follows.</p> <p>5. When our conversations have finished, and after we've heard from everyone about their various interpretations, I give them the wrap up writing assignment. There are five individual response questions, with students being asked to write responses ranging anywhere from 175-200 words for each question. Three out of the five questions require them to return to this SAAM Learning Lab collection in order to write their responses, one other question is a classic literary analysis (thematic) question, while the last one is a historical context question. </p> <p>(I've attached the prompts as a resource.)</p> <p>Note: This assignment went over far better than I expected and I look forward to recreating it/adapting it for other units. </p>

<p><strong>Text below, from The National Portrait Gallery: "Eye to I: Self Portraits from 1900 to Today."</strong></p> <p>#SAAMTeach</p> <p>Drawing from the National Portrait Gallery’s vast collection of self-portraits, this exhibition explores and thinks critically about how American artists have chosen to portray themselves over the past two centuries. Individuals featured in <em>Eye to I</em> have approached self-portraiture at various points in history, under unique circumstances, and using different tools, but their representations—especially when seen together—all raise important questions about self-perception and self-reflection. Some artists reveal intimate details of their inner lives through self-portraiture, while others use the genre to obfuscate their true selves or invent alter egos. Are we seeing mirror images? Or, are these portrayals refractions of modern identity that reveal artistry rather than personality?</p> <p>As we are confronted each day with “selfies” via social media, and as we continue to explore the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to our country’s history. </p> <p><a href="https://www.si.edu/exhibitions/eye-i-self-portraits-1900-today-event-event-exhib-6263">https://www.si.edu/exhibitions...</a></p> <p></p> <p></p>

<p>This collection is used to launch the novel "Perfume: The Story of a Murderer." This is a novel which nearly defies categorization. Suskind, the writer ventures into a creative territory few students read in high school. Instead of beginning the unit with general background and context about the novel, we begin from an emotional point - - what emotions and experiences are prompted by the setting, mood, atmosphere, etc.? Below are the general steps we follow:                           #SAAMteach</p> <p>1. Pairs of students are each given two different paintings (I have a very small class - 12 students - - and choose to give each group two in order to cover more; however, you could easily do this with a class of 24 and each group of two has one painting.)</p> <p>2. Each group has a graphic organizer which is a modified "See/Think/Wonder" format, coupled with a brainstorming opportunity regarding the emotions generated by this painting. They're given approximately 10 minutes to work their way through the paintings and complete the lists for each, as they discuss, etc. I print out the pictures for them because I don't want them to see the titles and any additional information they may find online.</p> <p>3. When they have about 10 minutes, the students each have an opportunity to walk their classmates through the paintings and then open up the floor for a discussion about the emotions conveyed through this work.</p> <p>4. We keep a running list of these emotions on the board. Some that have surfaced include: confusion, disgust, loneliness, repugnance, helplessness, panic, anger, fear... Next to this list we wrote some overall concepts, such as abstract mixed with realism, abandonment, intimidation, and disconnect...</p> <p>5. When completed, I'll lead the conversation to a discussion about how these very same emotions are reflected by and presented within the novel...but like the paintings, in very unique ways. I choose my words carefully so as not to give the entire first few chapters away, but at the same time, offering them a preview. We then read the first two paragraphs out loud, and discuss how so many of the elements noted on the board are present already.</p> <p>6. They're then assigned Chapters 1, 2, and 3 to read, with a "list" of suggested items to watch for, annotate, etc. as they complete their first close reading of the novel. (This assignment is attached.)</p> <p>7. Part II involves writing in response to one of the paintings, completed after students have read the novel. (See Google Doc directions)</p>