<p>This resource is designed to accompany the Smithsonian's National Museum of American History's and the Smithsonian's Latino Center's video <em>Latinas Talk Latinas, Marge Villa: Breaking Gender Barriers.</em> After watching the video, which is located in the second tile of this collection, please return to this page to learn more about the assets we have in our digital collection as well as additional resources that will help you further explore the topics and themes presented in the video.</p> <p>Margaret (Marge) Villa was among the very few women professional baseball players and a record-setting catcher. Villa broke gender barriers in the early '40s at age 16 while playing in East Los Angeles, California.</p>

<p style="text-align: center;">This resource is designed to accompany the Smithsonian's National Museum of American History's and the Smithsonian's Latino Center's video <em>Latinas Talk Latinas, Ellen Ochoa: Beyond the Barrier.</em> After watching the video, which is located in the second tile of this collection, please return to this page to learn more about the assets we have in our digital collection as well as additional resources that will help you further explore the topics and themes presented in the video.</p> <p style="text-align: center;"><em>Ellen Ochoa was the first Latina astronaut</em> in space and <em>first Latina, only the second woman, </em><em>to serve as the Director of the</em> <em>Johnson Space Center</em><em>, responsible</em> <em>for</em> all astro<em>naut activities for NASA. Find out how this daring and tenacious Latina </em><em>went beyond the barrier and set new heights for young girls to reach for the stars. </em> </p>

<p>This resource is designed to accompany the Smithsonian's National Museum of American History's and the Smithsonian's Latino Center's video <em>Latinas Talk Latinas, Jessica Govea: From Girlhood to Inspiring a Movement</em>. After watching the video, which is located in the second tile of this collection, please return to this page to learn more about the assets we have in our digital collection as well as additional resources that will help you further explore the topics and themes presented in the video.<em></em><br></p> <p>Jessica Govea was a labor leader and organizer who started at a very young age. She began working alongside César Chávez in the Community Service Organization and was later instrumental in the founding of the United Farm Workers union, extending her organizing power to Canada.</p>

<p style="text-align: center;">This resource is designed to accompany the Smithsonian's National Museum of American History's and the Smithsonian's Latino Center's video <em>Latinas Talk Latinas, Álida Ortiz-Sotomayor: The Love for Teaching Natural Sciences.</em> After watching the video, which is located in the second tile of this collection, please return to this page to learn more about the assets we have in our digital collection as well as additional resources that will help you further explore the topics and themes presented in the video.</p> <p>Álida Ortiz Sotomayor was the first Puerto Rican woman to obtain a Ph.D. in Marine Sciences from the University of Puerto Rico in Mayagüez in 1976. She was one of the founders and the first Director of the Coastal Marine Biology Program from the University of Puerto Rico in Humacao and developed the first Earth Sciences curriculum for the Public Schools of Puerto Rico and has trained hundreds of teachers in Marine Education. </p> <p style="text-align: center;"><br></p>

<p>This Learning Lab is designed to accompany the Smithsonian's National Museum of American History and the Smithsonian's Latino Center's video <em>Latinas Talk Latinas: Selena, Crossing Over Cultural Boundaries. </em>This resource is meant to be experienced chronologically, starting with the second title. Learn more about the Smithsonian collections and additional resources on Selena. The goal is for users to 1) learn who Selena was  2) explore the assets on Selena across the Smithsonian Institution, and 3) understand why Selena is so important to Mexican-American women -- and the Latino community at large. </p> <p>Selena Quintanilla was a pioneering performer who started as a young girl within the Tejano music scene and eventually moved into several genres of Spanish-language music and crossed over into mainstream English-language music in the United States. This Learning Lab explores her legacy, across the United States and through the Smithsonian collections</p> <p>A note on the flowery aesthetic of the Lab: flowers hold a special significance for Selena and her fans. The Quintanilla family requested that everyone carry a single white rose to Selena's funeral because it was Selena's favorite flower. The flowers in the titles are also a nod to one of Selena y Los Dinos' greatest hits, "Como la Flor."</p>

<p><em>Nuestra América</em> es una antología completamente ilustrada que ha preparado el Centro Latino Smithsonian. En ella se presentan las inspiradoras historias de treinta latinas y latinos y se celebran sus contribuciones a los Estados Unidos. Muchos de ellos enriquecieron las características culturales, sociales y políticas de la nación. </p> <p></p> <p>Gran parte de las historias recopiladas en este libro van a formar parte de la Galería latina de la familia Molina. Se trata de la primera galería nacional dedicada a los latinos en el Smithsonian.  El Centro Latino dirige este proyecto de galería. </p> <p></p> <p>Las historias de este Learning Lab se encuentran en las colecciones de los museos Smithsonian. Para que puedan verse fácilmente, se han agrupado por temas. </p> <p>¿Cuál es el contenido de una colección? Incluye objetos que una persona utilizó o llevó puestos. Algunos ejemplos son: artículos publicados, fotografías y videos. Estos objetos pueden variar desde una pelota de béisbol hasta una prenda de vestir. ¡Hasta podría ser un transbordador espacial! Los objetos ayudan a que los museos puedan narrar historias más completas. Además, los museos se ocupan de cuidar esos objetos. De esta manera, los futuros visitantes también podrán verlos.<br></p> <p>Cada tema incluye rutinas de exploración que provienen del Proyecto Cero de la Escuela de Graduados en Educación de la Universidad de Harvard. Estas preguntas pueden ayudar a iniciar conversaciones acerca de las historias y los objetos presentados. Este Learning Lab puede ser útil para los estudiantes de la escuela intermedia y de la escuela secundaria, en especial si están interesados en la cultura latina. También podría servir de apoyo en la preparación de un proyecto en español sobre las tradiciones familiares. Para ver una versión en inglés de este Learning Lab, haga clic <a href="https://learninglab.si.edu/collections/nuestra-america-30-inspiring-latinas-latinos-who-have-shaped-the-united-states/MakuDQIEBA5UsG2P#r/">aquí.</a><br></p> <p>Si desea más información acerca del libro, por favor visite:<br></p> <p><a href="https://latino.si.edu/es/nuestra-america">https://latino.si.edu/es/nuestra-america</a></p> <p>También puede ver una versión en inglés del libro. Favor de visitar:<br></p> <p><a href="https://latino.si.edu/nuestra-america">https://latino.si.edu/nuestra-america</a></p> <p><u>Los temas y las historias presentadas en este Learning Lab son:</u><br></p> <p> Derechos civiles y activismo</p> <ul></ul> <ul><li> César Chávez</li></ul> <ul><li>Dolores Huerta</li></ul> <ul><li>Sylvia Rivera </li></ul> <p> Empresarios</p> <ul></ul> <ul><li>C. David Molina</li></ul> <ul><li>La familia Unanue y Goya Foods</li></ul> <p> Moda y cultura popular</p> <ul></ul> <ul><li>Celia Cruz</li></ul> <ul><li>Óscar de la Renta </li></ul> <ul><li>Lin-Manuel Miranda</li></ul> <ul><li>Rita Moreno</li></ul> <p>Lectura y literatura</p> <ul></ul> <ul><li>Pura Belpré</li></ul> <ul><li>Julia de Burgos</li></ul> <ul><li>Sandra Cisneros</li></ul> <ul><li>Juan Felipe Herrera</li></ul> <p> Servicio público</p> <ul></ul> <ul><li>Jaime Escalante</li></ul> <ul><li>Sylvia Méndez</li></ul> <ul><li>Ellen Ochoa</li></ul> <ul><li>Sonia Sotomayor</li></ul> <p> Deportes</p> <ul></ul> <ul><li>Roberto Clemente</li></ul> <ul><li>Dara Torres</li></ul> <p></p>

<p>This collection can serve students grades 2-5 as well middle school and high school students interested in Latino culture or as part of a Spanish project exploring family traditions. Activities include family or classroom activity on collage making with family photos and writing your own museum object label. Videos include a special performance from Grupo Bella and interviews with artists, chefs, curators, and educators that formed part of the<em> Making History, Sharing Culture Featuring Disney-Pixar's "Coco" </em>Event. An on-stage conversation featuring Illustrator Ana Ramirez and Character Modeling Artist Alonso Martinez of Disney-Pixar's "Coco" is also featured.<br></p> <p><em><br></em></p><p><em>Making History, Sharing Culture featuring Disney-Pixar's "Coco</em><em>" </em>was presented as the Smithsonian's feature Hispanic Heritage event by the Smithsonian Latino Center and the National Museum of American History in October 2018. A portion of the travel of the Smithsonian Latino Center and this program was generously provided by Southwest Airlines. Additional support was provided by The Walt Disney Company.</p>

<p>This collection features bilingual (English/Spanish) activities from<em> ¡Descubra!</em>, the Smithsonian Latino Center’s national public education program for kids, teens, and families. These activities were featured at previous Smithsonian Latino Center Hispanic Heritage festivals celebrating Latino art, music, and cultures. These resources can serve teachers and students grades 2-5, 6-8, and high school Spanish.<br></p> <p>The activities help participants place themselves in the role of an artist, whether a poet, musician, or sculptor. There are also fun activities for caregivers and families in capturing family music memories through oral histories and archiving special memories with photographs. Through active learning and problem solving, students are fully engaged and better able to understand concepts being presented. This collection also includes video performances and interviews with Latino animators, artists, curators, dancers, and even educators, among others.  </p> <p><em>¡Descubra! </em>Hispanic Heritage promotes Latino arts and culture contributions while showcasing opportunities to become involved in cultural representation and different interests in these areas.</p> <p></p> <p>Esta colección resalta actividades bilingües de<em> ¡Descubra!,</em> el programa nacional educativo del Centro Latino Smithsonian para niños, adolecentes y familias. Estas actividades fueron presentadas en festivales de herencia hispana previos del Centro Latino Smithsonian que celebraban arte, música y cultura hispana. Estos recursos les pueden servir a maestros y estudiantes de grados 2-5, 6-8, y de clases de español de preparatoria (high school).</p> <p>Las actividades ayudan a participantes imaginase en un papel de artista, fuese un poeta, un músico o escultor. Encontrará actividades divertidas para cuidadores y familias que captan memorias musicales de familia a través de entrevistas y otra sobre como archivar memorias especiales con fotos. A través del aprendizaje y resolviendo problemas, los estudiantes pueden entender mejor las ideas que se les presentan. Esta colección también incluye videos de presentaciones y entrevistas de animadores, artistas, bailarines, curadores y hasta educadores, además de otros.</p> <p><em>¡Descubra! </em>Hispanic Heritage resalta las contribuciones de la comunidad hispana al arte y la cultura estadounidense mientras promueve oportunidades para involucrarse en la representación cultural y las diferentes áreas dentro del campo. </p>

<p style="text-align: center;">“El voto es el agente de cambio no violento más poderoso que tenemos en una sociedad democrática. Debemos usarlo porque no está garantizado. Hasta podríamos perderlo”. </p> <p style="text-align: center;">– Rep. John Lewis, 2020</p> <p>La historia del derecho al voto en los Estados Unidos es compleja. Hasta 1870, solo los hombres blancos y dueños de propiedades podían votar. En sus primeros 100 años, la democracia estadounidense era muy distinta a la de hoy. Se fundamentaba en privilegios económicos, raciales y de género, reforzados por la institución de la esclavitud basada en la raza. Los afroamericanos no han dejado de luchar por sus plenos derechos como ciudadanos, que incluyen el derecho al voto. En la 15.a enmienda de la Constitución se afirma que los estados no pueden negar el derecho al voto "por motivos de raza, color o condición previa de servidumbre". Esta enmienda fue ratificada en 1870. Sin embargo, muchos gobiernos estatales aprobaron leyes para impedir que los afroamericanos votaran; para ello, usaron diversas tácticas como los impuestos al voto y las pruebas de que una persona sabía leer y escribir. Estas medidas buscaban eludir lo estipulado en la 15.a enmienda que prohibía la aplicación de leyes electorales basadas en la raza. Otras estrategias eran el fraude y la intimidación.</p> <p>Estas mismas tácticas privaron de derechos a las comunidades latinas en diferentes regiones del país. Varias organizaciones pioneras, como la Liga de Ciudadanos Latinoamericanos Unidos (LULAC, por su sigla en inglés), fundada en 1929, lucharon por los derechos civiles de los mexicanos americanos, incluido el derecho al voto. Aun antes del comienzo del siglo XX, los puertorriqueños residentes en el continente han luchado por tener representación en el Congreso. En Nueva York, en 1899, tuvo lugar el primer juicio relativo al voto de los puertorriqueños. En la década de 1960, algunas organizaciones, como la Legión de Votantes y la Asociación Nacional de Derechos Civiles Puertorriqueños, lucharon  contra la discriminación electoral.</p> <p>Los afroamericanos, los latinos/as/xs, los indios americanos, los asiáticos americanos y los miembros de otras comunidades han organizado protestas para crear conciencia acerca de la supresión del voto. Una protesta es una manera de que las personas expresen sus creencias acerca de una persona, lugar, cosa o idea. Las personas pueden manifestar esas creencias por medio de una declaración o una acción. Las marchas públicas y los mítines son ejemplos de protestas. Escribir cartas, cantar, negarse a comer o usar la violencia son otros tipos de protesta. Mediante las protestas y la promoción de su causa, las mujeres y las comunidades de color han podido lograr su derecho al voto. El voto permite elegir a funcionarios que representen a las comunidades a las que sirven.</p> <p>Ahora, analicemos juntos la Ley del Derecho al Voto y algunas de sus enmiendas subsiguientes. Además,  veremos el juicio presentado ante la Corte Suprema de los Estados Unidos, cuyas partes litigantes eran el Condado Shelby de Alabama y Holder. Veremos de qué manera esta ley y las decisiones de los tribunales afectan directamente a las comunidades de color y su derecho al voto. Le daremos una mirada breve a cómo contribuye nuestro voto a la elección de funcionarios a distintos niveles, incluso del presidente.</p> <p>En este laboratorio de aprendizaje se presentan obras de arte, videos, fotografías y signos de protesta. Tiene también rutinas de pensamiento del <em>Project Zero</em> de la Escuela de Posgrado en Educación de Harvard. Estas nos ayudarán a conversar en torno a las imágenes o pancartas de protesta que se encuentran en la colección. Las hojas de actividades del Centro Latino Smithsonian <em>Expresiones culturales: arte para el cambio social</em> se encuentran al final de esta colección. Están adaptadas para alumnos de la escuela primaria, intermedia y secundaria. El personal de atención al público o los maestros pueden usar las preguntas de las actividades para crear afiches de protesta y obras de arte a favor del cambio social. </p> <p></p>

<p>This collection features the Spoken Connections Workshop along with four Smithsonian Latino Center programs celebrating Latino poetry and spoken word. This collection is for middle school and high school students, along with life-long learners, with an interest exploring world cultures, language arts, and creative writing. </p> <p>This workshop PDF includes poetry from Puerto Rican and African American poets, including Martin Espada. The collection includes activities on defining culture and brainstorming your cultural home. Through these activities, learners will develop further understanding on culture characteristics, values, and how culture influences our everyday lives. Skills developed through this collection include interpersonal and intrapersonal conversations, learning how to use graphic organizers, and developing creative writing skills using vehicles such as free response and poetry. <br /></p> <p>This collection also features Smithsonian Latino Center Poetry Programs to complement the activity itself through visual performance. Caridad De La Luz aka La Bruja (New York City) and Francisco X. Alarcón (Los Angeles/Davis) honor memory and ancestors during Day of the Dead, Quique Avilés (Washington, DC), Leticia Hernández-Linares (Los Angeles/San Francisco), Raquel Gutiérrez (Los Angeles/Bay Area), and José B. González (Connecticut) perform at a special <em>enceuntro </em>or encounter of Salvadoran poets. A memorable event of music and spoken word curated by Luis Alberto Ambroggio featured performances by local poets Alberto Avendaño, Quique Avilés, Naomi Ayala, José Ballesteros, Consuelo Hernández, Samuel Miranda, Egla Morales, and Carlos Parada, with music by singer/songwriter Patricio Zamorano and his band. </p>

<p>A protest is a way for people to share their beliefs about a person, place, thing, or idea. People can share those beliefs through a statement or action. Public marches and rallies are examples of protests. Writing letters, singing songs, not eating, or using violence are other types of protest. </p> <p></p> <p>The United States guarantees people the right to protest peacefully. It does so through the Constitution and the first amendment. Sometimes, stress between protesters and police can turn violent. There have been times when police have been violent toward communities of color. This form of abuse is known as police brutality. </p> <p>Together, we will look at points of collaboration and solidarity between African Americans and Latinos. We will examine tensions between these groups and how they came to work together. We will also look at the conflicts between them and the police. The events featured are:</p> <ol><li>The National Chicano Moratorium, 1970</li><li>Mt. Pleasant Riots of Washington, DC., 1991</li><li>#BlackLivesMatter, 2013 to today</li></ol> <p></p> <p>This Learning Lab features art, videos, photographs, and protest signs. It also has thinking routines from the Harvard Graduate School of Education's Project Zero. They will help create conversations around the pictures or protest banners found in this collection. Worksheets from the Smithsonian Latino Center's <em>Cultural Expressions: Art for Social Change</em> can be found at the end of this collection. They are available for elementary, middle school, and high school students. Caregivers or teachers can use the questions found within the activities to create responsive social change protest signs and art. </p> <p></p>

<p><strong>Introduction: </strong>What is <em>Civil Intersections</em><strong>?</strong></p> <p><em>Civil Intersections</em>: Asian-Latino Solidarity Movements and Cross-Cultural Dialogue is a new educator resource kit and capacity-building workshop developed by the Smithsonian’s Latino Center (SLC) and Asian Pacific American Center (APAC). Entering its pilot year (2021) with Cobb County School District in Georgia, <em>Civil Intersections</em> strives to serve as a multi-year effort in partnership with school districts across the United States. SLC and APAC educators are aiming to present US Latino and Asian American regional and national histories to middle and high school educators who are looking to weave first-voice Latino and Asian American narratives and primary source materials into their curriculum. For its pilot year, <em>Civil Intersections</em> centers its resource kit and workshop on the story of the Farmworkers’ Movement and the organizers behind it, Larry Itliong, Cesar Chavez, and Dolores Huerta. The story of the Farmworker’s Movement and the leaders behind it is an important story in American history because it secured better pay, established workers’ rights to organize, and created better working conditions on many farms.</p> <p>While this history took place in Delano, California, it has national resonance as many Latino and Asian migrants and immigrants are working on farms and other industries across the United States to make a living. According to the organization Farmworker Justice, an estimated 2.4 million farmworkers work on farms and ranches in the United States in 2015-2016—of this number, 49% of farmworkers were immigrants, and 75% of the workforce were foreign-born. Women make up 32% of the agricultural workforce, and there have been increasing numbers of new migrants arriving in the U.S. from indigenous communities in Mexico and Guatemala. According to the US Department of Agriculture, in 2017, a higher proportion of Asian producers in the US identified as female, and younger on average, showing there are many farmers are at the beginning of their careers. Asian producers account for 0.7% of the country’s 3.4 million food producers and are primarily located in California and Hawaiʻi. Woven into these numbers are historic and contemporary stories of migration, immigration, belonging, identity, and equity. The legacy and impact of the Farmworkers’ Movement can be seen today through better pay and working conditions—however, inequities that Latino and Asian workers face in farming, and other industries, persist today. The COVID-19 pandemic unraveled issues of race, belonging, workers’ rights and safety, access to healthcare, and equity. The impacts of the pandemic have disproportionately impacted Latinx farmworkers in the US, who are deemed essential workers unable to practice preventative measures, such as staying at home and working from home. As we reflect on the history of the Farmworkers Movement, how can we bridge the past to current events impacting communities today? What have learned, and not learned, from the Farmworkers’ Movement, and who are the leaders today fighting for equity and justice? How can the practice of civil discourse lead to change?</p> <p><em>Civil Intersections</em> aims to spark new conversations with educators and students</p> <p>We hope that this resource kit and methodology leads to new conversations between educators and students in the classroom, and that it sparks new ideas for bringing first-voice narratives into the classroom. We also hope that the story of the Farmworkers Movement inspires users to think about the humanity of Asian and Latino communities throughout the United States, not solely through a contributions lens, but through a lens of belonging, identity, and equity, with all of its triumphs and challenges.</p> <p>How do I use this resource kit? The Civil Intersections resource kit comes in two collections. The first collection, part one, dives into historical context of the Farmworkers Movement, and the second collection, part two, dives into the kit’s six-step methodology. As you use both collections, look for a yellow paperclip in the left-hand corner of the tiles. The paperclip indicates that there is more information in the tile--simply click on the tile to see what more information is included.  Some tile annotations include discussion questions, or more information about the step or resource. There is a specific order for how to navigate each collection--start with the top left tile and move left to right, moving down row by row. </p> <p>Overall, the two collections include access to:</p> <ul><li>Primary source materials from the Smithsonian Institution and community organizations across the United States,</li><li>Multimedia, such as short videos,</li><li>Images of objects, photographs and other archival materials from the Smithsonian Institution and community organizations,</li><li>A six-step methodology that focuses on reflection, transferable skills, and more,</li><li>Discussion and reflection questions and worksheets that you can use with colleagues and students</li><li>Strategies for using and applying primary source materials into existing curricula,</li><li>Ways to send in your feedback to the project’s developers.</li></ul> <p>Civil Intersections is an ongoing project, edited and informed by educators like you. We welcome feedback on the design, framing, and usability of this methodology and resource kit at any time.</p> <p>If you would like to contact the organizers of this kit to discuss its content and approach, please email:</p> <ul><li>Emily Key (Director of Education, Smithsonian Latino Center) at <a href="mailto:KeyE@si.edu" target="_blank" rel="noreferrer noopener">KeyE@si.edu</a></li><li>Andrea Kim Neighbors (Manager of Education Initiatives, Smithsonian Asian Pacific American Center) at <a href="mailto:NeighborsA@si.edu" target="_blank" rel="noreferrer noopener">NeighborsA@si.edu</a></li></ul> <p>With your feedback and insights, we will continue to develop and refine this methodology and accompanying resources based on your feedback. We aim to make Smithsonian and community-created resources usable and relevant for educators across the United States so that a fuller American story may be shared with students and future generations.</p> <p>This resource kit received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.</p>