“Futurescapes. Storytelling and Video-Making Workshop: Using Digital Museums Resources to Imagine Our City in 2050”
This Learning Lab collection was made to guide participants during the Digital Storytelling workshop “Futurescapes. Storytelling and Video-Making Workshop: Using Digital Museums Resources to Imagine Our City in 2050””, a two-day event organised by the Storytelling Research Team at Loughborough University, UK, and hosted in the London campus at Here East on the 6th and the 7th of August as part of the East Education Summer School at Here East in Queen Elizabeth Olympic Park.
During the workshop, designed and facilitated by Dr Antonia Liguori, museums objects will be used to trigger stories about a day in East London in 2050.
- learn how to use the cloud-based video-editing software WeVideo to make their own digital story;
- explore the variety of museums digital resources available online;
- experiment with storyboarding techniques for creative writing;
- learn how to record and edit an audio file;
- be supported in the selection of images and the production of a short video;
- reflect on the 5-step Digital Storytelling process;
- increase visual literacy through close looking at art.
Digital stories work best when there are rewards for both the storyteller and the viewer. Stories are always told from the perspective of the storyteller and for maximum benefit, it is vital to carefully choose the right story to tell. All necessary information will be given during the workshop, but to maximise opportunities, participants need to bring with them an object or a photo that connects them to the place where they live now and/or to their idea about how this place could change in the future.
This workshop is also the final event of the EOOL project and aims to showcase the methodology applied in this EU funded project to explore its potential in other formal and non-formal education contexts.
These are some examples of how the Smithsonian's Center for Folklife and Cultural Heritage used objects in its collection to reflect on its 50-year anniversary in 2017. While these entries are related to music, the collection's full site is also included. Investigating how and why cultural objects are made and used can help stimulate students to connect to their heritage and be used by teachers to develop research, storytelling, songwriting, and general writing skills with their students.
A collection of images focusing on the Native Americans and their vanishing cultures due to Manifest Destiny.
Bowling Green High School, Bowling Green, KY
Grade levels: 9-12
11th grade American Literature Focus for English Second Language Learners
Lesson Time: 50 minutes
1. Show the students a copy of the painting “Westward the Course of Empire Makes Its Way” by Emanuel Leutze (1861). Ask the students to spend a few moments observing the work in silence, noticing any details that draw their eyes. Ask the students to let their eyes touch every part of the canvas/picture.
2. Using the teaching strategy “See Think Wonder” ask the students to volunteer details in the work that they see. Ask them to describe only what they observe in the work (e.g. “I see a man in a fur hat holding a gun”). After the student makes a factual observation, ask the student “What do you see that makes you say that?” if the student says something that is not immediately obvious (e.g. the student sees a wooden sailing ship trapped in sea ice but describes it as a cabin). Do not correct the student. Let other students make observations and possibly correct each other through observation and discussion. After the student is satisfied with an observation, follow up with the question “What do you think about that?” Allow the student to offer any interpretations of what the detail means for the content of the work, the tone, the theme etc. Avoiding any value judgements, summarize back to the student his or her interpretation and evidential observations supplying any vocabulary the student might lack, asking for the student’s approval of the final summary. Continue this procedure until the students exhaust their observations or the class time restraints are reached. Finally, follow up with the question “What does this work (or specific observation) make you wonder about?”
3. At this point, ask the students to note anything that they do not see but would expect to be represented in the scene. Second Language Learners who have been in the USA for 2-3 years would probably have some general ideas about the history of the USA and may be able to offer such absences. If not, the teacher may need to point out that no Native Americans appear in the main scene. If the students do not notice the border of the work, point out that there are small scenes in the border that add content/connections to the main scene. Point out that two Native Americans appear there, small and crawling.
4. Ask the students to make a journal entry writing their thoughts about the work, specifically noting the Americans who are represented as moving across the land and the Americans who are not represented.
If the students have enough command of the language, the teacher can discuss representing fact versus propaganda. Discuss the painting as advertisement for the movement west despite its factual inaccuracies (e.g. the painting depicts California as visible from the Rocky Mountains although it is actually 1,200 miles away). Contrast this with a handbill distributed in the Dust Bowl areas advertising workers needed in California to pick crops (in reality the number of workers was greater than the jobs available). A possible literary connection could be to The Grapes of Wrath.
Use the painting periodically through the course of American Literature. Students’ reactions to the work may evolve as they expand their ideas of American history, manifest destiny, and the immigrant experience. Allow students to write new journal entries each time they revisit the work with new knowledge. Discuss the dialogue that gets created between the artist, the work, and the viewer based on what the viewer brings to the experience.
Objective: The student will be able to make a factual observation about the painting and offer interpretation (where possible) citing evidence from the work.
Follow-up lessons: On subsequent viewing of the work, the student will be able to identify themes in the painting that connect to texts from American Literature (e.g. attitude toward nature, the west, immigration, manifest destiny, etc.)
Rationale for using this artwork: The painting by Leutze encapsulates many themes that permeate American Literature and lends itself to an introduction to the course as well as an anchor for the course that will bear repeated viewing.
Rationale for the the methodology: The English as a Second Language student often does not bring a lot of background knowledge about American history or art. The See-Think-Wonder technique allows the student to engage with the work as an expert would: one who makes observations and interpretations that allow claims backed by evidence.
Differentiating Observation (fact) from Interpretation (opinion).
Making claims based on evidence.
Practice speaking in front of peers using the target language of English.
Nasal cavity have a number of structures. The superior middle and inferior nasal conchae is this coronal section through the nasal cavity where that line down the middle is showing the nasal septum and then that's right down the middle and it separates our two parts of the nasal cavity.
Each nasal cavity has the following components a superior nasal conchae, middle nasal conchae and inferior nasal conchae called turbinate bones and they come out from the lateral nasal wall and underneath each of them they have these spaces called the superior meatus middle meatus and inferior meatus and these bring air into the nasal cavity. This air swirled and touches the mucosal lining the air is warmed up the air is filtered the airs add some humidity to it so doesn't dry out the nasal mucosa.
There's the medial wall of the nasal septum and there's the lateral wall of the nasal cavity and on the lateral wall is a superior nasal Concha a middle nasal Concha and an inferior nasal Concha. Just as we can see the coronal section now coming into the nasal cavity is cranial nerve and the olfactory nerve is for smell. And so there we've got these different branches coming to the nasal septum in the lateral nasal wall and in the sagittal section there we've got the olfactory bulb and tract and then they send there through the cribriform frame and of the ethmoid bone there we've got those olfactory nerves coming in.
The maxillary nerve does general sensation to the nasal cavity pain, temperature, touch, vibration and so forth and so there we've got cranial nerve each and it sends off branches that will go to the nasal septum branches that go to the lateral nasal wall and then even branches that go down to the hard palate to do general sensation which do the hard palate and part of the gums the buck so the lingual surface of the gums for general sensation alright now in this sagittal section here we see super middle and inferior nasal Concha. And then here we've got the opening for the sphenoid sinus and then here we have the opening for the maxillary sinus and you just need to know that a died rain those paranasal sinuses and then finally the nasolacrimal duct empties into the nasal cavity in the inferior meatus.
First here we've got the nasal cavity in the opening nasolacrimal duct so there's our lacrimal gland that under innervation of facial nerve. The greater petrosal branch causes you to cry number seven makes you cry close your eye innervates every gland in the head except when it goes through. Here's seven innervating the lacrimal gland tears then go down in the eye and they wash through the eye and and help keep the eye moist and then excess tears go into these canaliculi that drain into the lacrimal sac and drain down this nasolacrimal duct and end tear into the nasal cavity.
Hollow chamber within the frontal bone and then the ethmoid sinus also called ethmoid air cells because there's anterior middle and posterior to your chambers of these honeycomb looking sinusesin the ethmoid bone and then the maxillary sinus that flanks the nasal cavities below the orbit above the maxillary teeth and then the sphenoid sinus.
There is a key that shows a nasal cavity maxillary ethmoid frontal and sphenoid sinuses. All right now the nasal cavity Musil pharynx has the opening of the auditory tube also known as your eustachian tube. In this sagittal section there's the opening of the fringotympanic tube or your auditory tube and it's called the fringotympanic tube. The nasal pharynx in this coronal section which then goes into this tube that goes into the middle ear hence it's also called the auditory tube because it goes from the nasal pharynx into the middle ear where auditory area occurs and the new station and then eustachian tube for the scientists who discovered.
მე-6 კლასის შემაჯამებელი სამუშაო
შესაბამისობა ეროვნულ სასწავლო გეგმასთან..
ჩემს მოსწავლეებს შეუძლიათ გამოიყენონ და შექმნან ინფორმაციის გადმოცემის სხვადასხვა საშუალება, ამ შემაჯამებელზე ვიყენებთ , ჩანახატის შექმნას
დავალება : მოსწავლე იხსენებს პირველყოფილი საზოგადოების პერიოდს, ადამიანის მიერ სამუშაო იარაღების შექმნის პროცესს, შემდეგ ის "გაივლის გზას " ქვის ხანიდან რკინის ხანამდე , აქცენტი აქვს სამუშაო იარაღზე, კერძოდ- მსჯელობს სამი კითხვის საშუალებით
1. რა გამოიგონა?
2. რატომ გამოიგონა?
3 როგორ გამოიყენა?
მოსწავლეს შეუძლია ის დახატოს რაც უნდა, ასევე სასურველია ჩაანხატს "მიაბას "ინფორმაცია , სადაც გამოჩნდება, რომ მხოლოდ რკინა არ არის აუცილებელი იარაღისთვის, ის ფიქრობს, რას აკეთებს რკინისგან- ხვდება უკეთეს იარაღს, რატომ აკეთებს -გატყდა ბრინჯაოსი და მოუხერხებელია ქვის, რატომ არის აუცილებელი -იმიტომ რომ კარგად იკვებოს, ან ოჯახი დაიცვას
ვარიანტები უამრავია , ჩანახატიც, გთავაზობთ რამოდენიმეს
Kindergarden-1st--Pick a letter, write a sentence using that letter and illustrate.
2nd-4th--The class takes a topic such as insects and each student takes a page, researches and illustrates it.
5th-12th--Students take a topic (biography, historical topic, memoir about themselves, book that they've read) and creates an alphabet book with each page telling the story or giving information about the subject.
This collection features bilingual Create-It! STEM activities from ¡Descubra!, the Smithsonian Latino Center's national public education program for kids, teens, and families. These activities can be recreated with materials found at a local grocery or hardware store at home or in the classroom. These bilingual resources can serve teachers in grades 2-5, 6-8, and high school science.
The activities help participants place themselves in the role of scientist as they work on a STEAM-H project. Through active learning and problem solving, students are fully engaged and better able to understand the concepts being presented. This collection also includes interviews with science experts as well as note cards featuring profiles of U.S. Latina/os that have made notable contributes to STEM fields.
¡Descubra! Meet the Science Expert promotes STEM education for youth, with a specific focus on Latino youth, by showcasing Latino role models in STEM fields and discussing career paths and different interests in these areas.
Discovery Theater is a pan-institutional museum theater dedicated to bringing theatre to young audiences and general visitors on and off the Mall since 1969. Recommended for children between the ages of 3 and 7, this delightful Discovery Theater original offers a fresh take on three classic tales . The Little Red Hen asks the question “Who will help?” Jack and the Beanstalk proves that small is mighty. And The Gingerbread Man… well, he’s just one bad cookie. Filled with delightful songs, puppets, and audience participation, this bilingual story-time spectacular is not to be missed!
Jack and the Beanstalk: Our version of this classic story teaches kids about overcoming adversity and intervening on behalf of those with less power than you.
The Little Red Hen: This story teaches kids about the important of helping others!
The Gingerbread Man: This fun tale also serves as an example of not trusting someone without carefully considering what their motives might be.
This teaching collection encourages students to think about all sides of an issue - in this case a cultural event - and then make connections to related issues of identity and nationalism locally, nationally, and internationally. The collection uses an article by Eduardo Díaz, director of the Smithsonian Latino Center, and Kevin Gover (Pawnee), director of the Smithsonian National Museum of the American Indian, as a jumping off point to explore changes to Santa Fe's annual Fiesta de Santa Fe, described by organizers as “the oldest, most colorful community celebration in the nation,” as part of an ongoing conversation across the country about how we choose to honor our "history, multicultural legacies and unique blend of traditions."
The exercise is scaffolded with global competence strategies to help students explore the Fiesta in successive detail, consider the various perspectives of the communities involved, and make connections to similar conversations happening across the US today. Students can share ideas in groups or through writing assignments, adding in outside research if desired.
Keywords: American Indian, Native American, Pueblo Indians, Hispanic, Latino, Entrada
This collection supports Unit 3: Critical Geography and Current Issues, of the Austin ISD Ethnic Studies Part A course. "How do diverse groups of people become interconnected and aligned with different places and communities? What is the relationship between geographic space and different communities, and how does this interaction shape our society How does regional politics, economics, culture, and geography influence issues and events?"
This Smithsonian Learning Lab collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
This teaching collection includes introductory resources to begin a study of Zora Neale Hurston, as an author, anthropologist and folklore researcher during the Harlem Renaissance.
50 sailors from the reserve stormed through Mexican-American towns stripping Mexican-Americans of their suits
"Zoot Suit Riots Exemplify Ethnic Tensions in L.A., June 3-8, 1943." Historic U.S. Events, Gale, 2014. U.S. History in Context, link.galegroup.com/apps/doc/BT2359030458/UHIC?u=pl2751&xid=c292307d. Accessed 29 Mar. 2017.
Here is an image related to the Zoot Suit Riots in Los Angeles in 1943.
Here are some images related to the Zoot Suit Riots in Los Angeles in 1943.
What can we learn about ancient China by studying artifacts? What does the intricate detail of works of art suggest about values and beliefs in ancient China? In this Learning Lab Collection, students will study ancient Chinese works of art via Project Zero Thinking Routines. Working in groups, students will be assigned to either research ancient Chinese bronze bells or ancient Chinese bronze vessels and make inferences about ancient Chinese values and beliefs based on their research. Then, inspired by taotie, mask-like design patterns of ancient Chinese bronze objects, students will etch their own zoomorphic creatures into metal foil.
This Learning Lab Collection contains a lesson plan, images to research, Thinking Routines, design worksheet, and sample final artwork. Download the pdf Lesson Plan located in the "Teacher Materials and Lesson Plan" section first for instructions and art materials needed.
Tags: metalwork; etch; repoussé; vessels; bells; ritual; Shang; Zhou; dynasty; China; composite animals
This lesson plan teaches innate and learned animal behavior by having students watch videos of Bao Bao, the Smithsonian National Zoo's panda, and answer questions about her behavior in the videos. The videos range from Bao Bao as a newborn to her first birthday and have quiz questions connected to them to help students better understand how to observe animal behavior. There is a hand out for students to read while watching the videos to better help them answer questions. There is also a chart attached that can be used by the teacher to write down the behavior of Bao Bao in each video in fifteen second increments. This teacher lesson plan can also be adapted to be used as a class assignment, if needed.
If you’ve seen one zebra, you’ve seen them all, right? That, it seems, is what nature
wants us to think. Zebras live in herds. What a predator sees in the herd is one mass
of stripes, like a conference of referees on a football field. It may be hard for that
predator—a lion, leopard, cheetah, or hyena—to focus on one individual.
To continue, click here.
The purpose of this project is to make connections between our knowledge of these time periods with actual artifacts from the period. The idea is for us to explain how these items shape the eras in question, and therefore establish their place in the history of this country.
catalog objects of the time period and describe their significance