Found 287 Learning Lab Collections
The early years in Virginia's first colony were fraught with starvation and illness. Many of the Jamestown colonists were not "survivors". Most were gentlemen searching for gold and riches and had no experience living in the wilderness. America was a challenge: the forest primeval had never been cut, there was no available farmland, few had experience at fishing or hunting and gathering. Our story about tells about the ultimate in desperation.
Edward Hicks' paintings reflect the same quality and style. More advanced in technique than Grandma Moses but still simple if compared to the work of the Hudson Valley School.
This collection includes a multi-day lesson plan built around Childe Hassam's Tanagra (The Builders, New York), 1918, and is designed to explore the effect that gender inequality can have on identity. Lessons are designed for an eleventh-grade, American Studies, Humanities-style course, and the historical context is the Gilded Age and the Women's Suffrage Movement. The plan for this mini-unit includes the analysis of visual, literary, and historical texts, and while it has a historical context, the goal is also to make connections to American life today. The essential question for this mini-unit is this: How can unfair gender norms affect what it feels like to be a human being? Included, you will find a lesson plan as well as digital versions of the artistic, literary, and historical texts needed to execute that plan. #SAAMteach
Photos and paintings of Algonquin Provincial Park are grouped with Tom Uttech's "Mamakadendagwad." What is the impact when someone or something enters an environment or ecosystem? Lesson could be an introduction for multiple content areas. In science, students could study mammals, birds, and insects of Ontario, Canada; ecosystems; and invasive species. In history, what is the wilderness? It could be paired with Charle C. Mann's argument about Native American and European impact on land in Jamestown. It could also be paired with Juane Quick-to-See Smith's painting "State Names" to consider how humans name places they settle. English students could extend the discussion by reading Iroquois creation myths and Joseph Bruchac's "Snapping Turtle." #SAAMteach
What does your hair reveal about your identity? This guided lesson and image gallery invites students to explore their identity and to interrogate the role that hair plays in the presentation of self. Using artful looking techniques, students can think critically about the dynamic between the subject and the artist.
This collection was created in conjunction with the National Portrait Gallery's 2017 Learning to Look Summer Teacher Institute.
#NPGTeach #Hair #History #SocialStudies #Afros #Identity
This collection examines artwork paired with both primary and secondary sources that illustrates the complications of mobilizing the American homefront between 1942-1945.
Benjamin West began painting in America during the late colonial period. His works represented a variety of styles. He was equally good at portraiture which was what most customers wanted and romantic renditions of battle scenes. Later in his career he devoted much of his time to Greek and Roman mythological themes.
This curriculum pack was produced by the Historical Society of Western Pennsylvania and includes everything you need to teach about the Great Strike of 1877 in Pittsburgh. The five lessons can be used as a group or individually, and guide students towards creating their own documentary about the subject--click on the paperclip to find the activities that make up each lesson. Primary sources are also included (be sure to click on the paper clip and/or info icon on each item to find out more about it).
This curriculum pack was produced by the Historical Society of Western Pennsylvania and includes everything you need to teach about the growth of democracy and impact of the Constitution in Western Pennsylvania. The student text includes readings that you can give directly to your students, and the info tabs on items throughout the collection includes suggested teaching activities. Primary sources and biographies are also included (be sure to click on the paper clip and/or info icon on each item to find out more about it).
How did the Supreme Court become so influential? Designed to complement the WNYC Studios podcast More Perfect, this collection explores the history of the Supreme Court and the role of the judicial branch. Starting with Marbury v. Madison, the podcast explores the humble origins of the Court and how Chief Justice John Marshall helped change that.
Students will listen to the podcast episode to learn about the history of the Supreme Court of the United States. Then, they will learn about key Supreme Court cases Marbury v. Madison, Worcester v. Georgia and Brown v. Board of Education of Topeka, and the impact of the Court's decisions on the judicial branch & judicial review.
Baker v. Carr (1962) was a landmark Supreme Court case regarding the political question doctrine. The case decided that the redistricting of state legislative districts is not a political question, and thus justiciable by the federal courts. Designed to complement the WNYC Studios podcast More Perfect, this collection explores the case and the Justices central to its history.
Students will analyze this important Supreme Court decision involving the political question doctrine, and consider the opinions by the majority and the dissent. Students will also study how this case set a precedent for future cases regarding the Equal Protections Clause and the role of the Court.
Lesson plan for 5th grade (90 minutes) for use with Mike Wilkins Preamble, Schoolhouse Rock video, etc. #SAAMteach
This collection is designed for a high school U.S. history course and includes a unit/lesson plan that guides students through the process of writing a persuasive essay drawing on varied sources for evidence. The unit is book-ended by two lessons which analyze three separate works of art. #SAAMteach
All resources that I've gathered to teach Adiche 's novel in Fall 2017.I have also begun a collection specific to Smithsonian exhibits and resources.
Included in this collection are pieces that can be used to foster inquiry in how Reconstruction affected different groups in the South. It also contains a lesson using one piece, Taking the Oath: and Drawing Rations along with an example of a loyalty oath from Florida for students to dive deeper into analyzing art and putting themselves into the shoes of someone living in the South during Reconstruction.
This lesson was made for 11th Grade American History students, but can be modified for other age groups.
#SAAMteach #bestcohort #artislife
English, Hispanic History, House on Mango Street, Braceros, Hispanic American, American History, camps, workers, labor, Latino Americans, Sandra Cisernos, Domingo Ulloa
Introduction. In this unit, students investigate literature and art by individuals who, through their work, reflect on the U.S.-American experience. Is it the role of the artist and the writer to make us more reflective? If so, to what end? If we look at a startling image or read an inspiring story, is it a momentary thing? Do we go on unaffected or are we somehow changed? Are we supposed to do more than reflect? Are we supposed to rethink the ways we interact with others? Revise the way we live? Are we meant to take action? Our answers to these questions help us to understand the role of the author and the artist in a society that is fraught with conflict and, in a sense, put on edge by questions of identity.
Each resource symbolizes a reason why Americans chose to move west. For each one, complete the following activity:
1) Source it: Is it a primary or secondary source? Who made it? When was it made? What is the author's purpose (PIE)? Hint- click the i on the left side of the screen to learn more about the source.
2) Identify at least 4 details that you see in the image.
3) Why would this resource motivate people to move West? Use a specific detail that you saw to prove your point.
Context: A lesson for a U.S. History/American Literature humanities class. This lesson will come towards the end of our study of the Revolutionary period.
Essential Question: What does it mean to be an American in 1782?
- How does Crevecoeur define an American here? How accurate is his definition for that time period?
- To whom is Crevecouer making this appeal? What sort of person would be motivated by these passages?
- Who is included in Crevecoeur's appeal? Who is left out?
- How is "this new man" different?
- How does Crevecoeur help build the ideals and myths of America?
- How does this letter build on the idea of American Exceptionalism? America as the land of "new and improved"?
Students will have read Letter III before class.
Using the Smithsonian Learning Lab and the text excerpts below (or the entire text of Letter III), students will identify three key quotes or words and find artwork that connects to chosen text. Three total text excerpts and three works of art. The works of art can support, refute, or simply connect to some aspect of the quote and the idea of what it means to be an American.
Students will share their chosen artworks and quotes via the class Google classroom.
We will use the images as the basis for a class discussion on what it means to be an American.
After the class discussion, students will write a short paper on "What is an American?"
1.. Using the Smithsonian Learning Lab and the text excerpts below (or the entire text of Letter III), identify three key quotes or words and find artwork that connects to chosen text. You can use the images below as a starting point, but don't feel limited to these. The Smithsonian has an amazing and extensive collection. Take time to use the search function and explore the collection. You have all period to do so. Be original.
2. By class tomorrow, post on the google classroom your text excerpts and accompanying three works of art. The text can be a whole sentence or just a few key words. The works of art can support, refute, or simply connect to some aspect of the text and the idea of what it means to be an American. Be sure to include the title, artist, and date for each artwork. Your artwork doesn't have to come from the Revolutionary time period. The important thing is that you use your critical reading and thinking skills to make a connection between the text and the art work.
3. Tomorrow we will have a class discussion based on the images and excerpts. Be prepared to share your thinking on your choices with the class.
As always, remember to consider speaker, audience, and purpose. Who is speaking? To whom is he appealing? Why?
Not sure where to start? Find what you think are the ten most important words in the passage. Narrow it down to the top three.
Based on our studies so far, what are the different groups, ethnicities, races, religious affiliations make up the population at this time? Which of these does Crevecouer include? Leave out?
How did these people come to be in America? Does that matter in Crevecouer's writing?
by J. Hector St. John De Crevecoeur
"What then is the American, this new man?...He is an American, who, leaving
behind him all his ancient prejudices and manners, receives new ones from the new
mode of life he has embraced, the new government he obeys, and the new rank he holds. He has
become an American by being received in the broad lap of our great Alma Mater.
Here individuals of all races are melted into a new race of man, whose labors
and posterity will one day cause great changes in the world. Americans are the
"After a foreigner from any part of Europe is arrived, and become a citizen; let him devoutly listen to the voice of our great parent, which says to him, "Welcome to my shores, distressed European; bless the hour in which thou didst see my verdant fields, my fair navigable rivers, and my green mountains!--If thou wilt work, I have bread for thee; if thou wilt be honest, sober, and industrious, I have greater rewards to confer on thee--ease and independence. I will give thee fields to feed and clothe thee; a comfortable fireside to sit by, and tell thy children by what means thou hast prospered; and a decent bed to repose on. I shall endow thee beside with the immunities of a freeman. If thou wilt carefully educate thy children, teach them gratitude to God, and reverence to that government, that philanthropic government, which has collected here so many men and made them happy. I will also provide for thy progeny; and to every good man this ought to be the most holy, the most powerful, the most earnest wish he can possibly form, as well as the most consolatory prospect when he dies. Go thou and work and till; thou shalt prosper, provided thou be just, grateful, and industrious" (Letter III, 1782).
This curriculum pack was produced by the Historical Society of Western Pennsylvania and includes everything you need to teach about the town of Homestead and how it reflects changes in American society. The student text includes readings that you can give directly to your students, and the info tab includes suggested teaching activities. Primary sources and biographies with suggested activities are also included (be sure to click on the paper clip and/or info icon on each item to find out more about it).
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.
This lesson will teach students about the bracero guest worker program, as well as painting, photograph, and textual analysis. Students will use the Domingo Ulloa painting as a jumping off point for an analysis of working and living conditions of migrant Mexican workers in the United States. Photographs from the American history collection will show workers's lives in America, while a primary source will show the effects of the bracero program on an individual. Finally, students will connect the bracero program of 1942-1964 to immigration issues of today by analyzing statements made by Donald Trump in the context of the bracero program.
This collection is for use with an introductory lesson for a 12th-grade rhetoric course's unit on "arguments to meditate," which are defined in the text "Everything's an Argument" by Andrea Lunsford and John Ruszkiewicz as, to paraphrase, those arguments which are abstract and/or which lack a clear, explicitly stated thesis and that therefore depend on thoughtful meditation by the audience to arrive at an understanding of the rhetorician's intent. The purpose of this lesson is to (1) establish students' understanding of the definition of an argument to meditate and (2) provide students with a beginning ability to assess the thesis and supporting ideas that comprise arguments to meditate in the form of American Art. The details of the lesson itself are included in a document within the collection.
This collection is designed to help students learn and understand the idea, artistic approach, decision making and creative processes that come to play when one creates a self-portrait.
This collection was created in conjunction with the National Portrait Gallery's 2017 Learning to Look Summer Teacher Institute.
TAGS: #NPGteach, learning to look, National Portrait Gallery, self-portrait, portrait, figurative painting