Skip to Content
  • Language
  • End User
  • Educational Use
  • Time Required
(123)
(239)
(332)
(325)
(351)
(9)
(169)
(151)
(104)
(198)
(82)
(98)

Found 362 Collections

 

Liberty Bonds of World War I (WW1)

This collection presents three different liberty bonds primary sources dating from 1918: a postcard, sheet music/song, and a celebrity aviator's brochure. With these resources students will explore Liberty Bonds, also called war bonds or liberty loans, which were essentially loans from the American people to the U.S. government to fund the Allies' involvement in World War I. Many public campaigns presented purchasing bonds as the patriotic way to support the war from the home front. Carefully chosen words and imagery conveyed this message and persuaded Americans to act quickly, through both subtle and direct messaging. 

Essential questions: What role did Liberty Bonds play in financing the U.S. WWI effort? How did persuasive language techniques and visuals lead many Americans to see Liberty Bonds as part of their patriotic duty on the home front? 

Keywords: primary source, secondary source, soldiers, World War I, Great War, Ruth Law, "What are you going to do to help the boys?", army, military, Uncle Sam, WWI, persuasion, advertising

This collection was created in conjunction with the National Postal Museum's "My Fellow Soldiers: Letters from World War I" teacher workshop (July 19, 2017). It focuses on one of the many postcards from this topical collection to demonstrate its use in the secondary classroom. #NPMTeacherPrograms

#historicalthinking


Ashley Naranjo
6
 

Japanese Internment through Art and Documents

These resources can be used in an activity that introduces a lesson on Japanese-American Internment during World War II.

1. To begin, show students Roger Shimomura's painting entitled Diary: December 12, 1941. Without providing any background information, use the "Claim, Support, Question" routine to have students make claims about what they think is going on in the artwork, identify visual support for their claims, and share the questions they have about the painting. Document responses in three columns on large chart paper or a whiteboard.

2. Following this initial conversation, share the title, artist's name, and date of the painting. Ask students to consider the date in the title, and discuss what significance this date might have. If they don't figure out that this date was five days after the Japanese bombing of Pearl Harbor, share that information. Share with students that this painting is part of a series Roger Shimomura created based on the wartime diary entries of his grandmother, Toku, who was born in Japan and immigrated to Seattle, Washington in 1912. Along with thousands of other people of Japanese ancestry living on the West Coast during World War II , Toku and her family were forcibly relocated to an internment camp after the attack on Pearl Harbor. Roger was a young boy during World War II, and remembers spending his third birthday in the Puyallup Assembly Center on the Washington state fairgrounds, where his family was sent before being transferred to Minidoka Reservation in Idaho for the duration of the war.

3. Jigsaw Activity, Pt. 1. After sharing this context, tell students they will each be receiving a primary source document that relates to the painting in some way. Distribute copies of "Woman at Writing Table," the Superman comic, the Instructions to All Persons of Japanese Ancestry, and Toku Shimomura's diary entries. Divide students into four groups, one per document. Give students time to analyze their document as a group and discuss how it affects their interpretation of the painting.

4. Jigsaw Activity, Pt. 2. Next, create new groups so that each group includes students who received each of the four sources. Ask students to briefly report on their document and what their original group discussed as its possible meaning and relation to Roger Shimomura's painting.

5. Return to the painting as a large group, and discuss how the primary source documents have influenced students' reading of the artwork.

6. Optional additional resource: If time allows, have students watch excerpts from Roger Shimomura's artist talk at the Smithsonian American Art Museum.

#APA2018

#visiblethinking

Phoebe Hillemann
8
 

Photography and Image Manipulation

Guiding Questions:

What should a photograph look like?

Why might someone want to alter, change, or edit a photograph? What is the goal?

What are the ethical considerations regarding image manipulation?

Time- 1-2 class periods with optional extension activities

This collection includes images related to the topic of image manipulation and artistic photography, and includes a lesson plan for teachers as well as images and students activities related to media literacy across the curriculum. The collection of images and articles is designed to facilitate conversations around how and why images might be manipulated and for what purpose. Discussion questions and thinking routines allow for students to critically analyze the images as whole group and in small groups to consider why and how a photographer or artist might alter an image. Extension activities and resources are also included.

Day 1:

Warm Up/ Engagement:

What should a photograph look like?

Have students do a think-pair-share together addressing the question. Alternatively, this could be done as a silent chalk talk.

Debrief as a group.

Background:

Discuss:

Why might someone want to alter, change, or edit a photograph? What is the goal?

Have you ever altered or changed a photograph? How? Why? (Think Shapchat, Instagram, Photoshop, etc.)

Is it ever a problem to manipulate a photography? Why?

As critical viewers of media and images, students should always consider the audience and purpose of photographs. For example, an artistic photograph doesn’t have the same audience or purpose as a journalistic photograph.

Explain to students:

We’re going to look closely at the work of two photographers (Jerry Uelsmann and Robert Weingarten) to see how photographers might manipulate their images (digitally or otherwise), why they might do this, and the effect it has on the viewer.

Close Looking:

Lead students through a discussion of one of Uelsmann’s images by looking closely at one image as a group using the Visible Thinking routine, “See Think Wonder.”

Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Uelsmann might have created the image.

Then, read an article about Jerry Uelsmann in Smithsonian Magazine, “Before Photoshop.”

Debrief the article and have students journal on their reactions to Uelsmann’s quote, “The camera is a license to explore.”

Alternatively, students can read and discuss the article,"Photography Changes What We Think 'Reality' Looks Like."

Have students share responses with the group as a closing activity.

Day 2

Warm-Up: Recap learning/connections from last class.

Explain that in today’s class we’ll consider the work of another artist and photographer, Robert Weingarten. Weingarten’s work is a “non-traditional” form of portraiture. Before looking at his images, have students brainstorm their ideas on what is a portrait. Students could engage in the 3-2-1 Bridge Routine on this topic.

Close Looking:

Lead students through a discussion of one of Weingarten’s  images by looking closely at one image as a group using the Visible Thinking routine, “Zoom-In.” After looking at the image as a whole, have students consider the image as as whole using the “Connect-Extend-Challenge” routine.

Weingarten’s portraits of Colin Powell and Celia Cruz are linked in the collection.

Discuss the photographer’s likely message, audience and purpose of the image. Then have students consider how Weingarten might have created the image.

After discussing the image, watch the video about Weingarten’s process.  

If time allows, group students into small groups to visually compare/contrast the works of Uelsmann and Weingarten on chart paper.

Exit Ticket:

How do these photographs change your understanding of photography and what can be done with images?

I used to think…

Now I think….

Possible Extension Activities:

Have students create a composite image (surreal landscapes or portraits)  inspired by Robert Weingarten or Jerry Uelsmann with their own photographs and Photoshop.

https://www.youtube.com/watch?v=MmwrWCMdYqI

Have students explore other historical images that have been manipulated (intentionally or unintentionally) that are included in the collection.

Article on historical image manipulation from the ClickIt Exhibit

Have students look at the ethical issues in digitally manipulating photographs

https://www.commonsensemedia.org/educators/lesson/retouching-reality-9-12

Have students consider other ways in which the evolution of technology has influenced the images we create.

Using Agency By Design, a design thinking framework, have students complete the following activities:

Parts-Purposes- Complexities Routine-- Digital Camera

Take-Apart Activity w/ digital cameras/analog camera

Have students research different topics in the history of photography including camera obscura, daguerreotype process, Muybridge and moving images, and Kodak.

Readings/Videos:

Additional reading on Uelsmann:

https://www.digitalphotopro.com/profiles/jerry-uelsmann-the-alchemist/

#visiblethinking

Allie Wilding
29
 

Photography and News

Guiding Questions:

  • How much of a story can a photo tell? What are the limits?
  • Why do journalists take photos?
  • How is news photography different than other types of photography? What is photojournalism?

Time- 1-2 class periods with optional extension activities

This collection provides an opportunity for students to consider a first impression of news photos through careful image analysis. The initial viewing of the image is followed by reading historical newspaper articles or other primary sources about the event in question to compare their thinking with some context to their initial impressions. Images can be powerful and can greatly influence our impression of events, but without context, we can form inaccurate impressions based on our own biases. Students need to be careful and critical viewers of media as well as media creators. Images include events covered in history/social studies courses such as the Civil Rights Movement, Little Rock Nine, World War II, Japanese internment,  9/11, the Detroit Riots, the Scopes trial, women’s suffrage, Dolores Huerta and United Farm Workers, and the Vietnam War.

Day 1:

Warm Up/ Engagement:

Have students journal or a mind-map about the following questions:

  • How much of a story can a photo tell? What are the limits?
  • Why do journalists take photos?
  • What is photojournalism?
  • How is news photography different than other types of photography?

Have them do a Think-Pair-Share

Debrief as a whole group

As a whole group, discuss the photo of the female students who integrated Central High School in Little Rock. Do not show the caption to students. The global competency thinking routine, “Unveiling Stories,” is good to use for news or other current event photos because it allows students the opportunity to explore multiple layers of meaning.

Once students have discussed the image, show them the caption. Then give additional background on the Little Rock Nine. To review/background on the Little Rock Nine, consider exploring resources from Facing History and Ourselves. There is a New York Times article listed below as well.

Next, go back and look at photo with the caption and see how the initial understanding has shifted with the Connect-Extend-Challenge routine. This is a thinking routine that is great for connecting new ideas to prior knowledge.

Day 2

Have students read the article from the Click! Exhibit, “Photography Changes How We Read the World.”

After reading, lead students through the What Makes You Say That? Routine which encourages interpretation with justification and evidence.

Small Group Jigsaw activity

In pairs or small groups, assign one image in the collection to each group. Make sure they know they will present their findings to the whole class. Have them go through the “Unveiling Stories” routine with their new image. Give students 10 mins to record their thoughts and ideas on chart paper or sticky notes. Next, give each group the related primary source news article (listed below through ProQuest) or your choice of a primary source. Have students read the article together. Then, have them go back to the image and do the Connect-Extend-Challenge routine while visualizing their thinking on the same chart paper or with additional sticky notes.

Have each group share out and summarize their findings from their initial reaction to how their thinking changed after reading an additional primary source.

As a final debrief, make sure that students reflect on their learning from their image analysis.

A great reflection routine is “I used to think… Now I think…”. Have students complete this routine with the topic of photojournalism/news photography.

Extensions

Readings:

Audio:

Exhibit:

Project:

  • Report on an event with images and in writing  

Companion Article Sources on ProQuest Historical Newspapers:

For 9/11 Photos-

A CREEPING HORROR

KLEINFIELD N R

New York Times (1923-Current file); Sep 12, 2001;

ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. A1

For D-Day Photo:

Allies Seize Beachheads on French Coast, Invasion Forces Drive Toward Interior

By the War Editor of The Christian Science Monitor

The Christian Science Monitor (1908-Current file); Jun 6, 1944; ProQuest Historical Newspapers Christian Science Monitor (1908 - 2001) pg. 1

For Detroit Riot Photo:

Detroit Is Swept by Rioting and Fires; Romney Calls In Guard; 700 Arrested

New York Times (1923-Current file); Jul 24, 1967;

ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1

For Vietnam Withdrawal Photo:

A Farewell to Vietnam: 2 Flown Out Tell Story

New York Times (1923-Current file); Apr 28, 1975;

ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1

For Dolores Huerta Photo:

Farm Labor Law Chances Improve

By Susan Jacoby Washington Post Staff Writer

The Washington Post, Times Herald (1959-1973); May 2, 1969; ProQuest Historical Newspapers The Washington Post (1877 - 1998) pg. A24

For Little Rock Photo:

STUDENTS ACCEPT NEGROES CALMLY

By BENJAMIN FINE Special to The New York Times.

New York Times (1923-Current file); Sep 26, 1957;

ProQuest Historical Newspapers The New York Times (1851 - 2011)

For WWII/D-Day Photos:

PARADE OF PLANES CARRIES INVADERS

New York Times (1923-Current file); Jun 6, 1944;

ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1

For Scopes Trial Photo:

DEFENSE CASE IS OUTLINED

Special to The New York Times.

New York Times (1923-Current file); Jul 16, 1925;

ProQuest Historical Newspapers The New York Times (1851 - 2011) pg. 1

For Women’s Suffrage March Photo: WOMEN PARADE FOR SUFFRAGE AT CAPITAL

The Christian Science Monitor (1908-Current file); Mar 3, 1913; ProQuest Historical Newspapers Christian Science Monitor (1908 - 2001) pg. 1

#visiblethinking


Allie Wilding
21
 

Multi-cultural Voices: Examining Culture and Identity

 Amy Heishman

The Madeira School, Mclean, VA

11th grade, Native American and Asian American Voices

Lesson Time: 60 minutes

 

Resources:

            “Electronic Highway” by Nam June Paik

            “I Hate Tonto (Still Do)” by Sherman Alexie

            Excerpts from Tommy Orange's  There, There 

           “Diary: December 12, 1941” by Roger Shimomura (optional)

           Vocabulary List for Alexie and Paik

Lesson Objectives:

  • Demonstrate the collective understanding of cultural identity and its role in different media.
  • Introduce the novel There, There by Tommy Orange as well as Woman Warrior by Maxine Kingston.
  • Understand the role of allusion and metaphor in a work of literature.
  • Develop a multi-dimensional, complex understanding of identity in relation to the individual and society.

Lesson Rationale:

            By including Paik’s “Electronic Highway” and Shimomura’s “Diary: December 12, 1941”, students will preview lesson concepts for There, There and Woman Warrior.  These art works also work as introductory pieces for other multicultural texts that explore identity and place; both works conceptualize the idea of national, state, and individual identities and the complex relationship among those intersections.  Moreover, the thinking routine, “Connect, Extend, Challenge,” allows students to examine art in relation to their own identity.  This particular routine invites personal anecdote and cultural connections; the responses to “Challenge” may help students conceptualize the theme of either unit novel.

Procedure:

  • Project “Electonic Superhighway” by Nam June Paik using the Smithsonian Learning Lab Collection, “Multicultural Voices.”  Direct students to examine the piece for at least one minute, writing down any thoughts or reactions they might have.
  • Begin thinking routine, “Connect/Extend/Challenge.”  [1]  Encourage students to examine and discuss the piece in relation to identity or cultural knowledge.
  • Have students read the quote from There, There  and respond.  The teacher should connect the quote to Nam June Paik’s piece.
    • Guiding Questions: how might you connect the artwork to the quote?  What might they agree on? How might they differ?
  • Have students read and define the vocabulary for Alexie and Paik.  
  • Read and annotate the poem, “I Hate Tonto (Still Do)” by Sherman Alexie. 
    • Guiding vocabulary: culture, heritage, identity.
  • Discuss the poem using the essential question(s) below.
    • How is identity associated with culture and/or heritage?
    • What are some ways that mainstream culture celebrates or oppresses certain kinds of identity?
    • What does it mean to be multi-cultural?  Can individuals claim multiple cultural identities?  If so, how?
    • How is identity connected to geographical location? To stereotype? To history?
  • Return to Paik's work.  Ask students to make connections between Paik and Alexie. 
  • Introduce novel as an exploration of identity in memoir form.

NCTE Standards:

  • 1.Students read a wide range of print and non-print texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world; to acquire new information; to respond to the needs and demands of society and the workplace; and for personal fulfillment. Among these texts are fiction and nonfiction, classic and contemporary works.
  • 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
  • 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
  1. 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

 #SAAMteach

 

[1] See quiz attached to “Electronic Superhighway” in the collection.

 

Amy Heishman
8
 

The Preamble to the Constitution of the United States

The Preamble to the Constitution of the United States is a collection of resources for educators to refer to when introducing  the Constitution of the United States with a specific emphasis on the preamble. Mike Wilkins Preamble is used as a featured piece of artwork to give students an initial introduction to the text of the primary source document. #SAAMteach

Laurence Denizard
7
 

Alphabet Soup: Rural America and the New Deal

This lesson explores three different New Deal programs, with a specific eye towards their impact on rural America. As well, it focuses on student engagement with a variety of types of primary sources.  This lesson is designed as a self-contained class activity, which requires no supplementary teaching beyond the MoMS exhibition Crossroads. It is designed to be done in class following a visit to that exhibition, or within an after-school setting following a similar visit.

Age Levels Intermediate (9 to 12 years old), Middle School (12 to 15 years old)


Why are primary sources important?

  1. Direct engagement with artifacts and records of the past encourages deeper content exploration, active analysis, and thoughtful response.
  2. Analysis of primary sources helps develop critical thinking skills by examining meaning, context, bias, purpose, point of view, etc.
  3.  Primary source analysis fosters learner-led inquiry as students construct knowledge by interacting with a variety of sources that represent different accounts of the past.
  4. Students realize that history exists through interpretation that reflects the view points and biases of those doing the interpreting. 

This lesson aims to:

  • Introduce students to New Deal programs that affected rural life and agriculture during the Great Depression.
  • Encourage discussion of the experience of those programs in the context of the Museum on Main Street (MoMS) exhibition Crossroads.
  • Help students practice using different types of sources as research material.

Students should be able to:

  • Identify different types of sources as primary and secondary sources, as well as differentiate between objective and subjective sources.
  • Interrogate textual, video, and visual sources to build a picture of how different programs affected ordinary people.
  • Be able to translate their research into a presentation, and teach it to other students.

See notes for lesson plan instructions.

Mary Byrne
21
 

Cultivating Communication: Famous Gardeners & Garden-Lovers

Featuring postage stamps from the National Postal Museum's collection, Cultivating Communication: Famous Gardeners was created in conjunction with Smithsonian Gardens. Each stamp relates to either a historic or fictional famous gardener, or garden-lover. Teacher participants in the professional development seminar, "Cultivating Communication" (July 10, 2018) were encouraged to use this collection as a launching pad for a classroom activity related to the Smithsonian Gardens' program, Community of Gardens. #NPMteacherprograms 

Keywords: gardener, garden, garden-lover, nature-lover, naturalist, botany, botanist, horticulture, landscape architect, outdoor adventurer, wilderness explorer, national parks, environmentalist, American artist, American author, American poet, children's literature, pop culture, Hollywood icon, American president, First Lady.

National Postal Museum
34
 

How has our view of Thomas Jefferson changed over time?

Thomas Jefferson is remembered for his contributions to the ideals of natural rights and democratic principles.  Yet, as a slave owner,  Jefferson personally lived in contradiction of those  principles. In this Learning Lab you'll explore how Thomas Jefferson is viewed at different times in history through portraiture. Using evidence from his portraits you'll answer the question, "How has our view of Thomas Jefferson changed over time."

Dave Klippel
3
 

World War 2: Frankiln Roosevelt and Yalta

This activity will be an opener for our Module on World War 2: Franklin Roosevelt and Yalta. Students will analyze a portrait using the 'puzzle activity' strategy to observe, describe, create questions and piece together the portrait. After the original portrait is revealed students will read informational text about the artist and portrait and answer the questions they generated during their activity. We will also be looking at Winston Churchill's portrait by the same artist. 

Karmalita (Rose) Williams
4
 

Columbus

Columbus as explorer. Contains activity for focusing on and finding details that tell a story, a formative assessment using a portrait, and a summative assessment for the end of unit.

NPGTEACH 

Lisa Lynch
5
 

"Home and Away": Using museum objects to prompt stories and explore sense of place and belonging

"Home and Away" is a digital storytelling workshop that enhances the 4Cs (Creativity, Critical thinking, Collaboration, Communication) and improves literacy in second-language learners.  In this three-day workshop participants from Spain coming to Washington DC for an international exchange program with Oyster-Adams Bilingual School, supported by American students, will use museum objects as prompts to create videos of personal stories. No technical experience is necessary, but participants of all levels will:

  • learn about the variety of resources available in the Smithsonian Learning Lab.
  • 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 Digital Storytelling 5-steps process
  • practice oral and written English language skills
  • enhance identity through personal stories
  • increase visual literacy through close looking at art

This workshop has been organised by the Smithsonian Center for Learning and Digital Access (SCLDA) in collaboration with Oyster-Adams Bilingual School.

Workshop facilitators are Antonia Liguori (Loughborough University, UK) and Philippa Rappoport (SCLDA).

This activity is part of  “Storying” the Cultural Heritage: Digital Storytelling as a tool to enhance the 4Cs in formal and informal learning, a research project led by Dr Antonia Liguori, appointed as a Smithsonian Fellow with the Smithsonian Center for Learning and Digital Access (SCLDA) from March 1 to June 30 2018, and is funded by the Arts and Humanities Research Council UK under the International Placement Scheme.

Antonia Liguori
18
 

"Pertenecer": Using Museum Objects to Prompt Stories and Explore Sense of Place and Belonging

Pertenecer is a digital storytelling workshop that enhances the 4Cs (Creativity, Critical thinking, Collaboration, Communication) and improves digital literacy.  In this three-day workshop participants attending Fairfax County Public School Family Literacy and/or the Parent Leadership programs will use museum objects as prompts to create videos of personal stories. No technical experience is necessary, but participants of all levels will:

  • learn about the variety of resources available in the Smithsonian Learning Lab.
  • experiment with story-boarding 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 Digital Storytelling 5-steps process
  • practice oral and written English language skills
  • enhance identity through personal stories
  • strengthen intergenerational family bond
  • increase visual literacy through close looking at art

_______________________________________________________________

This workshop is part of the research project "Storying the Cultural Heritage: Digital Storytelling as a tool to enhance the 4Cs in formal and informal learning" led by Dr Antonia Liguori, appointed as a Smithsonian Fellow with the Smithsonian Center for Learning and Digital Access (SCLDA) from March 1 to June 30 2018, and is funded by the Arts and Humanities Research Council UK under the International Placement Scheme. Over the next months, Dr Antonia Liguori, in collaboration with Dr Philippa Rappoportwho has agreed to serve as principal mentor/advisor during Dr Liguori’s appointment – will work with Fairfax County Public School Family Literacy and Parent Leadership Programs to explore the use of Digital Storytelling in combination with the digital resources of the Smithsonian Learning Lab. 

Antonia Liguori
35
 

Cambodian New Year

Cambodian New Year (Khmer: បុណ្យចូលឆ្នាំថ្មី) or Choul Chnam Thmey in the Khmer language, literally "Enter New Year", is the name of the Cambodian holiday that celebrates the traditional Lunar New Year. The holiday lasts for three days beginning on NewYear's Day, which usually falls on April 13th or 14th, which is the end of the harvesting season, when farmers enjoy the fruits of their labor before the rainy season begins.

Cambodians also use Buddhist Era to count the year based on the Buddhist calendar.
    Maha Sangkran, derived from Sanskrit Maha Sangkranta, is the name of the first day of the new year celebration. It is the end of the year and the beginning of a new one. People dress up and light candles and burn incense sticks at shrines, where the members of each family pay homage to offer thanks for the Buddha's teachings by bowing, kneeling and prostrating themselves three times before his image. For good luck, people wash their face with holy water in the morning, their chests at noon, and their feet in the evening before they go to bed.

    Vireak Vanabat is the name of the second day of the new year celebration. People contribute charity to the less fortunate by helping the poor, servants, homeless, and low-income families. Families attend a dedication ceremony to their ancestors at monasteries.

    T'ngai Loeng Sak in Khmer is the name of the third day of the new year celebration. Buddhists wash the Buddha statues and their elders with perfumed water. Bathing the Buddha images is a symbolic practice to wash bad actions away like water clean dirt from household items. It is also thought to be a kind deed that will bring longevity, good luck, happiness and prosperity in life. By washing their grandparents and parents, the children can obtain from them best wishes and good pieces of advice to live the life for the rest of the year.

#APA2018  #TCSLowell

Siobhan Melville
38
 

Who Belongs in Massachusetts? The Story of Immigration

This collection is to support our 4th grade unit on immigration. 

Our unit makes use of the Massachusetts Department of Education's lesson "America's Salad: The Story of Immigration to Massachusetts" and includes trips to the Tsongas Industrial History Center in Lowell for their program "Yankees and Immigrants" and to the Edward Kennedy Institute for the American Senate for their program "Pathways to Citizenship"

In class, we will explore why people leave their country, where they choose to settle (with a particular focus on Lowell, Massachusetts), and how they are welcomed. Students will explore how

#tcslowell

#APA2018

#immigration #Massachusetts

Laura Lamarre Anderson
28
 

iSpy: Storytelling in Presidential Portaiture

iSpy: Storytelling in Presidential Portraiture 

 

Objective: Students will explore how elements of a portrait tell the story of the subject’s identity by comparing portraits of Presidents Washington and Obama.

 

Procedure:

  1. Instruct students to look carefully at each portrait. They should read through the information for each portrait; follow the highlight instructions; and answer the quiz questions.
  2. Lead a discussion about the symbols included each portrait. What story is the artist trying to tell? What do they leave out? How does an artist contribute to our understanding of Washington and Obama’s identity? How does art help to shape our historical understanding of their subjects?
  3. Have students create a self-portrait and write an artist’s introduction explaining how they intentionally included/excluded/highlighted symbols to tell their story of identity. If making art isn’t possible, have students write a description of what their portrait would look like.

 

 

 

For more information and context:

http://www.georgewashington.si...

https://www.newyorker.com/cult...

 #NPGteach

Christy Ting
3
 

Movement of Life Initiative: Discover What Makes Sharks Move

Our knowledge about animal movement and the processes that regulate it only begins to scratch the surface! Join the Smithsonian's Movement of Life (MoL) Initiative in their mission to advance the understanding of how all living things, big and small, move across land and seascapes to better sustain a biodiverse planet. This is the first of the MoL collections focused on discovering shark movement along the Atlantic Coast of the United States. What makes sharks move? Dive in to find out!

**Lesson plan included (with teacher strategies) that follows NGSS for 4th graders where students are the scientists, they map and analyze shark movement!

Contact Smithsonian scientist Dr. Matt Ogburn at ogburnm@si.edu for inquiries about the shark tagging project or visit his lab's website for more information! 

Cosette Larash
51
 

Activity Collection: ArtBots!

In this activity collection, you'll learn how to create your very own art-making robot--an ArtBot! 



Special thanks to Lenovo

Cody Coltharp
23
 

Impressionism

Impressionism, an art movement that began in France and was most prevalent from approximately 1872-1892, was an innovative and important precursor to several different art styles. It focused on capturing everyday scenes, changing light, and moments of motion. Forerunners of this movement include artists such as Édouard Manet, Pierre-Auguste Renoir, Claude Monet, and Edgar Degas.

Characteristics of Impressionism include quick and non-blended brush strokes, occasional unmixed colors, and an overall appearance of the "impression" of a situation-- not necessarily a fully rendered, academic image.

[All images in this collection have been personally uploaded from and credited to Wikimedia Commons.]

Alexander Falone
42
 

Education 131 Final Project - Recycling

Here is a collection of works and resources that demonstrate examples of the beginnings of Recycling, as well as the various ways in which this practice is being utilized today.

Ivan Murillo
5
 

Amelia Earhart: America's Aviatrix

Students will use the elements of portrayal to analyze portraits of Amelia Earhart and listen to a speech to learn biographic details.

#NPGteach

Christy Ting
10
 

A STEAM Approach to Exploring Identity with Your Students

How is identity constructed? What role does biology play? 

This collection will highlight:

-how portraiture can be integrated into the science classroom by making connections between identity and genetics

-how we can explore identity from a broader perspective, utilizing global thinking routines

This collection is a collaboration between a Portrait Gallery educator and a high school IB Biology teacher, and was the topic of a professional development workshop at the museum and an NAEA session, both in March 2018. 

#NPGteach

Briana White
49
 

African American Historians of the 19th and Early 20th Centuries

An innate function of being human is to preserve and share our experiences and stories.  African American men and women have researched and recorded their history despite enslavement, racism, segregation, sexism, and opposition. Their research helped expand the known narratives of American and international history through the African American perspective and interpretation of historical sources. This Learning Lab explores selected African American historians of the nineteenth and early twentieth centuries. Their research and works were critical to the foundation of African American studies and their activism helped open doors for future African Americans to enter and contribute to the field of history.  The Smithsonian's National Museum of African American History and Culture, situated in the heart of the nation’s capital, serves as the physical manifestation of the efforts of African American historians featured in this lab.

Keywords: NMAAHC, NMAAHC Education, African American, historians, history, primary sources, stories

HOW TO USE THIS LAB:

Use the book excerpts, documents, images, objects, and media related to a highlighted historian in the Learning Lab to answer the questions provided in the Discussion Question page  and/or or use them comparatively with information in your history textbook about the highlighted historical period.


FEATURED HISTORIANS 

  1. Revolutionary War (Squares 3 - 10)
    William Cooper Nell (1816 – 1874) was born to a prominent African American abolitionist family in Boston, Massachusetts. As a young man, he was mentored by William Lloyd Garrison, wrote for Garrison’s abolitionist newspaper the Liberator, and was influential in the fight against segregation in Boston’s public transportation and accommodations during the 1840s and 1850s. In 1855, Nell authored The Colored Patriots of the American Revolution, making it one of the first historical works to focus on African Americans.
  2. Civil War (Squares 11 - 18)
    George Washington Williams (1849 – 1891)
    was born in Bedford Springs, Pennsylvania. At the age of 14, he joined the Union Army during the Civil War. After the war, he finished his education in Massachusetts, became a minister, and founded a newspaper, The Commoner. By 1880, Williams moved to Ohio and became the first African American elected to the Ohio General Assembly. As a historian, Williams is most famous for writing the first comprehensive history of African Americans in the United States, a two-volume work called the History of the Negro Race in America from 1619 to 1880; as Negroes, as Slaves, as Soldiers, and as Citizens (1882). In 1887, he published A History of the Negro Troops in the War of the Rebellion.
  3. Reconstruction (Squares 19 - 25)
    William Edward Burghardt Du Bois (1868 – 1963)
    was born in Great Barrington, Massachusetts. His studies, which focused on African American history, anthropology, and sociology, took him to study in Tennessee, Germany, and finally back to Massachusetts where he became the first African American to graduate with a PhD from Harvard. In the quest for civil rights, Du Bois helped established the Niagara Movement, and its successor, the National Association for the Advancement of Colored People (NAACP). As a historian, he wrote widely on the African American experience, but one of his best-known works was Black Reconstruction in America (1935). While Black Reconstruction was refuted during the early twentieth century, the work is now considered one of the foundational texts of how Reconstruction is interpreted by today’s mainstream historians.
  4. Women and Gender History (Squares 26 - 31)
    Anna Julia Cooper (1858 – 1964)
    was born to her enslaved mother and her white slaveholder father in Raleigh, North Carolina. She pursued education from an early age, as well as fought for women’s rights and gender equality. As a scholar at Oberlin College, she protested sexist treatment of women by taking courses and gaining degrees in subjects typically designated for men. She became an influential educator in Washington D.C. who saw her students attend some of the most prestigious colleges in the country. In 1925, Cooper completed her graduate studies at Sorbonne, University of Paris. She became the fourth African American woman to earn a PhD in History. In 1892, she wrote, A Voice from the South by a Black Woman of the South, focusing on the history and experiences of African American women in the South, and the need for their education to uplift the African American community as a whole.
  5. The First World War (Squares 32 - 37)
    Carter Godwin Woodson (1875 - 1950)
    was born in New Canton, Virginia. He is known as the “Father of Black History” because of his numerous contributions to the field.  Woodson was the son of poor, but land-owning former slaves. As he worked to support his family’s farm he did not enter high school until age twenty. Woodson earned his first degree from Berea College in Kentucky. He then worked, studied, and taught internationally before receiving his Bachelors and his Masters from the University of Chicago, and later his PhD from Harvard University. In 1915, he founded the Association for the Study of Negro Life and History (now the Association for the Study of African-American Life and History), and in 1916 published the Journal of Negro History (now the Journal of African American History). In 1926, he established Negro History Week, which would later become Black History Month. In 1922, Woodson wrote The Negro in Our History, which covered African American history from African origins to the First World War. Woodson believed that history should not be a mere study of facts but the analyzation and interpretation of historical evidence for a deeper meaning.
  6. African American History: Slavery and Freedom (Squares 38 - 46)
    John Hope Franklin (1915 – 2009)
    was born in Rentiesville, Oklahoma. In June 1921, the Franklin family endured and survived the deadly Tulsa Race Riots. Franklin earned his Bachelors from Fisk University, and would complete his Masters and PhD at Harvard. In 1949, he became the first African American historian to present at the Southern Historical Association. He was also the only African American to serve as the president of the American Historical Association and the Organization of American Historians. Franklin wrote widely on the African American experience, with his most notable work being the 1947 publication of From Slavery to Freedom: A History of Negro Americans. Today, the work is in its tenth edition and is a staple of American history courses.



NMAAHC Education
69
 

Mr. Meinershagen's Class 1

This collection contains examples of materials to be used for a Social Studies lesson.

David Meinershagen
14
217-240 of 362 Collections