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Found 1,602 Collections

 

Black Panther and Black Superheroes

Wakanda Learning Lab is this? 

This Learning Lab explores the importance of representation in popular media. How are people portrayed? Why are they portrayed? What does this say about a people in a society and the society itself? How do these messages affect and inform us about others and ourselves?

First, how are African Americans represented in popular media. Second, how African, the African Diaspora, and African American culture are represented in Black Panther (both as a comic book character and as part of the modern Marvel cinematic universe) and through other superhero lore. 

The National Museum of African American History and Culture celebrates the museum's acquirement of the movie costume of the iconic and groundbreaking Marvel comic book character Black Panther. The character of Black Panther (King T'Challa of Wakanda), and his iconic suit, debuted in the Marvel cinematic universe in the 2015 film Captain America: Civil War, and featured in his self-titled movie Black Panther in 2018. Since the debut of Black Panther (King T'Challa of Wakanda) in the Fantastic Four #52 in July 1966, Black Panther has been a trailblazer for the black superheroes that have followed him in print and on screen. 

Students can explore this Learning Lab independently. Learning exercises and worksheets have been provided to help enhance the exploration of the content. 

Keyword: nmaahc, African, American, Black, Panther, Marvel, T'Challa, Wakanda, suit, comic, superhero, super, hero, civil war, Falcon, Bumblebee, Vixen, Storm, Nick Fury, Luke Cage, DC, universe, Green Lantern, Misty

National Museum of African American History and Culture
26
 

Martin Luther King Jr.: The Later Years (1965 - 1968)

Martin Luther King Jr.’s fight for equality did not end with the passage of the Civil Rights Act of 1964 and the Voting Rights Act of 1965. In his last years, King’s focus shifted toward achieving economic equality and combating poverty in the United States, denouncing the United States’ involvement in the Vietnam War, and contending with the rise of The Black Power Movement.

 This Learning Lab highlights documents, images, objects, and media from the National Museum of African American History and Culture and other Smithsonian units that help to tell the story of Martin Luther King Jr.’s final years, his assassination, and his enduring legacy.

Keywords: nmaahc, Martin Luther King Jr, MLK, Jr., African American, civil rights, last years, Chicago, Vietnam, poverty, Poor People's Campaign, Resurrection City, Memphis, assassination, legacy, Coretta Scott King, Reverend 

National Museum of African American History and Culture
48
 

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.



National Museum of African American History and Culture
69
 

African Americans and the Civil War

This collection highlights the enslaved and free African American perspective and experience during the Civil War with collection objects from the National Museum of African American History and Culture, other Smithsonian units, and relevant media.

Keywords: NMAAHC, NMAAHC Education, African American, Civil War, United States Colored Troops, soldier, war, emancipation, history, primary sources

National Museum of African American History and Culture
45
 

Found Poems and Social Justice: Using Rosa Parks and other sources to create found poems about social justice

This collection includes portraits from the National Portrait Gallery, websites, links to Smithsonian Magazine articles, and other news articles all relating to issues of social justice. #NPGteach

Jan Rubenstein
26
 

The Soul's Expression: Identity, Individuality, & the Spirit in Visual Art

Art provides a pathway for individuals to express their inner self while also capturing the outer—this great wide world so intricate it's difficult to define.  Throughout history, humans have sought to  comprehend both their environment and their own inherent cultural uniqueness. This search has become symbolized in their artistic accomplishments and aesthetic heritage. Whether through representations of specific individuals and the human figure or awe-inspiring works of architecture, these art pieces are a window into the creative core of our past. 

In this collection, we will observe the ways in which the soul/spirit has been expressed in art, and how human creativity sheds light upon both individual and cultural identities and its varied interpretations throughout the ages. This collection is organized in three symbolic steps on a stone staircase entitled "The Stone Path of Eternity." To truly travel through each piece, I have included an image, a brief description of the work under information, and then, signified by the yellow (1) above, I've provided my own analysis and interpretation of the piece in its relationship to the collection theme. 

Through lingering through the "Stone Path of Eternity," which is represented by the first two tiles, we will from one stone to the next in seeking the many ways in which the soul's expression can be defined. 

In Stone Number One, "The Spirit's Encased Construct," we'll see how architecture and large-scale artistic projects merge to reflect both cultural identity and the individuality of their leaders through works from ancient Babylonia, Egypt, the Byzantine Empire and into the combinations made possible by the aesthetic  innovations of modern times. 

Shifting step to Stone Number Two, "Human Identity Immortalized in Matter," we delve into the ways in which the human figure is represented and what these images can share with us in terms of the varying levels, purposes, intentions behind the artist's created expressions and impact of depicting the Spirit on Earth. This idea is exemplified in creations ranging from the Paleolithic period to modern times, with examples from Egypt, Ancient Greece,  the Italian Renaissance and the 20th century popular culture. 

Finally, in Stone Number Three,"Individuals and Spirituality Entwine," we step into the door of the spirit directly, traveling through the many methods which cultures apply in trying to simultaneously convey and understand what realms are in union with and beyond this life.  Some cultures who address this idea in their artistic tradition are seen in instances of Egyptian art and work from ancient and Hellenistic Greece, as well as both the Italian Renaissance, Northern European Renaissance, and contemporary Western art. 

 The intended audience for this collection is just as varied as my subject matter. Those who might be drawn to this collection are people attracted to the enigmas of life and death, who have questioned their place in society and the mysteries this world has to hold, and are curious to know more about how, historically, cultures have related to these probing questions—for, as you will see, they certainly have existed as long as humans have walked the earth. No matter if you're in high school, college, or beyond formal education, I hope you will find my musings on these artworks and their meanings compelling and thought-provoking. 

Renowned artist and poet William Blake once wrote, "To see the world in a grain of sand, and to see heaven in a wild flower, hold infinity in the palm of your hands, and eternity in an hour."   From the most abstract art to the remarkably realistic, there is always an image of ourselves, in the an esoteric sense, waiting to be found within.  With its timeless method, Art seeks to create a definition for this all-encompassing and ever-evading essence and I hope to continue that quest with you as we explore this collection. #AHMC2019

Emma Geller
30
 

National History Day: Abolitionists (created by Tess Porter)

This collection brings together EDSITEment and Smithsonian resources to support the initial research into a project for National History Day.  While originally created for the 2017 theme, "Taking a Stand in History," resources found in this collection are useful for researching other National History Day themes.

These resources - including portraits, articles, primary source documents, videos, and websites - highlight four abolitionists profiled in American Experience film The Abolitionists and the National Youth Summit on Abolition: William Lloyd Garrison, Frederick Douglass, Harriet Beecher Stowe, and John Brown. Additional resources related to abolitionism and other important abolitionists are located at the end. When navigating this collection, please see the standalone text tiles for summaries of section resources.

By no means is this collection comprehensive; instead, it provides a launching point for further research.

This collection was created in collaboration with EDSITEment, a website for K-12 educators from the National Endowment for the Humanities.

Tags: civil war; slavery; underground railroad; african-american; national endowment for the humanities; #nhd; #NHD2017

Sher Anderson Petty
74
 

In the Eye of the Beholder: Looking at Women’s Portrayal in Portraiture During the Suffrage Movement

This collection uses portraits from the National Portrait Gallery's exhibition, Votes for Women: A Portrait of Persistence. These resources are intended to facilitate classroom discussion about how women were portrayed through art during the suffragist movement. Participants are encouraged to think about who creates portraits, what motivations may exist in their creation, how the portraits were used within the movement, and their potential impact, intended or not, on the suffragists' cause. 

Christy Ting
11
 

Art as Resistance (2)

  • How may art be a tool of resistance? 
  • How have  historical movements used art to further their causes? 
  • How might current movements use art to further their causes?
Sher Anderson Petty
16
 

Ancient Civilizations - Egypt

Artworks about Egypt in the Smithsonian American Art Museum's collection.

Peg Koetsch
40
 

African-American Experience

Primary sources and cultural artifacts related to the African-American experience.

Elizabeth Schuster
17
 

Do symbols mean the same thing in every culture?

Plains Native people have always depicted star images on their clothing, tipis, and containers.

Formative Task: In a class discussion list three ways Western cultures think about stars. Use this collection to discover what stars mean to the Lakota and other Native people.

Summative Performance Task: Use the star quilt pattern to create a symbolic quilt that represents your school.


National Museum of the American Indian Education Office
15
 

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
20
 

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
28
 

Paths to Perspective: How the Past Connects to Our Present

This lesson is inspired by Out of Eden Learn, the journey of Paul Salopek, and the idea that each person is an amalgamation of the people and events that came before them. These people and events include the nature of their birth, the lives of their parents, the experiences of their grandparents, the creation of the printing press, etc. The idea behind this lesson is, in its inception, to expose students to milestones in black history, and to use that rich history to challenge them to look into their past to see how they connect to larger events that came before them last week or even a century or millennia ago.

This lesson is especially crafted for Black History Month (though of course it can be used at other times) to have students from multiple ethnic backgrounds try to find a connection to the African American Experience in the United States. It removes students from an ethnic vacuum and asks them to see how the journey of others not like them has an impact on their, their family's and their country's history.

To begin your use of this collection please read the lesson plan at the beginning labeled Lesson Plan: Paths To Perspective. It is the full lesson for using this Learning Lab collection. You may use it in full or alter as you see fit for the needs of your class. It is by no means exhaustive, especially in terms of Project Zero ideas that can be used with the collection, but it is a good starting point for how to use this material in class.

#goglobal

Sean Felix
24
 

The Living Room War-How the Vietnam War changed American culture

Resources to exemplify how the war in Vietnam shaped the culture of our country, including art, book excerpts, song lyrics, op-eds, and stories about how even the Vietnam War memorial caused controversy.

#SAAMTeach

Amanda Dillard
12
 

Time Machine By H.G Wells: Age of Industrialization

This collection represents the age of industrialization in the eighteenth century.


William Chan
20
 

The Monsters of Our Minds or The Monsters of This Earth

For decades humans have depicted art in various forms that consist of monsters. This made me ask myself; what exactly is a monster? These pieces of art consist of images that their creators describe as monsters. I am going to delve in to the history behind these objects and symbols to figure out if they are really monsters or if our ideas of what makes an object or a person a monster skewed.

mariana addo
15
 

African Drums; the Heartbeat of Our Culture

A collection depicting and describing different African Drums and their significance in African culture  as well as the African diaspora. Please enjoy a look at the heartbeat of our culture.

By Zuri Houston and Malik Miller 

Zuri Houston
11
 

Behind Design: Inka Bridge

Introduction

How might we learn about cultures through the study of artifacts? What role could the study of design elements and process play in in deepening our understanding? How could we leverage student agency of the design process to gain opportunities to recognize relationships between artifacts and culture?

This collection provides opportunities for students to uncover complexity by looking closely and making connections between cultures and the design process behind the artifacts. Student claims are based on evidence using provided resources for investigation. The Artifact Investigation Map serves as a visible thinking tool for documenting our understanding of a culture by making connections between the artifact and our research.

Procedure

Begin by looking closely at an artifact, INCA BRIDGE, using a Project Zero Routine, Zoom In or See Think Wonder. Through close examination, we begin to develop hypotheses about the object and the connections to the culture. While a main goal is to learn more about the culture related to the artifact, we are also building a capacity for using this thinking process to build understanding. Record and display class ideas generated through this routine. In the discussion of culture, we are looking at how people live: What do the people value? What are their priorities and motivations?

Introduce the points of The Artifact Investigation Map. Ask students, “How could this be used to organize the ideas documented from the thinking routine about the artifact and the people who created it?”. (Students may recognize this as the Engineering Design Process.) Building on our initial Zoom In documentation, the group connects the artifact ideas to the map points. Different questions within each point may serve as prompts to continue making connections and lead to more questions about what we still wonder, guiding the next research steps. Provide a space to record and share new questions during the process.

Begin the research process with the first video Weaving the Bridge at Q'eswacha. Using information from the source, model the process of organizing the findings using the different points on The Artifact Investigation Map. Be sure to highlight unanswered questions in the map as the class decides the future steps in the research. Support the student use of resource-based evidence starting from this Learning Lab collection when making and documenting claims. Depending on the learners, this phase may vary in the structure of guidance and interaction. Documentation is shared with an emphasis on providing opportunities to discuss the claims, findings, and analysis.


Guiding Points for Inquiry using The Artifact Investigation Map:

Ask: What needs or problems might this artifact address/solve? Does this design reflect empathy for a particular group or person?

Imagine: What possible prototypes or variations might have been produced in the timeline of this artifact? Could there have been earlier versions leading to this one?  

Plan: Identify and describe what could have been key factors influencing design process. Examples: materials/natural resources, people power, skills, technology/tools, historical and natural environment….

(Re)Create: Describe the possible steps taken to create the artifact. What could this look like? Options include for this exploration: Try to create a mini-version or reenact one of the steps of the process. Use observations of the process to draw possible conclusions about the culture. Sketch or act out the steps. Take a part of the process and use the Step Inside thinking routine. *Document and share this process with the group in order to prepare for the next phase of The Artifact Investigation Map

Improvements: Since the creation of this artifact, what versions do we see today? What would the biography of this type of innovation look like? How might this type of artifact connect to modern innovation? *Extension for Improvements: Use the thinking routine Imagine If to evaluate a modern iteration of the artifact. How does it compare to the original?


Documenting Ongoing Conclusions/Questions/Reflections

Throughout the investigation, students share and post supported claims about the culture and reflect upon the process of using the design cycle to guide the study.

For the final reflection, use the thinking routine I Used to Think, Now I Think… to look for changes in thinking. Keep the process and research lines of thinking open for continued exploration with the unanswered questions.

#PZPGH

Erik Lindemann
32
 

Activists: Women Who Shaped History

This topical collection includes resources related to featured women activists. This collection includes portraits of the activists, related artifacts, articles, videos with experts, and related Smithsonian Learning Lab collections. Use this collection to launch lessons about the life stories of activists, primary source analysis, and examination of the context in which these women lived and made their contributions. This collection is not comprehensive but rather provides a launching point for research and study. 

Keywords: Fannie Lou Hamer, Ida B. Wells, Ruth Bader Ginsburg, Edith Windsor, Wilma Mankiller, Grace Lee Boggs, Pauli Murray, Shirley Chisholm, Rachel Carson, Zitkala-Sa, #BecauseOfHerStory

Leslie Schaffer
70
 

Evolution of Makeup in the Black Community

This is my African Diaspora class Online Journal Project. I discuss the evolution of black women in the beauty industry from 1970's until present day.

Shaiye McNeal
7
 

Beauty and Truth: The Dust Bowl

This collection explores Alexandre Hogue's 1933 painting Dust Bowl through a global thinking routine called "Beauty and Truth." Supporting materials help build historical and scientific context.

“Some may feel that in these paintings . . . I may have chosen an unpleasant subject, but after all the [drought] is most unpleasant. To record its beautiful moments without its tragedy would be false indeed. At one and the same time the [drought] is beautiful in its effects and terrifying in its results. The former shows peace on the surface but the latter reveals tragedy underneath. Tragedy as I have used it is simply visual psychology, which is beautiful in a terrifying way.” -Alexandre Hogue


Phoebe Hillemann
11
 

#BecauseOfHerStory: Exploring Untold Stories through Portraiture and American Art

This collection features resources related to a November 22, 2019 session presented at the National Council for the Social Studies (NCSS) annual conference. 

Learn how American art and portraiture can bring diverse women’s stories into your classroom, connecting with themes you may already teach. Discover strategies for engaging your students in close looking and critical thinking across disciplines.  #SAAMTeach #NPGteach

RELATED WEBINAR SERIES (recordings available): https://americanart.si.edu/education/k-12/professional-development/webinars

This project received support from the Smithsonian American Women’s History Initiative. To learn more, visit the Smithsonian American Women History Initiative website. #BecauseOfHerStory


Phoebe Hillemann
19
25-48 of 1,602 Collections