A breakdown of African American Athletes from the time sports became integrated with other races. Light shed on the dominance of Black Athletes in a country that doesn't respect them.
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
WHAT WOULD YOU DESIGN TO HELP MORE OF US FEEL INCLUDED?
Inclusive design is essential for overcoming exclusion and inequality in the world. Designers today look at the breadth of human diversity and help people of different genders, languages, and cultures have a sense of belonging as they live, work, and play. Using empathy, designers think critically and intentionally about the obstacles that would make people feel excluded and design innovative solutions to empower them and create inclusion for all.
The 2020 National High School Design Competition challenges high school students around the country to use design to help more of us feel included. Be ambitious, innovative, and bold! Create a sketch of your idea and describe how your design addresses the challenge. Review how to enter and use these resources to start thinking like a designer!
Historical and contemporary contributions by native american women to visual art.
The students learn about paleolithic art and the symbolism of the drawings. We will read about They end up painting their own on large rocks, to represent painting on cave walls.
Avery, S. (2014). Christina Rossetti: Religious poetry. Retrieved
Curtis, G. B. (2006). The cave painters: Probing the mysteries of the world's first artists. (2006). New York: Knopf.
Moorman, E., M. (2011). Divine interiors: Mural paintings in Greek and Roman sanctuaries. Amsterdam: University of Amsterdam Press.
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.
In this collection, learn the difference between invention and innovation, meet 4 famous inventors, become an innovator!
This collection demonstrates a variety of ways pastels are used interms of genre, style and subject.
This collection is a curated collection of images that can be used with a lesson plan on curation. Each of the images has some possible connection to a social justice theme and the question asked by the creator of the collection is, "How might we approach conversations about curation and social justice?" Each of these images adds a unique and interesting dimension to a conversation about curation, the people whose stories are selected for view, and how those stories are empowered and/or disempowered by the stories that they are surrounded by. How do we make decisions about these topics? What do we do when we are asked to include in a curated collection pieces that change the story we might want to tell? How do we deal with the multi-faceted stories and sometimes contradictory stories of the people we select for our collections?
It is important to ask these questions and have dialogues with students about how we come to our conclusions, make our decisions, and wrestle with these concepts. In a world of tweets and ever expanding stories/information it is important sometimes to talk about how we work with the realities of physical spaces where there isn't always enough wall real estate to highlight everyone all of the time. In those situations, how decisions are made, who is brought to the forefront (and who is not), and how our own beliefs/biases/views of the world play into those decisions all matter.
How might you curate this collection in many ways? Who is still missing and why does it matter that we ask the questions at all?
While this is intended to be a companion collection to a lesson on curation, the questions above may stand on their own. This collection is intended to be the beginning of a conversation, and not a stand alone collection; however, the lesson is also available in the collection as a downloadable PDF.
Primary sources and cultural artifacts related to the African-American experience.
Activity to encourage imagination, creativity, and students' self confidence as we encourage them to move beyond finding that "one right answer" they believe a teacher is seeking.
Use this if you want to introduce a group of WL teachers to the Learning Lab.
Why art & resistance with Black women as subjects in a novel study of Beloved?
- This lesson may be used as a pre-reading and/ or during reading activity for a study of Toni Morrison's Beloved.
- The second of my eight quarter (2yr) literature course begins with the reading and critical interrogation of this Pulitzer Prize and American Book Award winning masterpiece.
- Since many learners carry the misperception that our world may be characterized as post-racial, they have a grossly limited view of how perceptions from so-called dominant groups may oppress racialized groups.
- This lesson/ collection is designed to help students construct meaning around the intersection of Black women as creatives/ subjects in literature & art and the concept of the gaze (i.e. the white gaze in the literary canon).
- For students who misperceive the small degree of diversity in the authors studied in their literature classes as post-racialism, it is important to acknowledge the space between where we presently are with respect where we aspire to be as prosumers of literature and art.
- The impetus for continuing to center our literature study in resistance stems from out study of the works of Toni Morrison and her professional ethos that her "sovereignty & authority as a racialized person...be struck immediately" in her writing while "...not speak[ing] for Black people;...[but]..speak[ing] to and be[ing] among [black people]". Her determination "to make sure that the white gaze was not the dominant one in any of [her] books" is an example of the importance and power of authentic creation.
#goglobal #andersonpetty #mgg #wissit2019 #tonimorrison #blackwomen
A small collection of some of Benjamin Franklin's more famous inventions.
Collection of examples of Roman Mosaics and lesson plan for creation of garden mosaics.
Day 1: powerpoint/ history of Roman Mosaics, begin planning, paper design
Day 2: group makes a design on contact paper with tiles
Day 3: make mosaics in the lab
Day 2 Directions:
Write the words: What is a Roman mosaic? in the center circle. Fill circle map with at least 10 words that define and describe a Roman mosaic in the outside circle. You can use the i-pad to access Google Classroom to review the information from the powerpoint we viewed in class.
- Use the sample bag of tiles to figure out what color tiles you need.
- Write the number of tiles your group estimates that you will need to complete your mosaic in the blanks below. You may make changes at this time to your design based on colors available.
_____ black _____ dark blue _____ orange
_____ white _____ teal blue _____ lavender
_____ red _____ yellow
- After you have estimated the amount of tiles you will need of each color, choose one member of the group to take their paper with the numbers listed and go to the table to count tiles out and put into 1 ziplock.
- Next, use your rough draft to arrange tiles.
- Create border (1-2) colors first.
- Then, create center design (3-4) colors.
- Put contact paper with tiles inside clear tray.
- Fold back ½ sheet of contact paper circle, fold over, arrange border tiles on half sheet, Remove rest of contact paper, place the rest of the border tiles on second half of contact paper. Save paper back of contact paper to press down and even out after placing tiles.
- Don’t forget to use a pencil to measure the distance between tiles (you should be able to fit a pencil between tiles).
- Carefully remove contact paper with mosaics from plastic tray and set aside.
- Mix cement in clear tray, 8 cups of cement to 1 cup of water, start with ½ a cup, then add gradually/not all at one time, may not need whole cup of water, stir until mixed evenly
- When cement starts to thicken smooth it out on top
- Use your pencil to estimate the center of the circle, push pencil down in center
- Begin transferring tiles to top of cement, do not press them into the tile until all of your border and design are complete
- After all tiles are transferred and you are happy with how it looks, use the eraser on your pencil to push tiles down gently, slowly a little bit at a time
- If it starts getting dried out, spoon a little bit of water onto the top and smooth out
- If it gets too wet, you can use a paper towel to soak up excess water
Rubric: Total 20 points
_____ 5 following directions of procedure
_____ 5 arrangement of tiles
_____ 5 group participation
_____ 5 safety in the lab/lab sheet completion/circle map
This Learning Lab from the National Museum of African American History and Culture (NMAAHC) will explore the connection between visual art and history.
When studying history, it is important to remember that all historical sources do not look the same. Visual art, being an active response to a stimulus, serves as a mirror to the contemporary landscape. Art engages in a conversation with history while acting as a visual expression of contemporary thoughts and ideas.
Through the visual art piece Ethiopia by Meta Vaux Warrick Fuller (1921), students will learn more about the events and cultural context of the 1920s in America, including the Harlem Renaissance. Fuller's piece reflects the racial politics of the period, especially African Americans' quest for self identity. Ethiopia serves as a symbol of African Americans' identity exploration post-World War II and in the midst of the Pan-African movement.
The questions, prompts, and information provided in this Learning Lab will help students hone their skills in visual literacy competency. Students can use this Learning Lab collection to help sharpen their historical thinking skills and expand their conceptions of historical sources.
The guiding questions of this Learning Lab are
- What is visual art’s connection to historical events? Why is it important that we recognize these connections?
- How do contemporary events shape artists’ responses in their art making?
- What does studying art add to our understanding of historical events and time periods?
The goals of this Learning Lab are
- Bridge the gap in understanding between art analysis and historical analysis
- Explore the inherent ties between art pieces and their surrounding historical context
- Introduce the foundations of formal art analysis and develop close looking skills for visual art pieces
If you are new to Learning Lab, visit https://learninglab.si.edu/help/getting-started to learn how to get started!