What does it take to prepare our youth for a world on the move with quality?
This collection is the first in a series of four created to support the Re-Imagining Migration DC Seminar Series, held between December 2019 to March 2020. The seminar series is led by Verónica Boix Mansilla, Senior Principal Investigator for Harvard Graduate School of Education's Project Zero, and Research Director for Re-Imagining Migration, with in-gallery experiences provided by educators from the Smithsonian American Art Museum, the National Museum of American History, the National Portrait Gallery, the Smithsonian Center for Learning and Digital Access, and the National Gallery of Art.
This set of collections is designed to be dynamic. We will continue to add material, including participant-created content, throughout the seminar series so that the collections themselves can be used as a type of textbook, reflecting the content, development, and outputs of the full seminar series. Please check back to the hashtag #ReImaginingMigration to see a growing body of materials to support educators as they strive to serve and teach about human migration in relevant and deep ways.
This lesson is used after students have finished reading William Shakespeare's "The Tempest."
1. I print each of the paintings in this collection (most uploaded from The Folger Shakespeare Library's Digital Collection), and then post them across the board, around the room to create a "Gallery Walk" environment.
2. I remind students, before they begin, that the keyword in this play is "art." Just as it is Prospero's "art" to control Ariel and Caliban through magic and bring his abusers to the island, so it is the dramatist's art to create an enchanted island on a simple wooden stage. I share with them that artists have been, in turn, then inspired by what has appeared on the stage during productions of "The Tempest," for centuries. The various works of art posted around them span from the 1700's through the 20th Century.
3. Students are asked to walk through the gallery, and select one painting, one artistic interpretation of "The Tempest" that speaks to them, appeals to them, for any reason. Conversely, they should pick one they believe, for them personally, misses the mark as far as how they would interpret or envision this character, this scene, this play in general. They are to mark their names - - only their names - - on the board under the paintings.
4. When finished, we have then have a discussion about their choices - it's quite free wheeling - - no wrong answers here - - wonderful sharing of ideas. Many of the ideas and conversations I subtly steer to reflect some of the questions they will address in the wrap up writing assignment that follows.
5. When our conversations have finished, and after we've heard from everyone about their various interpretations, I give them the wrap up writing assignment. There are five individual response questions, with students being asked to write responses ranging anywhere from 175-200 words for each question. Three out of the five questions require them to return to this SAAM Learning Lab collection in order to write their responses, one other question is a classic literary analysis (thematic) question, while the last one is a historical context question.
(I've attached the prompts as a resource.)
Note: This assignment went over far better than I expected and I look forward to recreating it/adapting it for other units.
By Beverly Faye Hugo (Iñupiaq), 2009
(This is shortened version of a longer essay from the Smithsonian book Living Our Cultures, Sharing Our Heritage: The First Peoples of Alaska.)
Sea, Land, Rivers
There’s ice and snow, the ocean and darkness – darkness in the winter and twenty-four hours of daylight in the summer. Barrow was originally called Utqiaġvik (meaning, “the place where ukpik, the snowy owl, nests”). That’s where my people, the Iñupiat, have survived and lived, and I am doing as they have done. On the Arctic coast you can see vast distances in all directions, out over the ocean and across the land. The country is very flat, with thousands of ponds and lakes, stretching all the way to the Brooks Range in the south. It is often windy, and there are no natural windbreaks, no trees, only shrubs. Beautiful flowers grow during the brief summer season. The ocean is our garden, where we hunt the sea mammals that sustain us. Throughout the year some seasonal activity is going on. We are whaling in the spring and fall, when the bowheads migrate past Barrow, going out for seals and walrus, fishing, or hunting on the land for caribou, geese, and ducks.
Whaling crews are made up of family members and relatives, and everyone takes part. The spring is an exciting time when the whole community is focused on the whales, hoping to catch one. The number we are permitted to take each year is set by the Alaska Eskimo Whaling Commission and the International Whaling Commission. Whaling is not for the faint of heart. It can be dangerous and takes an incredible amount of effort – getting ready, waiting for the whales, striking and pulling and towing them. But the men go out and do it because they want to feed the community. Everyone has to work hard throughout the whaling season. People who aren’t able to go out on the ice help in other ways, such as buying supplies and gas or preparing food. You have to make clothing for them; they need warm parkas, boots, and snow pants.
We believe that a whale gives itself to a captain and crew who are worthy people, who have integrity – that is the gift of the whale. Caring for whales, even after you’ve caught them, is important. After a whale is caught and divided up, everyone can glean meat from the bones. Each gets his share, even those who don’t belong to a crew. No one is left out.
We are really noticing the effects of global warming. The shorefast ice is much thinner in spring than it used to be, and in a strong wind it will sometimes break away. If you are out on the ice, you have to be extremely conscious of changes in the wind and current so that you will not be carried off on a broken floe. We are concerned as well about the effects of offshore drilling and seismic testing by the oil companies. They try to work with the community to avoid problems, but those activities could frighten the whales and be detrimental to hunting.
Community and Family
Iñupiaq residents of Barrow, Wales, Point Hope, Wainwright, and other coastal communities, are the Taġiuqmiut, “people of the salt.” People who live in the interior are the Nunamiut, “people of the land.” The Nunamiut used to be nomadic, moving from camp to camp with their dog teams, hunting and fishing to take care of their families. They packed light and lived in skin tents, tracking the caribou and mountain sheep. My husband, Patrick Hugo, was one of them. For the first six years of his life his family traveled like that, but when the government built a school at Anaktuvuk Pass in 1959 they settled there.
My parents, Charlie and Mary Edwardson, were my foremost educators. They taught me my life skills and language. When I came to awareness as a young child, all the people who took care of me spoke Iñupiaq, so that was my first language. Our father would trap and hunt. We never went hungry and had the best furs for our parkas. Our mother was a fine seamstress, and we learned to sew by helping her. My mother and grandmother taught us to how to care for a family and to do things in a spirit of cooperation and harmony.
I was a child during the Bureau of Indian Affairs era, when we were punished for speaking Iñupiaq in school. My first day in class was the saddest one of my young life. I had to learn English, and that was important, but my own language is something that I value dearly and have always guarded. It is a gift from my parents and ancestors, and I want to pass it on to my children and grandchildren and anyone who wants to learn.
Ceremony and Celebration
Nalukataq (blanket toss) is a time of celebration when spring whaling has been successful. It is a kind of all-day picnic. People visit with friends and family at the windbreaks that the crews set up by tipping the whale boats onto their sides. At noon they serve niġliq (goose) soup, dinner rolls, and tea. At around 3:00 P.M. we have mikigaq, made of fermented whale meat, tongue, and skin. At 5:00 they serve frozen maktak (whale skin and blubber) and quaq (raw frozen fish). It’s wonderful to enjoy these foods, to talk, and catch up with everyone at the end of the busy whaling season.
Kivgik, the Messenger Feast, was held in the qargi (ceremonial house). The umialgich (whaling captains) in one community sent messengers to the leaders of another, inviting them and their families to come for days of feasting, dances, and gift giving. They exchanged great quantities of valuable things – piles of furs, sealskins filled with oil, weapons, boats, and sleds. That took place until the early years of the twentieth century, when Presbyterian missionaries suppressed our traditional ceremonies, and many of the communal qargich in the villages were closed down.
In 1988, Mayor George Ahmaogak Sr. thought it was important to revitalize some of the traditions from before the Christian era, and Kivgik was started again. Today it is held in the high school gymnasium. People come to Barrow from many different communities to take part in the dancing and maġgalak, the exchange of gifts. You give presents to people who may have helped you or to those whom you want to honor. Kivgiq brings us together as one people, just as it did in the time of our ancestors.
Tags: Iñupiaq, Inupiaq, Alaska Native, Indigenous, Smithsonian Arctic Studies Center in Alaska, whale, whaling, human geography
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
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.
1. Divide students into small groups (2 or 3 works for me)
2. Assign each student a painting - - send them the link, and they access it through their own computer so that they are able to zoom in if they would like a closer look at a particular feature.
3. Ask students to complete the following thinking routine:
a. See - - an objective list of what they "see"
b. Mood - - ideas as to what mood or emotions these particular qualities or items evoke.
c. Theme - - broad ideas as to a potential theme/larger idea expressed by the work.
3. After completing this thinking routine within their small groups, the students take turns projecting their painting on the smart board and sharing their discussion highlights with their classmates. We start to make a random list (like a "Wordle" forming) on the board of these "theme" ideas."
4. By the time we finish with the last painting/photograph/work of art - - we have a "Wordle" on the board that somewhat represents or hints at many of the thematic ideas expressed in "The Tempest."
5. I then complete a standard PowerPoint introduction to the play, but noting the similarities between many of their ideas expressed through their interpretations of the works of art, and Shakespeare's larger ideas as presented in "The Tempest."
The collection about symbolism in the time period, I choose my symbolism to be fire. I choose fire because the way people fearing and using the fire changing overtime, we used fire as illumination 150 years ago, but right now we use the fire less in life. The two main concentrate time period are 1895 and 2019.
Why and how do people protest?
How might works of art show support or advocate for a cause?
How are people, communities, and events affected by works of art?
Discover compelling stories of creativity, struggle, and resilience in this new set of resources for K–12 educators featuring works of art that reflect the richness and diversity of the people, places, and cultures of the United States. Encourage creative, critical, and historical thinking in your students as you examine works of art from the country’s creation to the present day.
A collection of everyday items that could be used as a defense.
This collection is meant to build on two earlier collections, "Asian American Art: Emerging from the Shadows" and "Asian American Artists and World War II" and to introduce the viewer to artists of Asian ancestry in America using Chang, Johnson & Karlstrom's text, Asian American Art: A History, 1850-1970 (2008), the Fine Arts Museums of San Francisco's exhibition catalog "Asian/American/Modern Art: Shifting Currents, 1900-1970" (2008),the vast resources of the Smithsonian Learning Lab, Project Zero's Global Thinking Routines and other resources. This collection is part two of four that I have organized, chronologically, on Asian American Art. The other three collections are "Asian American Art: Emerging from the Shadows", "Asian American Artists and World War II" and "Asian American Contemporary Art". It is my hope that these collections will serve as entry points to understanding the many contributions of Asian American artists in the U.S. from 1850 until the present time.
Visual art is a language that is socially and culturally constructed. Socially constructed learning values diverse perspectives, engages with local and global experts, and employs inquiry, discovery and exploration to move students toward global citizenship. Because the visual arts leverage the power of dialogue and debate to sharpen critical thinking, starting with the arts is a logical place to help students develop cultural intelligence.
Other purposes of these collections are to explore tangible and intangible cultural heritage; as well as jumpstart brave conversations about race, identity and immigration in the U.S. with teachers, tutors of English Language Learners and others who are interested in becoming cultural leaders in our public schools.
As Gordon H. Chang and Mark Dean Johnson state in the introduction of the exhibition catalog, "Asian/American/Modern Art: Shifting Currents, 1900-1970" (2008):
"Forty years ago there were no Asian Americans. There were Chinese, Japanese, Koreans, Filipinos, and others of Asian ancestry in the United States, but no 'Asian Americans,' as that term was coined only in 1968. This population was commonly seen as foreign, alien, not of America. Their lives and experiences were not generally accepted as part of the fabric of the country, even though Asians had begun settling here steadily in the mid-nineteenth century.
Then, in the late 1960s, as part of the upsurge in the self-assertion of marginalized communities, 'Asian America' emerged to challenge the stigma of perpetual foreignness. 'Asian American' was a claim of belonging, of rootedness, of pride and identity, and of history and community; it was also a recognition of distinctive cultural achievement" (Chang, Johnson, 2008).
This teaching collection helps students to look closely and think critically by examining Domigo Ulloa's painting, Braceros, and historical documentation related to the bracero program, a series of short-term labor contracts from 1942-1964 in which an estimated two million Mexican men came to the US to work on farms and roads. The collection prompts students to consider the program from a variety of perspectives, including individual, collective, social, economic, and political.
Included here are the painting, a bilingual video with Smithsonian American Art Museum (SAAM) curator E. Carmen Ramos, four suggested Thinking Routines - "See, Think, Wonder," "Step In, Step Out, Step Back," "The 3 Y's," and "Think, Feel, Care" - from Harvard's Project Zero Artful Thinking and Global Thinking materials, supporting digital content from the National Museum of American History, and a blogpost from SAAM of two DC student's written responses to the prompt, "What Domingo Ulloa's Braceros Means to Me."
For use in Social Studies, Spanish, English, and American History classes
This collection supports Unit 1: Intersectionality of Economics, Politics, and Policy, of the Austin ISD Ethnic Studies Part B course.
This Smithsonian Learning Lab collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
This Learning Lab Collection introduces three themes from the Hokusai: Mad about Painting exhibition and provides works of art, classroom activities, and discussion questions associated with each theme.
Tags: #AsiaTeachers; Be a Reporter; customs; daily life; dragons; Edo; Great Wave; Hokusai; Japan; nature; New Year; personification; poetry; power; Project Zero; Mount Fuji; See Think Wonder; Step Inside; symbols; thunder; woodblock print
About the exhibition:
Hokusai: Mad about Painting
November 23, 2019–November 8, 2020
Freer Gallery of Art, galleries 5–8
The Japanese artist Katsushika Hokusai (1760–1849) is widely recognized for a single image—Great Wave Off the Coast of Kanagawa, an icon of global art—yet he produced thousands of works throughout his long life. Charles Lang Freer recognized the artist’s vast abilities before many other collectors, and he assembled the world’s largest collection of paintings, sketches, and drawings by Hokusai. In commemoration of the centennial of Freer’s death in 1919, and in celebration of the Summer Olympics in Tokyo in 2020, the Freer Gallery presents a yearlong exploration of the prolific career of Katsushika Hokusai. Works large and small are on view, from six-panel folding screens and hanging scrolls to paintings and drawings. Also included are rare hanshita-e, drawings for woodblock prints that were adhered to the wood and frequently destroyed in the process of carving the block prior to printing. Among the many featured works are Hokusai’s manga, his often-humorous renderings of everyday life in Japan. Together, these works reveal an artistic genius who thought he might finally achieve true mastery in painting—if he lived to the age of 110.
This is an example collection for a project on Time Travel. For this collection, I'm using artifacts from Mary Shelley's Frankenstein, so that I do not inspire my students to borrow my content. I want them to see this collection as an inspiration, not as a direct analogue.
Language is the very first tool that we use to understand the ideas that we are trying to share. But what about the monuments, art, and songs that we have created to share our ideas with one another? This exploration will focus on how American culture founded on the mixing of ethnicities and experiences used the skills and talents of its members to reveal its faults and celebrate its wonder and imagination. This collection focuses on the identities and expressions of 1st Nations People, African American, and White American cultures. There are so many other cultures that have contributed to this nations story, this is just one exploration of many that we should embark on to tell our stories of who we are as a people and a nation. This exploration will give students a way to examine the history of those around them, but also their place within this most extravagant quilt of this country.
- The purpose of this activity is to give students a better understanding of the American Indian identity of the United States as foundational to understanding this land. From that foundation they will journey through the musical/dance expressions of those who came to be known as White Americans and African Americans, who came to inhabit the US and through them some of the historical/contemporary realities and perspectives that make up a part of our society.
Please follow the lesson plan laid out at the beginning of the collection to see the best way to use it. #goglobal