Found 1,677 Learning Lab Collections
A skateboarding pioneer, Cindy Whitehead turned pro at seventeen, skating both pool and half-pipe and becoming one of the top-ranked vert skaters while competing against the boys—something girls were not doing in the mid-1970s. But Whitehead had no choice but to wear boys’ shorts when competing; there were no skate products for girls in the 1970s.
She changed that in 2013 with her girl-empowered brand Girl is NOT a 4 Letter Word (GN4LW). Whitehead is especially supportive of young female skaters through the GN4LW skate team and products which are geared towards women and girls.
Whitehead’s signature phrase printed in gold on many of the GN4LW products personifies her independent spirit, "Live life balls to the wall. Do epic sh*t. Take every dare that comes your way. You can sleep when you’re dead."
This Learning Lab collection contains artifacts and resources that support the Conversation Kit on Cindy Whitehead's GN4LW Skateboard as part of the Smithsonian's American Women's History Initiative. #BecauseOfHerStory
This collection brings together the New York Times Podcast 1619 (Episode 1, "The Fight for a True Democracy") and Smithsonian resources to support my 7th graders as we begin our unit on the American Civil Rights Movement. Later in the unit, the students will read March, a graphic novel based on the experience of Congressman John Lewis during the Civil Rights Movement. In order for the students to understand why the Civil Rights Movement was necessary, they must first understand the history that led to it. This collection does not, by any means, provide a complete or comprehensive history. The podcast provides an historical overview and will serve as a jumping off point for further research. The visual artwork, poetry, articles, and films included at the end serve to provide additional perspectives and opportunities for exploration. The students will develop their own research questions inspired by the thinking they've done throughout this collection and may use the additional resources provided to begin their independent research. A PowerPoint lesson on developing research questions is included.
The collection is organized into six lessons. The first five follow the same structure: students will explore a piece of visual art using Ten Times Two and Unveiling Stories, using the handout to record their ideas. Students will then listen to a portion of the podcast and use Think, Puzzle, Explore to document their thinking and record questions for further research. After listening to the podcast, they will return to their Unveiling Stories handout and add any new thinking. The sixth lesson brings the students from history to the present and asks them to consider the 2014 artwork New Age of Slavery by Patrick Campbell using Ten Times Two and Unveiling Stories. They will also listen to an NPR report on Black Lives Matter. Following the same format as previous lessons, they will document their thinking and questions about what they've heard using the Think, Puzzle, Explore handout and then return to their Unveiling Stories handout to add new ideas.
Please note that the podcast link (including daily listening timestamps), the Unveiling Stories handout, and the Think, Puzzle, Explore handout are all linked at the start of this collection, but will be used each day (see daily lesson plans).
Classroom Activity Using Images of Immigration and Identity from the National Portrait Gallery, the New York Times, and the Smithsonian American Art Museum
Students can use the "What makes you say that?" and the "3 Ys" thinking routines to explore two modern portraits about identity and immigration from the National Portrait Gallery. The first thinking strategy asks students to look at a work of art for several minutes before answering two questions: "What's going on?" and "What do you see that makes you say that?" (See https://learninglab.si.edu/res... for more information.)
To further and deepen the discussion, I've included a link to a September 2016 New York Times Op-Doc entitled "4.1 Miles," about a coast guard captain on a small Greek island who is suddenly charged with saving thousands of refugees from drowning at sea. (If it doesn't show up easily, you can view the original video on Times Video at https://www.nytimes.com/video/opinion/100000004674545/41-miles.html.) I've also included two sculptures from the Smithsonian American Art Museum, an interview with Lisa Sasaki, head of the Smithsonian's Asian Pacific American Center, and resources from the University of Minnesota Libraries Publishing's Immigration Syllabus - Americans / Immigrants, Weeks 1-4.
You may wish to use the "3 Y's" thinking routine here as well, which asks students to consider the following questions:
1. Why might this [topic, question] matter to me?
2. Why might it matter to people around me [family, friends, city, nation]?
3. Why might it matter to the world?
(See https://learninglab.si.edu/res... for more information.)
#APA2018, #LatinoHAC, #EthnicStudies
This collection supports Unit 1: Precious Knowledge - Exploring notions of identity and community, of the Austin ISD Ethnic Studies Part A course.
This Smithsonian Learning Lab collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.
Older generations of Alaska Athabascan (Dene) peoples tanned moose hides using time-tested methods to make strong, supple leather for sewing beaded or quill-embroidered tunics, jackets, mittens, bags and moccasins, as well as everyday essentials such as dogsled harnesses. Because traditional tanning is time-consuming and requires technical knowledge that has declined in recent generations, most moose hides are now sent out to commercial tanneries for processing with synthetic chemicals. Commercial tanning produces a lower quality hide, but more importantly, it displaces the passing on of Athabascan tanning knowledge. Recognizing this, contemporary artists Joel Isaak (Dena'ina Athabascan) and Melissa Shaginoff (Ahtna Athabascan) have been learning traditional methods for tanning moose hides from elders Helen Dick (Dena’ina Athabascan) and Jeanie Maxim (Ahtna Athabascan) and adding tested, contemporary tools.
The Alaska office of the Arctic Studies Center worked with these committed artists and elders from September 2017 through June 2018 to carry out moosehide tanning work in communities and backyards in Kenai, Chickaloon, and Anchorage, and a sewing and beading residency at the Anchorage Museum. The collaboration resulted in the set of twenty-three educational videos presented here. Links to a selection of Athabascan objects from the Smithsonian collections made from moose hide are included below.
Tags: Alaska, Native art, museum, education, Indigenous, tan, tanning, moosehide, moose hide, smoking, sew, bead, Athabascan, Dena'ina, Ahtna, Dene, Melissa Shaginoff, Joel Isaak , Smithsonian Arctic Studies Center in Alaska
The Alaska Office of the Smithsonian Arctic Studies Center hosted a seminar with the Dena’ina Language Institute in 2010 at the Anchorage Museum. Elders Helen Dick and Gladys Evanoff shared their knowledge about Dena'ina heritage objects in the Smithsonian collections, using the objects as tools to teach the Dena'ina Athabascan language. They worked with language learners Karen Evanoff, Aaron Leggett and Michelle Ravenmoon and with linguists James Kari and D. Roy Mitchell to script and record new language learning videos, including the three videos presented here. Links to the museum objects discussed are included below.
Tags: Dena'ina, Athabascan, Indigenous, language, Alaska Native, dog pack, fire bag, snowshoes, Smithsonian Arctic Studies Center in Alaska
Welcome to the Grade 4 Beliefs Unit Collection. Please enjoy. Below there is information about:
- How the lesson was used specifically at Washington International School (WIS) in Washington DC in 2019
- The role of STEAM at WIS
Additionally, within the collection, the markers will help guide the teacher through each component. The collection is broken up into: Educating the teacher team (preparing for the unit), STEAM teacher resources, Student activities, and Student learning extensions.
Enjoy and all feedback is welcomed.
Washington International School is an International Baccalaureate (IB), Primary Years Program (PYP). I am the STEAM Specialist who integrates 21st century skill inquiry projects, hands on science and engineering, and digital tools/technology. This collection is to support many teachers who will contribute to content for this unit. The Language specialists, art teacher, design technology, STEAM Specialist and physical education.
STEAM at WIS:
My role will be to host an experience that role-plays early civilizations and their interactions with sun, moon, and stars. Students will interpret their experience and create a piece of art that demonstrates their translation of the experience. The follow up will be to help the students connect their experience with ancient cultures. Then, the conversation will further develop to challenge the students to think how science changes our understanding of our universe. The overall theme is to encourage students and give them confidence to explore various belief systems, challenge their own understanding of the world through their beliefs, experiences, and science.
These exercises scaffold learning to align student inquiry to the Social Studies standards:
- Distinguish between personal beliefs and belief systems (PYP Scope and Sequence Pg. 29)
- Define the elements of a belief system (creed, codes of behavior, rituals, community.) (AERO CC+ G5 p22 4.5.f)
- Identify the major religions of the world in terms of their beliefs, rituals and sacred texts. (referenced: AERO CC+ G6 p30 4.8.f)
- Reflect upon how beliefs affect the individual and society (PYP Scope and Sequence Pg. 29)
Important to know: The teachers at WIS took the students on two days of field trips to visit various areas of "worship" in the DC/MD/VA area: Buddhist Temple, Mosque, Jewish Temple, Catholic Church, and African American Christian Church. Students had worksheets to complete for each location that included observations of icons, the use of shapes in the visual devotional symbols, and to draw the various religious icons. After, they engaged in discussion about their experiences. If your school does not have the ability to do an elaborate field trip like this, we recommend having devotional leaders and/or parents visit as subject matter experts to demonstrate their systems of faith, icons, devotions, and symbols.
- I used this collection to train the teachers about the new thinking routines (Beginning slides)
- There are samples from students learning about Sun, Egyptian use of sun in their beliefs (art and architecture)
- Students looked at Egyptian sun use and modern NASA sun data to inspire them for their STEAM Challenge
- Their STEAM Challenge was to create a pyramid (cardboard) with a devotion (clay), and decorate with sun symbols (crayons/markers).
- Our students just completed a cardboard challenge (Cain's Arcade - check out on Youtube) so they were cardboard construction "experts". Therefore, they only had 40 minutes for their challenge. You will need to either have a lesson on cardboard construction before, or give them more samples and/or time. Hypothetically, this could be a 1/2 day project for students.
- The goal is then for students to look at other cultures and other NASA data (Incas (or other Native American tribes) African Tribes, and/or Australian Aborigines, etc. and have them do the same STEAM challenge (format) by creating a model structure decorated by symbols inspired by both indigenous symbols and modern NASA data (sun, stars, planets, or Earth's Moon). Therefore, they will have a "Maker Collection" that demonstrates various engineering styles as well as belief systems.
International Baccalaureate Transdisciplinary Unit of Inquiry: Who we are. Beliefs - An inquiry into the nature of the self; beliefs and values; personal, physical, mental, social and spiritual health; human relationships, including families, friends, communities and cultures; rights and responsibilities; what it means to be human.
Central Idea: Humans have common beliefs that attempt to answer life’s big questions.
- The main line of Inquiry this collection will align with is: Global religious beliefs and practices
The following subject teachers plan to do the following:
- Art = Beliefs and metaphors with clay
- Digital Technology = Building sacred structures
- STEAM = Engineering and Science of sacred structures globally and historically
Global thinking routines: Step In, Step Out, Step Back; Beauty and Truth; Unveiling Stories
STEAM Challenge: Students can further their inquiry from ancient beliefs with their experiences with modern organized religion into modern spirituality by analyzing the exhibition for Burning Man Festival. Students will complete a STEAM Challenge to build their own sacred structure that honors their own belief systems.
This interdisciplinary collection explores the idea of a manifesto through the framework of High School Visual Art, Language Arts and History. Inspired by the Hirshhorn Museum and Sculpture Garden's "Manifesto: Art x Agency" exhibition, this collection examines the ideas of historical manifestos while also examining whose voices are historically absent, and how they can be amplified in the future. Just as each generation of artists created manifestos to challenge the status quo, this generation of students can be empowered to do the same. #GoGlobal
Using this Collection:
- Use the “Unit Outline” to see how each lesson/activity is organized. The “Introduction to Manifestos” lesson and corresponding artwork provide focused activities for use in the classroom, while the rest of the collection serves as suggestions and ideas for deepening thinking and questioning, culminating in a student-produced manifesto.
- Detailed suggestions on how to implement the learning activities are found in the "information" section of each of the Activity Tiles as well as the Project Zero Thinking Routine Tiles.
- Notes regarding the use of each Project Zero Thinking Routine are documented as annotations within each individual Thinking Routine tile and provide specific instructions on how align these routines with this collection.
Global Competence Connection:
- Students “recognize perspectives” by analyzing how manifestos and movements have championed certain voices over others, and contextualizing their own experiences within a broader historical and global context.
- Students “communicate their ideas” through the creation of a manifesto that demonstrates their unique perspective.
Using the manifestos and artworks in this collection as a foundation, you can use other content specific texts for your subject area and unique classroom demographics. Some ideas include:
“The Origin of the Species” by Charles Darwin
“The Communist Manifesto” by Friedrich Engels and Karl Marx
“United States Declaration of Independence” by Thomas Jefferson, Benjamin Franklin, John Adams, Robert R. Livingston, Roger Sherman
“Universal Declaration of Human Rights” by The United Nations
This Women's History collection contains photographs, documents, and other materials from Indiana Historical Society archival collections that pertain to the history of women's rights and interests in Indiana. Some of the materials represented in this digital collection include Indianapolis Woman's Club Records, League of Women Voters of Indiana Records, Propylaeum Records, as well as other organizational records and personal papers such as those of May Wright Sewall. Materials date from the late 1800s through the present day.
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
This is a collection of my favorite items fromIndiana Historical Society collections.
A collection of resources about Ancient China and artifact examples.
Alaska is home to over 100,000 Indigenous residents who represent twenty distinctive cultures and languages. The map shows cities, towns and villages where most people live today, but depicts Alaska Native territories as they existed in about 1890, before the main influx of Euro-American settlers.
Map information is courtesy of Michael Krauss, Igor Krupnik, Ives Goddard and the Alaska Native Language Center (University of Alaska Fairbanks). Map courtesy of the Smithsonian Arctic Studies Center.
Teaching with the Smithsonian Learning Lab: A Workshop for George Washington University Faculty and Graduate Students
For the workshop, Teaching with the Smithsonian’s Learning Lab – Millions of Resources at Your Fingertips! (January 8, 2020), this is a collection of digital museum resources and instructional strategies. It includes a warm-up activity, a close-looking exercise, and supporting materials for participants to create their own teaching collections.
This collection was co-created with Tess Porter.
This collection will provide an opportunity for students to analyze artwork, read background information, and connect art with historical events. At the heart of this activity is artwork created by Latino artist Carmen Lomas Garza. These paintings reflect the experiences of Garza's family and Latino life in 1980s America. In addition to image analysis, teachers could extend an opportunity for students to identify and discuss connections between Garza's art and the Mexican American experience from the 1960s to the present. This collection includes:
- A timeline of U.S.-Mexican American relations
- Video/audio of Reagan signing the 1986 Immigration Reform Control Act
- And an overview of immigration reform via ABC-CLIO (requires subscription).
Texas Essential Knowledge and Skills Connections #TEKS
- 24A describe how the characteristics of and issues in U.S. history have been reflected in various genres of art, music, film, and literature;
Did American women [or the women of your state] deserve the right to vote in the early 20th century?
Who had the right to vote in the US [or your state] by the early 20th century?; What roles did women play in society at this time?; Who supported and opposed women's suffrage and why?
Though the answer to this compelling question might feel obvious to 21st century Americans, the issue was far from settled at the time. This dichotomy adds to its intellectual heft and engages students' inherent interest in fairness, discrimination, and rights. (It also connects to ongoing debates about the franchise and who is entitled to it.) The supporting questions invite students to learn more about voting in the time period, the changing roles played by women, and the people who might have supported or opposed women's political equality, all of which help scaffold students' investigations into the ideas and issues behind this compelling question.
This collections comes from a African American History Month family festival created to complement the exhibition, "The Black List." Included here are a gallery tour with curator Ann Shumard, and interviews with puppeteer Schroeder Cherry, guitarist Warner Williams, the Taratibu Youth Association Step Dance Group, silhouette artist Lauren Muney and collage artist Michael Albert.
These classroom resources from different Smithsonian museums focus on African American history and culture.
Tag: Black History
Welcome to the National Museum of African American History and Culture's Collection Connection Grid for National History Day 2020! Below is an assortment of selected documents, images, objects and videos that highlight the African American experience in relation to the 2020 NHD theme: Breaking Barriers in History. Use these items as inspiration for a project topic, or use the items to help expand your research on a topic you have already selected. This collection is designed to be self-guided by students and educators participating in National History Day.
Keywords: African American, NMAAHC, National History Day, NHD, Collection, Connection, Grid, breaking, barriers, history, project, topic, ideas, 2020
The objects in this collection, from the crescent-shaped manilla to the colorful banknotes, formed part of West Africa’s vibrant and varied monetary system in the nineteenth and twentieth centuries. Each object has its own story about when and how it was used. A person shopping in a market in Accra, Ghana in the 1980s, for example, might have received the 1 cedi coin below as change from a small transaction. In the Akan language, the word “cedi” means cowrie shell, a currency which a person shopping in the same market a century earlier might have used. Like the 1 cedi coin, cowrie shells were used to make small purchases. Symbolically, the image of a cowrie shell appears on the coin. Not far from Accra, in the old Asante city of Kumasi, the figurative gold weights pictured here would have been used around the same time to measure gold dust for transactions ranging from significant market purchases to judicial fines.
How did West Africa move from a monetary system based on objects like manillas, gold dust, and cowrie shells to one based on notes and coins? It was once popular to attribute this change to the colonization of West Africa by European governments in the nineteenth century. According to this story, colonial governments wanted to impose their own “modern” currencies on West African economies to make it easier for merchants and colonial authorities to do business between the colony and Europe. From recent historical research on West African currencies and their uses, we now know the story is not that simple. Colonial governments did introduce new currency systems with European forms of money, but they were not immediately or universally adopted by Africans in the way that colonial governments intended.
After the end of the colonial period, some countries like Ghana and Nigeria, issued their own currencies as an expression of national sovereignty. Other new countries, such as Senegal and the Ivory Coast, focused instead on building or maintaining monetary unions with shared currencies in order to reinforce links between their economies. Some of these post-colonial coins and banknotes depict pre-colonial currencies, like the cowrie on the Ghanaian cedi coin or the Kissi penny on the Liberian dollar.
The history of West African money from the nineteenth century onwards reflects the history of economic, political, and social change in the region over that same period. This collection uses objects from the Smithsonian’s National Numismatic Collection to tell that history, linking to broader questions about the nature and uses of money, the ways in which economic change can influence how money is used, and the relationship between money and political sovereignty.
Below is a list of suggested readings on West African money and exchange. To see all of the West African currency objects in the National Numismatic Collection, click here. Please feel free to reach out to Dr. Leigh Gardner or Dr. Ellen Feingold with questions or feedback.
Gardner, Leigh A. “From Cowries to Mobile Phones: African Monetary Systems Since 1800.” In The History of African Development: An Online Textbook for a New Generation of African Students and Teachers, edited by Ewout Frankema, Ellen Hillbom, Ushehwedu Kufakurinani, and Felix Meier zu Selhausen. African Economic History Network (2018): https://www.aehnetwork.org/textbook/from-cowries-to-mobile-phones-african-monetary-systems-since-1800/
Guyer, J. and Karin Pallaver. "Money and Currency in African History.” Oxford Research Encyclopedia of African History (2018): https://oxfordre.com/africanhistory/view/10.1093/acrefore/9780190277734.001.0001/acrefore-9780190277734-e-144
Arhin, Kwame. “Monetization in the Asante State.” In Money Matters: Instability, Values and Social Payments in the Modern History of West African Communities, edited by Jane I. Guyer, 97-110. London: James Currey, 1995.
Herbert, Eugenia W. Red Gold of Africa: Copper in Precolonial History and Culture. Madison: University of Wisconsin Press, 1984.
Hogendorn, Jan S., and Marion Johnson. The Shell Money of the Slave Trade. Cambridge: Cambridge University Press, 2003.
Colonial currency systems and African responses:
Feingold, Ellen R. "International Currency Counterfeiting Schemes in Interwar West Africa." Journal of West African History 3, no. 1 (2017): 77-101.
Gardner, Leigh A. “The Curious Incident of the Franc in the Gambia.” Financial History Review 22, no. 3 (2015): 291-314.
Gardner, Leigh A. "The Rise and Decline of Sterling in Liberia.” Economic History Review 64, no. 4 (2014): 1089-1112.
Guyer, Jane I. “Introduction: The Currency Interface and its Dynamics.” In Money Matters: Instability, Values and Social Payments in the Modern History of West African Communities, edited by Jane I. Guyer, 1-34. (London: James Currey, 1995).
Helleiner, Eric. “The Monetary Dimensions of Colonialism: Why Did Imperial Powers Create Currency Blocs?” Geopolitics 7, no. 1 (2002): 5-30.
Hogendorn, Jan S., and Henry A. Gemery. “Continuity in West African Monetary History? An Outline of Monetary Development.” African Economic History 17 (1988): 127-146.
Hopkins, A.G. “The Currency Revolution in South-West Nigeria in the Late Nineteenth Century.” Journal of the Historical Society of Nigeria 3, no. 3 (1966): 471-483.
Saul, Mahir. “Money in Colonial Transition: Cowries and Francs in West Africa.” American Anthropologist 106, no. 1 (2004): 71-84.
Money and national independence:
Schenk, Catherine R. “Monetary Institutions in Newly Independent Countries: The Experience of Malaya, Ghana, and Nigeria in the 1950s.” Financial History Review 4, no. 2 (1997): 181-198.
Stasavage, David. The Political Economy of a Common Currency: the CFA Franc Zone Since 1945. Aldershot: Ashgate (2003).
Uche, Chibuike U. “Bank of England vs. the IBRD: Did the Nigerian Colony Deserve a Central Bank?” Explorations in Economic History 34 (1997): 220-241.
Walrus ivory is a precious sculptural material that for millennia has been carved into a nearly endless variety of forms essential to Arctic life, from harpoon heads to needle cases, handles, ornaments, buckles and many more. Naturalistic and stylized figures of animals and humans were made as charms, amulets and ancestral representations. Carvers today bring this conceptual heritage to new types of work.
During a week-long residency organized by the Arctic Studies Center at the Anchorage Museum in 2015, Alaska Native carvers Jerome Saclamana (Iñupiaq), Clifford Apatiki (St. Lawrence Island Yupik) and Levi Tetpon (Iñupiaq) studied historic walrus ivory pieces from the Smithsonian’s Living Our Cultures exhibition and Anchorage Museum collection, and demonstrated how to process, design and shape walrus ivory into artwork. Art students, museum conservators, school groups, local artists and museum visitors participated throughout the week. Also, a two-day community workshop in Nome was taught by Jerome Saclamana and hosted by the Nome-Beltz High School. The video set presented here introduces the artists and document the materials, tools and techniques they use to make walrus-ivory artwork. An educational guide with six lessons is included below pair with the videos, along with links to a selection of Iñupiaq and St. Lawrence Island Yupik objects from the Smithsonian collections that were carved from walrus ivory.
Tags: Iñupiaq, Inupiaq, Eskimo, ivory, walrus, carving, carver, carve, Native art, museum, education, St. Lawrence Island Yupik, Yupik, Smithsonian Arctic Studies Center in Alaska
This collection contains information and teaching resources on the Terracotta Army, a group of approximately 7,000 life-size terracotta figures created for the tomb complex of China's First Emperor, Qin Shihuang (259 – 210 BCE). Resources in this collection cover a wide range of topics, including: the discovery of the Terracotta Army, Emperor Qin Shihuang, the unification of China, Qin dynasty (221 – 206 BCE) spiritual beliefs, how the terracotta warriors were made, the different types of terracotta warriors, and the types of bronze weaponry found in the Terracotta Army pits. This collection also contains three interactives: a timeline of ancient Chinese history, a map of the tomb complex, and maps of battle formations in the Terracotta Army pits.
Objects found in Emperor Qin Shihuang’s elaborate tomb complex, which covers a total area of 17.6 square miles, make up the majority of surviving objects from this significant period in Chinese history.They are some of the best archaeological evidence researchers have for understanding the spiritual beliefs, military practices, and values of the ruler responsible for unifying China for the first time in its history.
Authors of this collection are the Emperor Qin Shihuang’s Mausoleum Site Museum, the Smithsonian Center for Learning and Digital Access, and the Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery.
Tags: archaeology; archaeologist; ancient history; artifact; afterlife; funerary practices; burial; death; religion; military; soldier; sculpture; chinese; world history; asia; asian; xi'an; empire; terra cotta; qin shi huang; shihuangdi; shi huang di; earthenware; ceramics
In this activity, students explore the Terracotta Army, a group of approximately 7,000 terracotta figures of warriors and horses made for China’s First Emperor, Qin Shihuang (259 – 210 BCE). After learning about Qin dynasty (221 – 206 BCE) afterlife beliefs analyzing the types of figures, layout of pits, and other object included, students will create their own arguments about what the Terracotta Army reveals about Emperor Qin Shihuang. This collection is Part 2 in a series of collections created for a social studies classroom; for more information, click “Read More.”
Objects found in Emperor Qin Shihuang’s elaborate tomb complex, which covers a total area of 17.6 square miles, make up the majority of surviving objects from this significant period in Chinese history. They are some of the best archaeological evidence researchers have for understanding the spiritual beliefs, military practices, and values of the ruler responsible for unifying China for the first time in its history.
Authors of this collection are the Emperor Qin Shihuang’s Mausoleum Site Museum, the Smithsonian Center for Learning and Digital Access, and the Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery.
Tags: archaeology; archaeologist; ancient history; artifact; afterlife; funerary practices; burial; death; spiritual beliefs; military; soldier; sculpture; chinese; world; asia; asian; xi'an; empire; cross-cultural comparison; think puzzle explore; strategy; project zero; visible thinking routine; terra cotta; qin shi huang; shihuangdi; shi huang di; earthenware; ceramics