Implementing Lesson Study

Video Overview

Professor Mimi Coughlin and professional development coordinator Roni Jones outline the ongoing process of creating and managing effective lesson-study-focused grants, emphasizing the importance of flexibility and being open to change and rethinking as a grant project continues.

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The Process of Lesson Study
Building Flexible Relationships
Bringing Teachers Together
Sustainable Results
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Transcript Text

Roni Jones: So we received our first Teaching American History grant in 2005 and Mimi and I were both on the writing group that put that grant together, and lesson study was a part of that grant that was originally written. And I think that over the last five years, we've really learned a lot about the fact that lesson study empowers teachers in their own classrooms.

So even though they're developing an individual lesson plan, it's not necessarily about the development and completion of the individual lesson plan, it's about the teachers coming together collaboratively, talking about the content that they've learned from historians, and then translating that content for their students. In California, they're at the 5th-, 8th-, or 11th-grade level. And I think that what lesson study allows them to do is be the experts in their own class and in their own field and then working collaboratively, coming together to take ownership of that content, so that their students can then take ownership of that content.

Mimi Coughlin: There's something about the process of lesson study is very professionalizing for the teachers. It does bond them to each other, it has bonded us as a community, and it connects them deeply to the content, too, because they can sort of own it, and I think Roni said that. It is a real ownership model.

Roni Jones: Because we're a countywide project, we actually act as a consortium for 14 different school districts, K–12. We have two partners. Our biggest partner is Sacramento State University, and they provide us with access to historians. And then Mimi is the other faculty member in the College of Education that we work with. And we also work with historians from our local community college because it is the institute of higher ed in our county, that most of our high school students go onto.

So we bring our teachers together, and typically we have a cohort of about 30 teachers, and we've experimented with different models. Sometimes we've had all 4th- and 5th-grade teachers in a summer institute, or all 8th-grade teachers. In the last few years, we've had a mix of 5th, 8th, and 11th grade, because that's where the standards are for U.S. history in California. We bring them together in a multiday summer institute where they're working with historians. Historians are doing formal lectures, with PowerPoint, sometimes historians are bringing in primary source documents and teaching them to evaluate the primary source documents and actually act as historians to draw conclusions and interpret those documents.

We also work with them on lesson design, what good lesson design looks like, having an assessment with their lesson plan, instructional strategies that will work at different levels using graphic organizers or student conversations, those types of things.

So that's, that's during the summer, where they're really interacting in a concentrated way with the content and with our faculty members. Then during the school year, we provide them with four substitute days, where we pull them together as large groups and as small groups to plan a lesson collaboratively. They use online lesson planning tools and online learning environments like Blackboard to continue some of their professional conversations.

And then they actually have two teaching events where two teachers from their group teach the lesson on different days. After each teaching event they reflect and revise the lesson plan that they've created as a group. And I think that's really important, the most important thing about that is that they have collaboratively designed this lesson plan so they're not watching the teacher teach, they're watching the students interact with the material and the content. And that's how they do their revision, they base their revision on that interaction and on the evidence that they gathered during those teaching events

And then we have instituted over the last few years, a final revision day because even though they're teachers, they don't always get the grammar right. So we bring them together, we actually have a copyeditor that we work with, we have our historians come in for the final day to answer questions, to really sort of finalize that content, selection of primary source materials and those sorts of things. So they finalize that lesson plan in the online lesson builder and they submit it to us that we can then post it and they can share it with each other. They have time to share with each other across grade levels, as well, during that time. So that's how our teachers really interact with each other and with the content.

Mimi Coughlin: Because it really is a relationship model, where Roni and I and other members of our teams are in teachers' classrooms, they're in each other's classrooms, we have the historians in the classrooms, and we're right where the teachers live, we're right there.

And every time we do a lesson study, at the very end of the day, I always says to the teacher, thank you for letting me into, for having me in your room, and you can just kind of see that they're very proud of their kids and their classrooms, and that's where we should go. If we want to change what they're doing, that's where we need to change it is right there where they—we interact with the students when we go into the classroom, we interact with the curriculum and it's all very, it's very hands-on and it's hands-on right where it should be, right where the kids interact with the content.

Roni Jones: They ask you to list the roles, what everybody's title is and what their role is and how much time they dedicate and you do this nice little chart and you put it in the grant and you submit it. And if you don't submit it in such a way that you even have a percentage of somebody's time—Mimi's going to spend 10 hours a week or the historians are going to do this many hours—the readers can actually mark you down for that in your grant application. But I think what people should know is that as you start working on this grant, those roles and those relationships and that amount of time changes based on what starts to happen in the grant.

So at the beginning we used the model that most Teaching American History grants use where we have scholars come in, and historical scholars and Pulitizer Prize-winning historians and these academics who are very much into the research of what they're doing and their knowledge is incredibly important to us and it helps guide our content. But what we have also discovered is that they come in and they want to give a lecture as though they're lecturing to a room of graduate students and there's always value in that, in increasing the personal contact knowledge, history content knowledge, of the audience.

But we've also realized that we need a historian who can be in a little bit more flexible role, who isn't just giving a lecture, but who is helping the teacher to grapple with their own misconceptions as an adult learner because they then have to translate that for the students.

So we find that we need multiple historians and multiple faculty members in multiple roles. And sometimes you go through a few and it's not really comfortable and you have to figure out how they fit into those roles. And so I think that somebody like Mimi who works with us on a regular basis, and Mimi and I talk almost every day, we correspond by email, we talk multiple times during the week. For historians we may not converse with them as often, but they have to be apprised as to what's going on, so you need a very a clear communication stream with all of those people.

And then you need to be flexible as to how people are fitting into the grant, so having that relationship with historians so that you can ask what seem like simple questions of them so that teachers can really begin to organize those thoughts and that information in their head, so that when they do teach their lessons it's very clear to their students. Because teachers can't teach a concept that they're not clear about—it just doesn't work, it comes out as confused for the students as it does for the teacher.

So I think that the role with historians is very important and I think that any new grantee or a struggling grant really needs to think about the fact that you have to be a little flexible and find where people fit, and if someone doesn't fit that role, you can't make them. You have to go find somebody else who can fit that role, and utilize the expertise of the other person in a different way. And I think that's probably one of the biggest lessons we've learned from an administrative standpoint.

Roni Jones: We had some resistance the first few years because teachers weren't understanding well, how does this matter to me and how does this fit into my classroom? And so we've been able to frame our summer institutes and frame the work that we do a little bit differently, so that they understand larger concepts and themes about U.S. history. So that if we're talking about race, class, and gender, that we're going to talk about that over multiple time periods and they're going to select the information that they need for their standards

And so in the past, we've really worked with 8th-grade teachers working with 8th-grade teachers and 5th-grade teachers working with 5th-grade teachers. This year we experimented a little bit and we actually were working with the Constitution as our main topic. And we brought together 5th-, 8th-, and 11th-grade teachers working collaboratively on a lesson plan.

So we had 5th-grade teachers working with 11th-grade teachers and 8th-grade teachers. And we had a little resistance at first because they really don't teach the same things about the Constitution, but they trusted us enough over time—we don't keep a common cohort for all three years, we have teachers coming and going throughout the life of the grant so that we have some people who've been with us for multiple years and some teachers who come in for a year—and they trusted us enough and they trusted the lesson study process enough that it became a really rich and valuable experience for them.

And so we have 11th-grade teachers who were learning from the 5th-grade teachers—simple things like how to give directions for a multistep process and putting those directions on the board, which an 11th-grade teacher would never do because they think their students know how to do that, when really they don't, and a 5th-grade teacher learning how to very eloquently deliver difficult concepts that they wouldn't necessarily deliver in the same way that a high school teacher has. So we have a lot this year—we actually really—we felt like we really sort of pushed the edge of that for our teachers and got them out of their comfort zone and it ended up being very successful.

Mimi Coughlin: You know, I was thinking about that, I was thinking it is, it is resource intensive but it is outcome rich and I think that—I mean, there is no doubt about it, we have tons of evidence that our teachers are motivated, our teachers are taking initiative to do things beyond just the one lesson. They're taking initiative to do all kinds of things. They're recruiting their peers into the program, they're recruiting principals into their classroom, to come observe.

They're seeing students differently—and we really need to talk about that, the impact on students is—you know, when a teacher is bringing in something interesting and that works and then the students respond positively and demonstrate skills and abilities that the teacher didn't know they had and so then it's this whole iterative process where you know, teachers are motivated by their kids. So when their kids are doing better, then the teachers want to do more. And we've heard that from more than one teacher. They say, wow my kids always want to do this now, now they're asking me, can we do something else like that?

So there's all of that, but then there's the CST scores, which are our state scores. We have assessments we've done with our evaluator that show student achievement goes up, and we can demonstrate that in several different ways. Student engagement goes up. The ability of teachers to apply the historical thinking skills increases.

Roni Jones: There are really two separate things going on. We have all of this evidence based on feedback from teachers. Everyone wants to call that anecdotal, but pretty soon, there's a pattern and pretty soon there's a message that's coming very clearly from teachers—that teachers are actually demanding—calling their administrators and sending emails to their administrators saying, you know, unless you do lesson study, I don't want to do professional development.

Mimi Coughlin: I really believe that the professional development is profound and the leaders in Placer County in the coming years will be people who say, you know, that lesson study thing. . . Because it provided networking opportunities, it provided a clear content focus and a clear focus on the student experience—student achievement, student engagement, examining student evidence, all these great things that you want educators to do.

Amy Trenkle on Glogging Class Greats

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Student glog, Dorie Miller
Student glog, Dorie Miller
Student glog, Dorie Miller
Student glog, Dorie Miller
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Student glog, Dorie Miller
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This school year, each of my classes chose a person to represent them and become their class name. Instead of having blocks 3 and 4 or periods 6 and 7, I've had my Alice Paul and Daisy Bates classes on A Day and Dorie Miller and Rosie the Riveter on B Day.

At the beginning of the year, I gave my students the task of reading a biography in small groups. Student glog, Daisy BatesI chose historical figures in U.S. history, some well known and others lesser known to them, and created biographies no longer than a page, by cutting and pasting from credible websites or by using biographies from History Makers (published by Rada Press). After each group read their biography, they summarized what their person did and why they are in the history books. They then presented their findings to the class, as well as what characteristics their person possessed that would make them a great name to adopt for the class. Students cited such qualities as perseverance, tenacity, and strength. After the class heard all of the biographies, they voted on which name they wanted to adopt.

During the course of the year, I made sure each class had an activity outside of the curriculum that connected with their class name. Alice Paul, named after one of the founders of the National Women's Party, had a museum educator from the Sewall-Belmont House come in and speak about Paul. We then walked to the house and saw just how close the National Women's Party headquarters are to our school! Student glog, Dorie MillerDorie Miller, who had taken the name of the first African American to receive the Navy Cross, had a museum educator from the National Portrait Gallery come to our class to share World War II posters, with an emphasis on the Dorie Miller poster. She created a lesson that had students then write their own historic labels, like you would find in a museum, for the poster. Rosie the Riveter visited the Smithsonian National Museum of American History’s "The Price of Freedom: Americans at War" exhibit and had a tour, emphasizing Rosie! The kids even practiced riveting! Daisy Bates, who had taken the name of the civil rights activist, traveled to the National Museum of American History in February and heard from veteran Freedom Riders. While there wasn't a direct connection to Daisy, they heard from civil rights leaders who fought alongside of Daisy Bates.

Memorializing History with Glogs

I've decided that I will definitely continue this for next year’s classes, but that I could never have another Dorie, Daisy, Alice, or Rosie class. So, my last assignment for each class this year was for them to create glogs memorializing their class names. Students worked individually or in pairs to create a glog.

The class then voted on which glog was the best. I will print the final, winning glog for each class in poster form and hang it in my room to teach future classes with and to remind me of the legacy of these classes.

What is a Glog?

Student glog, Dorie MillerBut what's a glog? This is a question that my students had.

At first, they thought I said they were creating a blog—like a blog entry—since they were used to doing that. I clarified and enunciated the word "glog" again. There were confused looks.

A glog, as I explained to my students, is a multimedia poster, created on the computer. On a glog you can add text, photos, videos, music, audio recordings, documents—you name it!

Student glog, Daisy BatesOne of the first things we did was find a Plan B. Glogster, a glog creation tool and community, is blocked by my school district. Having explored Glogster at home, I did know that they have a teacher's address. I directed my students to edu.glogster.com and had them create accounts as "Basic" members (it's free!). The students were soon underway!

Students were to create posters about their class name, and incorporate photos, a quote about or from their person, a brief summary of what their person did, and at least one multimedia clip (a video or music).

When the students were done with their posters, they published them and then emailed me their blog with the "email friends" feature. I did this activity over two days. The second day, I was much more clear about my expectations for inclusion of elements on the glog, and they turned out much better, content-wise, for more groups. I think it was helpful for students to have to think about the various elements to incorporate and served as a review of primary sources for them.

The Impact of Glogs

Student glog, Daisy BatesI can definitely say that this was a hit among the students. They really enjoyed learning about the new technology and many said they were going to go home and play with it. They became engrossed in looking for sources that others wouldn’t find so that their posters would be unique.

The technology was very intuitive for the students, and I learned a lot from watching them. While I had spent time learning how to glog myself, I watched my students just fly with it! Before I knew it, they were asking each other questions about how to add something or asking their friends to look at what they did on their screens. They clearly were enthusiastic for not only their class name, but for creatively sharing the history of their person through their glogs for future classes.

Evelyn MacPherson, one member of the two-person winning Alice Paul glog team, said the following about making her glog:

I enjoyed making the poster, it was a lot of fun to create something that could be used as a learning tool that required you to use creativity. We knew that you had to balance out the facts with things that would draw people to your poster, such as a theme, or pictures. It required some trial and error, but it was a lot of fun.

I really enjoyed this activity and hope to use glogs more in the future. Glogster was easy to use, and this activity required critical thinking skills from my students and integrated technology and history in an engaging way for them . . . and me!

For more information

Our bloggers have many ideas for using visuals in the classroom! Once you've learned how to glog, take a look at Jennifer Orr on using art in a 1st-grade classroom, Diana Laufenberg on tying visuals and visualizations in at the high school level, and Joe Jelen on Google's Art Project.

Tech for Teachers can introduce you to more online tools—including Glogster—and our articles on copyright can help you (and your students) understand the complexities of locating and using images online.

Gettysburg National Military Park: Camp Life

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Photo, Ring, Gettysburg National Military Park
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Created by the National Park Service and associated with Gettysburg National Military Park, this exhibit recreates Union and Confederate camp life. Short 200-300-word essays in two sections, "Living in Camp" and "Existing Day to Day," describe how camp life differed for officers and enlisted men, what daily routines were like, and what personal effects soldiers might carry. Seven subsections make up a third, larger section, "Battling Boredom," on ways soldiers passed time in camp, including "Playing Games," "Writing," "Drinking & Smoking," "Taking Pictures," "Whittling," "Making Music," and "Praying."

Sound sparse? The explanatory text isn't the strong point of this site—it's the 90 annotated photographs of artifacts from Civil War camp life, including board games, uniforms, musical instruments, prayerbooks, cooking tools, and more. Visitors can either explore the three main sections of the site and click on the artifacts as they read the related essays, or click on "All Image Gallery" to see all 90 primary sources gathered on one page.

An easy-to-navigate bare-bones introduction to the hurry-up-and-wait side of war, the exhibit could draw students in with its personal, everyday artifacts.

Top Tens, or "Best Sites for..."

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Lists of Top Ten Best Sites For... or 100 Best Whatevers or One Thousand Resources to Help You... abound on the internet.

But are lists of Bests valuable? They are one way to corral the quick fix, hyperlinked capability of internet research and to mediate enormous quantities of material of unknown quality. Then there's always the hope that other people's time spent compiling these lists might save us some of our own.

So, here's an eclectic selection of a few lists that have come to our attention. Since we don't want to marginalize other prime candidates, we won't call them the best of the bests, but they're definitely quite, quite good. And if all of them don't directly address history teaching, many do speak to pedagogical methods applicable to the history curriculum.

Lists that aren't content specific may still have ideas to adapt across the curriculum.

Educator Larry Ferlazzo is a prolific list creator (also featured in previous Clearinghouse blog posts). My Best Of Series is a table of contents to those lists that cover topics from A to W (Art to Web 2.0) with social studies, ESL and ELL, and a broad variety of content and methodological topics in between.

Making Teachers Nerdy is another teacher-based blog from a tech integration specialist who went back into the classroom when budget cuts affected technology teaching. This Kansas teacher blogged between January and September in 2009, annotating links and best of lists of tech tools appropriate to her curriculum. Attached comments from readers augment her blog entries.

Top Ten Sites for Brainstorming/Mind Mapping is from Technology Tidbits: Thoughts of a Cyber Hero the blog of technology education specialist Dav Kapuler. Kapular advocates mind mapping as "a tool that facilitates ideas and collaborative in nature," as an ideal tool for 21st century learners.

In October, 2009, the New York Times published The 10 best educational websites. Maybe yes. Maybe no. But these selections definitely link to some of the largest educational organizations that are crammed with information helpful to the American history curriculum and that serve as gateways to relevant microsites.

History News Network features Cliopatria's History Blogroll. This gateway places blogs within 30 categories such as American History, Primary Sources, Military History, Women's History—and each listing is well-populated with history content and commentary.

Kathy Schrock's Guide for Educators lists American History Sites, General History and Social Studies Sites, World and Ancient History Sites. These, too, are eclectic lists that may take you to historic sites, archives, lesson plans, and tech tools.

Technology enables teachers to develop personal learning networks for diverse learners.

Ten Tips for Personalized Learning via Technology from Edutopia talks about how to use digital technology tools for teaching and assessment to help meet the challenge of increased classroom diversity. "Income levels, ethnicities, family structures, first languages, interests, and abilities now vary so much, that a traditional teaching approach, with a uniform lesson targeted to the average-level student, just doesn't cut it" is the premise of the list.

One Alone

Resources specifically directed toward middle school teachers and students are often difficult to find, so here's a list of one.

Middle School Matrix: Exploring the changing world of middle school teaching and technology is a blog from a Philadelphia history, English, and technology educator . She talks about what she teaches, how she implements lesson plans, about how technology works (or doesn't work) with different units, and about the role and goals of the educator. The focus is the curriculum and the student; technology is a means to meet classroom goals.

Michael Yell on Using DVDs/Video Segments in the History Classroom

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Graphic, Interactive Viewing Guide, Submitted by Michael Yell
Graphic, Interactive Viewing Guide, Submitted by Michael Yell
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One may hear a thousand words or read a thousand volumes, and, at the end of the process, be very much where [he or she] was as regards knowledge. Something more than merely admitting it into the mind is necessary, if it is to remain there. It must not be passively received but actively and actually entered into, embraced, mastered. The mind must go to meet what comes to it from without.—John Henry Newman (1801-1890)

History instruction cries out for engaging thoughtful strategies to help our students embrace the content. And although it is understood by most teachers that information must not be passively received, it takes thought and a repertoire of effective strategies to maintain activity and engagement while imparting information. John Henry Newman discussed the ineffectiveness of imparting information through lectures and reading without engagement. DVDs, videos, and online streaming, via such online educational services as Discovery Education's United Streaming, were far off in the future when he wrote, but the same idea holds true. When showing students a video, DVD, or online streaming video to convey information on a unit, can we still actively engage our students? Can we still help them to embrace the content?

[. . . A]lthough it is understood by most teachers that information must not be passively received, it takes thought and a repertoire of effective strategies to maintain activity and engagement while imparting information.

As history teachers, we want our students to question and to inquire into historical events, ideas, and people, and we also want to impart historical information. One way to do both is through the use of DVDs, videos, and streaming, and we have many excellent video sources that we can choose from, but there are problems that teachers face in using them. How can we help our students get the information from that form of media while still keeping them involved? How do we help our students mine the media for information while still having them watch the program? How we utilize video resources determines much of what our students learn from them.

Some will give students worksheets to fill out while viewing, but that is hardly involving them. Having them take notes while viewing might get students active but while they are writing they are distracted from the viewing and invariably will miss some of the presentation. Some years back, I came across a reading strategy that utilized the old Cornell notetaking strategy and I adapted it for use with video presentations. My students know it simply as the Interactive Viewing Guide and it has become my go-to strategy in using nonfiction videos and DVDs.

The Interactive Viewing Guide

Experience told me long ago that simply turning on the video and running it from start to finish was definitely not the way to go, and so I began early in my career dividing the video viewing into segments. Using the viewing guide allows students to question, take brief notes, discuss, elaborate, and summarize what they have watched. The guide has several steps: 1) Preview the video or DVD, 2) Develop questions as a class, 3) Ask students to jot down one- or two-word impressions regarding each question while they view, 4) Divide students up for pair or group discussion, 5) Prompt students to summarize, 6) Convene whole-class discussion.

Key points for use of the guide include what the guide looks like, questioning, student notetaking while viewing the video, and discussion. I put the following guide on my Smartboard and students copy it into their notebooks:

Graphic, Interactive Viewing Guide, Submitted by Michael Yell

My preference is to begin the preview with discussion and developing questions. I might use an inquiry or simply pose questions to my students about the subject matter. I might use a primary source or artifact, but it is important to begin by appealing to the students' curiosity and establishing a purpose for what will be viewed. From this, we will begin to develop questions that they are to keep in mind during the video segment. As a teacher I guide the questioning and from their ideas develop a few brief questions for which they are to watch (of course, as a teacher I steer the questioning as I know what I want them to learn from the presentation).

Keeping the number of questions that students are to watch for during the segment to two or three, the questions are written in the Watch for. . . section. Students are told that when they hear or see something in the DVD that relates to the questions they are watching for, they are to jot down a one- or two-word impression or idea. This is the most difficult thing for many students as they want to write down everything, but they are told to keep it short; their purpose is not to write lengthy notes but to jot down short memory joggers for discussion.

[. . . T]heir purpose is not to write lengthy notes but to jot down short memory joggers for discussion.

Following the segment, we use a quick summarizing technique I call One-Minute Review for groups of four. Each student has jotted down some impressions and the brief review time allows them to discuss the ideas that they jotted down during the segment they just viewed. In this strategy, I set an interval timer on the Smartboard to run for four 15-second intervals. At the end of each interval an alarm sounds. Each student in each group reviews the impressions they wrote down for 15 seconds, the alarm sounds and the next student reviews hers or his, then the next, etc.

Following the brief discussion each students writes their own summary in the appropriate section of the guide. The summaries must be clear and complete and answer the questions posed for the DVD segment. We complete the interactive viewing guide with a whole-class discussion, following the reading of a number of summaries.

Turn the Suggested Process into Your Practice

The Interactive Viewing Guide has become my go-to strategy when using DVD segments in my 7th-grade history class. I find it excellent for use with nonfiction videos/DVDs/streaming (although I often use the one-minute review strategy from time to time with fictional programs, I do not use the writing component of this strategy until after the program). Although I continue to tweak it, I have found that through its use students become actively engaged in thinking about, discussing, and writing about information. Give it a try, adapt it, and help your students to embrace the informational content of the DVDs/videos that you use in class.

For more information

Our Teaching Guide "Teaching with Historical Film Clips" gives more guidance on leading students to analyze and question film sources.

A Yale professor models critique of a famous documentary in a review of Ken Burns's Jazz.

Planning their own documentaries can give students more insight into the interpretive process that goes into making any film.

Ron Gorr on Imagining the Great Depression: Mixing Primary Documents and Student Creativity

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Print, Heidi writing, 1922, New York Public Library Digital Gallery
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Often, in my mission to include primary sources in my AP U.S. history curriculum, I find that my lessons become predictable and less awe-inspiring than I would like them to be. My students have analyzed, discussed, interpreted, and synthesized primary resources to such an extent that some of them lose sight of the fact that these items can be a lot of fun to manipulate. If your students sometimes feel the same way, why not try something a little different that still includes sound instructional techniques and content synthesis? Here is what my students and I did to fight primary-source boredom.

Finding New Ways to Engage Old Sources

After reading the chapters and completing some basic homework related to the Depression, I asked my student to find at least three separate primary sources pertaining to the Great Depression. The first needed to be an official document of some sort (government document, newspaper article, legislation, etc.); the second could be an image (cartoon, poster, photo, etc.); and the third item needed to be a personal account of some sort (diary, letter, editorial, etc.). Each of these items needed to be from the Depression period, between 1929-1938.

Once my students found their documents, I asked them to create a story that bound the three documents together. This could be total fiction or some version of historical fiction, but the story needed to not only mention each document, but explain or address its historical meaning and significance within the structure of the story. Other than these instructions, I allowed the students to apply their own creative instincts to the assignment. (Note: Previously, we had done a number of other primary source projects that required the kids to find sources on their own, so this was not the first time I'd asked them to locate content-specific primary sources. If this is your student's first exposure to primary source research, you may want to spend some extra time guiding them through Teachinghistory.org or another quality history resource venue).

[. . . S]ome of my logical-sequential students moaned at [the assignment's] right-brained nature, but a handful of kids saw it as a chance to set themselves apart from the traditional super-student who can read fast, ace every test, and answer every discussion question. . .

Upon receiving this newfangled assignment, some of my logical-sequential students moaned at its right-brained nature, but a handful of kids saw it as a chance to set themselves apart from the traditional super-student who can read fast, ace every test, and answer every discussion question first. In addition, a bunch of kids were simply relieved by the break in routine. With such a diverse reaction to the assignment, I was excited to see how this experiment would go.

The Product

The final products offered a fantastic diversity of effort, creativity, and depth of research. As always, there were a few students who just went through the motions and turned in three documents with a superficial, ill-formed story, but most of the students seemed to enjoy the departure from strict, conventional historical study. Passionate accounts of suffering, hardship, sadness, anger, hope, and overcoming obstacles arose from the images and documents they discovered. Fictional characters were created based upon contextual clues offered by the source material and plotlines evolved as my students made artistic and historical connections between each of the documents. It was fascinating to see how easy it was for my students to synthesize the information in their documents and carry it into their imagined realities.

Overall, I loved the results of the assignment. The stories were fun to read, and since we seldom have a chance to travel creative avenues in the A.P. curriculum, I think most of the kids viewed it as a welcomed break from the relentless push towards the exam in May. But what seemed like a break to them was simply another one of Mr. Gorr's hidden agendas—one of which was so hidden that I didn't even see it until I was grading their assignments. Here are my original objectives, plus the third I discovered:

The first objective of this assignment was to provide curricular diversity and a chance for my right-brainers to excel. I think we accomplished that successfully.

Evaluation and synthesis skills are essential to writing a good DBQ, and this assessment allowed us to look at these processes in a totally different way.

The second objective and my original reason for designing the lesson was to obscure the anxiety-invoking document analysis component of Document Based Question (DBQ) writing by allowing students to create their own story instead of basing everything upon documented history. This lesson still required them to evaluate and synthesize their sources, but they could do so without the restrictions they felt when confronted with DBQs. Evaluation and synthesis skills are essential to writing a good DBQ, and this assessment allowed us to look at these processes in a totally different way.

Once I related the correlations between the fictional DBQ and the actual DBQ, a number of my students seemed to have an epiphany. This assignment allowed them to see document analysis in a much more simplistic way.

Pulling Meaning from Sources v. Selecting Sources to Fit a Narrative
If historians conduct their research with a preconceived idea of what the documents will say, they can inadvertently ignore important information. . .

I discovered the third objective retroactively. After reading their stories, I noticed that some students chose documents with a story already in mind. In other words, they didn't write a story to connect their documents, they chose documents to fit their story. At first, I just saw this as a shortcut to finishing the project, but the more I thought about it, the more it emphasized the challenges that face historians when they try to relate the past to modern audiences. If historians conduct their research with a preconceived idea of what the documents will say, they can inadvertently ignore important information that could challenge the history they want to tell. In some cases, the omissions could dramatically skew the conclusions made and diminish the creditability of the author and his/her historiography.

In many ways, this objective overtook my original objectives. Since our understanding of the past is in the hands of historians (both good and bad), I think it is very important for my students to understand the interpretation that goes into writing history. We compared Christopher Browning's book Ordinary Men with Daniel Goldhagen's book Hitler's Willing Executioners. Each author wrote significantly different histories about a group of German soldiers, based upon the identical primary resources. My students were enthralled by the discussion of how important a historian's job is. For a few minutes, I was cool!

In Conclusion

In all, I was extremely pleased with all aspects of this assignment. It allowed us to verge from the beaten path and explore underused methodologies that allowed my students to expand their critical and creative thinking skills while still maintaining focus upon the core objectives of the AP curriculum.

If you have suggestions, comments, questions, etc., please let me know. More importantly, if something I have written motivates you to create something even better, please share it with me. We are all curricular thieves in teaching and in this case, my hope is that I can, as Huey Long put it, "Share the Wealth."

For more information

EDSITEment offers an example of using creative writing, historical fiction (including visual fictions), and primary sources together to engage students—in this case, in the story of Paul Revere's ride, as told by both art and poetry.

Linda Levstik, author of Doing History, cautions against allowing students to identify uncritically with the past, and with historical fiction, but still recommends fiction's use in class.

Connecting Art and History

Description

From the Corcoran website:

"Explore America's cultural history through paintings, sculpture, and other works of art in the Corcoran's collection. Look at Western expansion, the Gilded Age, the Great Depression and other major issues and movements in our country through the eyes of artists. Hands-on activities, educator resources, and refreshments are included."

Contact email
Sponsoring Organization
Corcoran Gallery of Art
Phone number
2026391774
Target Audience
K-12
Start Date
Cost
$12, $8 for members
Duration
Three and a half hours

The Iconography of Slavery

Description

From the National Humanities Center website:

Visual imagery played a major role in the anti-slavery movement. From the iconic image of a kneeling slave asking "Am I Not a Man and a Brother?" to images of family separations through sale at auction, images were an important weapon in the arsenal of abolitionist activity. This seminar will look at some of the imagery created in support of anti-slavery activities. How did the imagery evolve? What were the major themes? What were the iconic images of slavery? And how, then, did artists portray freedom? What was the relationship between anti-slavery imagery and slave narratives and abolitionist writing, including Uncle Tom's Cabin?

Registration Deadline
Sponsoring Organization
National Humanities Center
Target Audience
K-12
Start Date
Cost
$35
Course Credit
"The National Humanities Center programs are eligible for recertification credit. Each seminar will include ninety minutes of instruction plus approximately two hours of preparation. Because the seminars are conducted online, they may qualify for technology credit in districts that award it. The Center will supply documentation of participation."
Duration
One and a half hours

Children and Youth in History

Image
Detail, homepage
Annotation

This website presents historical sources and teaching materials that address notions of childhood and the experiences of children and youth throughout history and around the world. Primary sources can be found in a database of 200 annotated primary sources, including objects, photographs and paintings, quantitative evidence, and texts, as well as through 50 website reviews covering all regions of the world. More than 20 reviews and more than 70 primary sources relate to North American history.

The website also includes 20 teaching case studies written by experienced educators that model strategies for using primary sources to teach the history of childhood and youth, as well as 10 teaching modules that provide historical context, strategies for teaching with sets of roughly 10 primary sources, and a lesson plan and document-based question. These teaching resources cover topics ranging from the transatlantic slave trade, to girlhood as portrayed in the novel Little Women, to children and human rights. Eight case studies relate to North American history, as do two teaching modules.

The website also includes a useful introductory essay outlining major themes in the history of childhood and youth and addressing the use of primary sources for understanding this history.

PhilaPlace

Image
Photo, Former City Hall, Germantown, Philadelphia, 2009, eli.pousson
Annotation

A project of the Historical Society of Pennsylvania, PhilaPlace explores the history of two neighborhoods in Philadelphia—Old Southwark and the Greater Northern Liberties—historically home to immigrants and the working class. Using an interactive map and more than 1,240 primary sources and audio and video clips, visitors to the site may navigate the neighborhoods and learn more about their development from 1875 to the present day.

Visitors may navigate the interactive map using filters found under two tabs to the left of the map: "Places" and "Streets."

Under "Places," click on marked points of interest to bring up photographs or audio or video clips describing the history of the location. These points of interest may be filtered by 14 topics (such as "Food & Foodways," "Education & Schools," and "Health") or by contributor (the Historical Society of Pennsylvania, its partners, or visitors to the site). The map may be set to show the city's streets in 1875, 1895, 1934, 1962, or the present day—note that points of interests from all time periods appear on all maps. Two virtual tours through the points of interest are available, one for Greater Northern Liberties/Lower North and South Philadelphia.

Under "Streets," visitors can view demographics for four streets—S. 4th St., S. 9th St., I-95, and Wallace Street—from 1880-1930. Buildings on each street are color-coded to show land use, the number of residents per building, and the ethnicity and occupation of each building's residents.

Collections allows visitors to search the more than 1,240 primary sources and audio and video clips available on the site. Filter them by topic, neighborhood, type, or contributor.

The site's blog presents mini-features on certain locations, notifications of updates, and information on professional development and other PhilaPlace-related events. Educators provides a timeline for each of the neighborhoods and four suggested lesson plan/activities, while My PhilaPlace lets visitors create free accounts and save favorite materials to them—or create their own up-to-25-stop city tour. The Add a Story feature allows visitors to tag locations on the maps with their own short descriptions or memories (up to 600 words long), and accompany them with an image or audio or video clip.

Attractive, interactive, and accessible, PhilaPlace may appeal to Pennsylvania educators looking for a tool to help students explore urban history.