Nearly every student shares some connection with music. Whether students favor listening to today’s pop music by Justin Bieber or Rhianna; classic rock by the Beatles or Bruce Springsteen; folk music by Woody Guthrie, Pete Seeger, or Bob Dylan; or jazz music from Charles Mingus or John Coltrane, they glean messages from music and the artists who create it. Moreover, music has been such a part of American popular culture and history that we are rich with music that has commented and reflected on the people and events of that history. As such, using music in a history classroom to foster student interest and content analysis can be part of an effective lesson. But incorporating music in such a way as to encourage meaningful learning requires some structure and forethought. In a previous posting I outlined four general models of incorporating music into a history lesson. I’d like to take this time to explore in a bit more detail how I have made effective use of music in my classroom.

My most common method for including music in my lessons was to present the music in a straightforward fashion, allowing students to respond to the lyrics, tone, and message of the song(s) based on the context of our content. For example, throughout a mini-unit about the labor movement of the early 20th century in the U.S., I would typically play selections from the time period, including more than a few songs by Joe Hill, “Bread and Roses” by James Oppenheim, and “Solidarity Forever” by Ralph Chaplin.

Although it is rare to find performances from these songwriters, I often find performances of these songs by various artists reinterpreting them. John Denver, for example, recorded and often performed “Bread and Roses. Many education and historical websites provide samples or entire performances of these songs. I have often used the PBS site Strange Fruit as a starting point for my research (incidentally, using the song “Strange Fruit” typically elicits emotional responses when dealing with race relations and the Jim Crow era, and I highly recommend its use for class).

Using this method, I begin class by handing out a guidance worksheet designed to get students to be keener listeners as we hear the song. This worksheet is divided into two distinct parts. In the first section, which I label as pre-listening, I provide students with some basic information about the song, including the genre, the songwriter, and about the interpretation as we are about to hear it. In my experience, giving students this information before we commence listening allows them to consider the message and tone with fewer distractions—including quibbles over whether or not the song was really a blues or jazz song, for example—which can take away from the foundational intention of the listening activity.

Once we are ready to listen to the song, I review the context once more. Just before listening to “Solidarity Forever,” for example, I would reiterate the travails of the labor movement and the methods unions and employers had taken in an effort to strengthen their respective sides. Upon completion of the pre-listening information and context, I project the lyrics onto the screen in the classroom and we then begin listening. While the students are listening, they write down on part two of the worksheet some of the meaningful lyrical passages as well as the tone set by the music and presentation. Additionally, in an effort to gauge effectiveness of the message, they are asked whether the song appears to be more of a call to action or a reflection on the historical event or situation. And finally, I also ask students to ponder for whom this song was written and whether the song effectively addresses those constituents.

With an inquiry-based approach, I eschew much of the pre-listening portion of my lesson and ask students to consider, in a more open-ended way, the message of the song(s) with little in the way of context, often at the beginning of a new topic.

This method allows students to discover meaning and make sense of a time period within the messages of the song(s). From that basis, we can draw on their conclusions as we progress through lessons related to the topic and beyond. In my experience, students often refer to the messages they first discerned in these songs. They find that their original understanding of the message may have been flawed or that the message in the song conveyed a point of view contrary to what they had learned otherwise. Either way, the analysis they performed and the context they developed from listening allows them to engage with the content with more prior knowledge and experience, thus allowing the possibility for deeper understanding.

Perhaps my favorite example of this method is with the song “This Land is Your Land” by Woody Guthrie. Students know the song, of course, but tend not to know all of the verses. When they hear the more controversial lyrics found in some of the verses, there is disbelief. Most never heard about the references to private property nor considered the implications of a rising tide of communism. As we delve into some of the components and implications of the Great Depression and the Cold War, reference back to those lyrics often moves students to comment, “So now I see why those verses were cut out of the song.”

With both of these simple methods, the teacher has the ability to employ a medium that likely has significant meaning for students. Music is all around us; providing powerful stories, inspiration, and joy in its messages. Harnessing some of the power of music to influence and convey messages can be a potent tool for teachers. Through some forethought and structure, the possibilities to foster meaningful learning are significant.

The bicentennial of Abraham Lincoln's birth was celebrated in 2009. This year, 2011, marks a related sesquicentennial. Sesqui? What's that? It means "one and a half," and a sesquicentennial marks something's 150th anniversary. In 1861, 150 years ago as of April 12, Confederates fired on Fort Sumter, SC, and the American Civil War began.

Historical sites, museums, societies, and other organizations have been gearing up to celebrate this anniversary for months, if not years—and as educators you can take advantage of their materials and events.

Looking for digitized primary sources? Downloadable lesson plans? Interested in planning a field trip? Your state (as well as your local community) may have new resources available, or in development, for you.

Many states have chosen to make the sesquicentennial an official affair, overseen by a committee or commission recognized by the governor. The websites created by these groups vary widely in quality, but they're a good starting place for exploring the sesquicentennial. Many include timelines, calendars of events, digitized primary sources, educator sections, directories of historic sites, discussion forums, and other resources. The following states have publicized their sesquicentennial preparations online:

• Alabama
• Arkansas
• Connecticut
• Delaware
• Georgia
• Indiana
• Iowa
• Kentucky
• Maine
• Mississippi
• Missouri
• New York
• North Carolina
• Ohio
• Oklahoma
• Pennsylvania
• South Carolina
• Tennessee
• Vermont
• Virginia
• West Virginia
• Wisconsin

What states aren't here? Alaska, Arizona, California, Colorado, Florida, Hawaii, Idaho, Kansas, Maryland, Massachusetts, Minnesota, Montana, Nebraska, Nevada, New Hampshire, North Dakota, Oregon, Rhode Island, South Dakota, Texas, Utah, Washington, and Wyoming do not currently have state Civil War commissions. Illinois may have one forming, and Louisiana may have one that has no web presence.

Ask your students to think about this list. Why might these states not be celebrating the sesquicentennial? The answer for some of them should be clear—they weren't states at the time! Yet textbooks emphasize disagreement over whether slavery should extend into the territories as one of the causes of the Civil War, and history certainly didn't stop happening in these regions during the war.

Consider giving your students a state. Maybe you want all of them to study your own state's Civil War history. Ask them to look at how your state is commemorating the sesquicentennial. What Civil War sites are located in your state? Are they preserved? What was happening in your state in 1861? How much of its history in that year was driven by the Civil War? Were there major events that seemed unrelated to the war? What events seem to be talked about most often in your textbook and the resources about your state's 1861 history that you can find? What events are given very little space? Does your state have a history of celebrating Civil War memorials? What kind? Have celebrations changed over time?

You might also give each student a different state. Include wildcards, like Hawaii and Alaska, that weren't even territories at the time. Have them research 1861 in their state histories. What was happening in each state (or the areas that would become their states)? How much was related to the Civil War? Were there events that your students think deserve commemoration (even if they weren't related to the war)? Have them put together a theoretical sesquicentennial commemoration for their state, celebrating the year 1861. Remind them that events don't have to be Civil War-related!

If you've looked through the sesquicentennial websites above and can't find resources to suit your needs, try searching our Website Reviews. We've visited more than 300 websites with resources on the years 1850–1877, and annotated all of them.

However you want to approach Civil War history, chances are good you'll find a site with relevant resources cataloged here.

As teachers of history, we know that there are the curricular realities of textbooks, common assessments, district outcomes, and state standards to meet. But as teachers of history, we can regularly experience the motivating effects of having students think historically, wrestle with primary sources, and interact while they explore events, issues, ideas, and people of the past. We can do this while still meeting those curriculum targets that, at times, make it seem as though we must take our students on the deadly content coverage march.

I teach 7th-grade world history at the Hudson Middle School in Hudson, WI, and have taught every social science discipline, world history, American history, and state history in every secondary grade over a career of (so far) 37 years. As a classroom teacher I have found that in order to meet those curricular timelines and standards while engaging students in the study of history it is important to:

1. develop a climate of engagement, interaction, and activity; and
2. develop a repertoire of engaging thoughtful teaching strategies that will engage students in the study of history.

How can we as elementary and secondary teachers set a climate for exploration? How can we engage our students in historical thinking while meeting the expectations for curriculum coverage that we must? In this blog, I will write about creating that climate and those teaching strategies that I have found are unsurpassed in having students engaged in the study of history.

Many years ago, my family was sitting around the dinner table after the first day of school. We were talking about that first day when I asked my youngest, who was just entering in middle school, what he did in his class. His reply was we did the first thing we always do on the first day of school: we talked about rules. The two older children, one then in middle school and one in high school, chimed in that in addition to rules, we got to listen to course descriptions, just like every first day. That was an "ah ha" moment for me. What they, and probably most students, experience on the first day is basically a matter of routine and it is not setting a tone for engagement.

I love history and want to engage my students in its exploration. Setting the climate for this begins day one. Although there are certainly many ways to initiate your students into a climate of engagement and discovery, I would like to share mine which, with continual tweaks, I have been using ever since that dinner table conversation about 10 years ago.

When the students come into my room on the first day of school, they find desks formed into groups of four. They seat themselves, and as soon as the bell rings, I give them a challenge: students are to make a class timeline by standing along the walls of the room in order of their birth. The rules are that they cannot talk and they cannot write.

Of course, they realize very quickly that the only way to do this is to use sign language—so many fingers for the month and then the day once they have found others born in the same month. After a few minutes of positioning and repositioning, from the first in line to the last, students announce their birthdays.

From that point, students are formed into groups of four and we talk briefly about the class. I start by asking them about their attitudes toward history and then give them my three guarantees. Regarding their attitudes I always seem to find that roughly a quarter of my students like history, another quarter dislike history, and the rest are ambivalent. It is then time for my three guarantees:

1. this year we will explore a lot of history (I emphasize the word explore);
2. this year you will enjoy learning history; and
3. this year you will never, never do a worksheet.

We then spend the remainder of the period playing a team-building game called Whatzits.

The goal on this first day is not to set up the rules for the class, to give my students a syllabus, or even to begin engaging them in historical thinking (that will come). My goal is that when students leave the class, they will have a sense that this history class is going to be different from what they may be accustomed to. I use the birthday line-up, my guarantees, and a team-building exercise to set the tone for my classes. As fellow teachers of history, you may find other methods, but I strongly recommend you get students up and moving, and engage them in activities that will set those expectations of engagement.

What is the next step that must be made in fulfilling those expectations? Simple; the next step is to hit ’em with your best shot. Immediately.

To carry through with a tone and climate of engagement, it is necessary to use engaging and thoughtful teaching strategies in your teaching immediately. My best shot, i.e. the strategy that I have found most motivates my students and excites them about the upcoming unit, is a strategy called Discrepant Event Inquiry.

Imagine that students have just come into your American history class. The bell rings, and you tell your students that they are going to solve a mystery. The first thing they must figure out is what has happened in this story:

A young boy named John lived on a farm in a beautiful, mountainous, wooded area in Eastern Tennessee in 1837. His family planted corn and raised animals for meat, milk, and eggs. John had four brothers and three sisters. The family appeared happy and prosperous. In 1839 the family moved to a treeless, dry, flat prairie. During the journey, two of John’s brothers and one of his sisters died. When they arrived at their new home, the family could not grow enough to feed themselves. John’s father became a member of the legislature and his mother helped publish the local newspaper. John missed his brothers and sister, and his beautiful home in the mountains.

When the short tale is complete you say to your students: what you must figure out is why John’s family would leave their beautiful farm for a difficult life in this flat dry prairie.

A timer is set and immediately students begin to question you. But these are all a particular type of questions—questions posed to you must be answerable with only a yes or a no. No open-ended questions allowed—students must figure this story out on their own.

The questions and answers begin:

• Did the family know where they were going?
• Yes.
• Did they want to leave Tennessee?
• No.
• Why did they leave?
• I can’t answer that—remember, only yes or no questions.
• Did they have to leave?
• Yes.

Questions build upon questions and answers build upon answers as students probe and analyze the problem and develop hypotheses. After a few minutes, the timer is paused and students briefly discuss what they have learned and what they still must discover. Then the timer starts again, as do the questions, until time runs out (I give students five minutes) or a student has developed the correct hypotheses.

I have learned in using discrepant event inquiries that the motivational qualities of this strategy are just as strong, perhaps stronger, if a class does not figure it out. If the time runs out and they have not solved the mystery, they are ready to move into the inquiry more deeply and learn about it. If they do figure it out, they are happy and ready to move on to further inquiry into the subject.

There are four steps in conducting a Discrepant Event Inquiry:

1. A puzzling story or statement is told to students as well as a statement of what they must figure out in order to solve it.
2. Students analyze the puzzle by asking the teacher questions that can be answered with a "yes" or a "no."
3. The teacher pauses during the inquiry in order to give students the opportunity to engage in small-group discussion to enrich their thinking and help them form hypotheses.
4. The inquiry is followed with the development of questions that students wish to answer during the unit/lesson.

Developing the puzzling story or statement requires a bit of imagination, but anything that can be stated in a puzzling way or stories that can be told about the subject leaving important pieces of information out are ripe for the inquiry.

By the way, John and his family were Cherokees forced from their homes in the Trail of Tears. Students are now eager to make further inquiries into this tragic period in American history. Two exemplary strategies that the history teacher can use to further engage them in their inquiry are Response Groups and Mystery, which I will examine in future blog entries.

Music has been a source of inspiration, of protest, of wisdom, and of emotion for millennia. In the United States, music became woven into the fabric of our culture well before we became a nation, and it remains so today. Through songs of protest and patriotism from the 18th and 19th centuries to music of today commenting on and influencing social or political issues, music has found its way into nearly every era and event in American history, inspiring it or reflecting on it.

Beginning in my early teens, I recall being affected by the political and social messages in the music to which I listened. In fact, my music-inspired evolution toward civic-mindedness greatly influenced my decision to teach social studies. As an American history teacher, I found significant success employing music in my lessons. Students in my class might get a sampling of some Joe Hill union songs from the IWW; 1960s protest songs such as "Masters of War" by Bob Dylan; a taste of punk rock music from the Bad Brains, Black Flag, or Minor Threat that raged against governmental policies or notions of class from the Reagan era; or hip-hop songs from Public Enemy, A Tribe Called Quest, NWA, or KRS-one that lamented urban blight of the 1980s and 1990s.

These songs became sources integral to our wrangling with the experiences of the past and examination of contemporary social and political issues. We often laughed at the vocalists or the crude recording and instrumentation, but our mission was to analyze the meanings behind the songs in terms of their significance to history and the social studies. We treated these songs for what they are: cultural contributions critically relevant to the past, present, and future of our society.

I am certain that sharing these songs with my students engaged them in the content for a time. I am also certain that they enjoyed the unusual activity of listening to music in class, hearing my commentary of the artists, and discussing, for example, the characteristics of Dylan's voice or the bombast that was 1980s hardcore punk rock. However, my goal was beyond just engagement. Whether reflecting on or being a part of the context, these songs contained meaning. They represented a look inside the lives of the songwriters and the stories they had to tell. These songs allowed us to be more aware of our own world. They held the potential, as do other relevant sources in the social studies, to humanize us.

I am heartened when I communicate with prospective history educators who believe in the idea of teaching history beyond the textbook. These future teachers share innovative ideas of image and document analysis in an effort to move students toward developing historical habits of mind and keen interest in the world around them. It is my contention that teachers can and should consider the use of music in the same way they consider more archetypal sources—as essential to effective teaching.

It has been my experience that the following strategies work well when engaging students in listening to and analyzing music in the classroom.

1. Using a modified inquiry method where students are unaware of the relevancy the song(s) has in terms of the lesson heightens student interest and allows for some creative interpretations and deep analysis. In this strategy, students will listen to the music (with lyrics up on the screen in front of class) and are asked to analyze the lyrics in an attempt to discern the salient meaning. Students would likely be using text sources/artifacts as well to provide context and foundational knowledge. This can be done as an individual or group activity with a class debriefing to follow.
2. Listening to the song and carefully analyzing the lyrics and tone in the direct context of the historical, social, or political event I am teaching is another way of using music effectively in class. Teachers employing this more traditional strategy post lyrics on screen while students listen to and interpret meaning individually and as a group. This method provides opportunity to share songs with narratives contrary to the traditional, which can foster cognitive dissonance, important to any worthwhile history and social studies class.
3. Borrowing from Drake and Nelson's (2003) History Research Kit, a teacher may use one particular song as a "first-order" source. In this strategy, the teacher shares the song and analyzes and interprets meaning with the students as the principle source for the lesson. The second-order songs might include two or three songs with other interpretations of the event(s) covered in the lesson. These songs are analyzed as a model for students to follow for the third-order songs. For those songs, the teacher asks students to seek their own sources (songs or other artifacts) that either support or refute the meaning from the teacher-provided songs. Allowing students the opportunity to find their own sources serves to empower students to do history, which has great potential to result in deep understanding and meaningful learning.
4. Intrepid teachers comfortable with software used to create music may promote the idea for students to create their own music related to history, or, more broadly, social studies content. Clay Shirkey (2010) notes that digital natives are accustomed to creating using technology, therefore, actively involving students in such creative endeavors might be truly beneficial to their learning. One of the aforementioned methods might serve as a precursor to this strategy. My success with this method has come when my students were keenly familiar with music analysis and interpretation. Asking students to engage in this activity without prior experience will likely yield disappointing results.

Please note: If your thoughts are drifting toward sharing "We Didn't Start the Fire" by Billy Joel or songs from some new website advertising "American History Learned through 50 Rock-n-Roll Songs" where a songwriter has penned songs related to salient events in American history, please be cautioned. What I am referring to here is quite different. My goal is to engage students in listening to or creating music that requires more from students. The music presented ought to be considered as carefully as when choosing just the right letter between Abraham Lincoln and Joshua Speed, or the parts of George F. Kennan's Long Telegram to share. I don’t mean to disparage Billy Joel; I am, in fact, a fan. I'd just rather listen to The Stranger or The Nylon Curtain . . . you know, the old stuff is always better.

In February, Teachinghistory.org rounded up sesquicentennial resources state by state. Now, with April and the anniversary of the April 12 bombardment of Fort Sumter upon us, let's look at some materials that aren't state-specific.

Peruse the blogosphere for updates on new materials and tips on finding the best of preexisting websites and archives. Education Week's blog "Curriculum Matters" posted two entries looking at websites, curriculum, and blogs focusing on the sesquicentennial in March: one entry on the 21st and one on the 24th. Watch for more to come.

The American Historical Association blogged on teaching the sesquicentennial, and History News Network gave the anniversary a turn as a hot topic. Plenty of individuals have set up blogs of their own to track sesquicentennial developments—look around, and see if anyone's taking a tack that interests you. Remember to assess the credentials and viewpoints of any blog you follow—who's writing it, and what is their goal in writing?

Here are two blogs whose "authors" you might recognize: the New York Times' "Disunion" and the Washington Post's "A House Divided". Both blogs feature entries by historians, published authors, and others (remember to assess the credibility of these writers for yourself, just as you would with an individual blogger!) on Civil War topics.

"Disunion"'s short-essay-style articles often include links to primary sources, while "A House Divided" answers questions on the Civil War. (Browse the Post's "Civil War 150" feature for more videos, articles, and event updates related to the sesquicentennial.)

If you're looking for lesson plans, the Civil War Trust recently released a new free curriculum set , including nine lessons and an exam for each level (elementary, middle, and high). The Trust's website also includes primary sources, maps of battlefields, a directory of Civil War sites, and more than 50 other lesson plans.

EDSITEment has an abundance of lesson plans—more than 40 related to the war. Also try the Smithsonian National Museum of American History's History Explorer for more than 80 lesson plans.

The American Red Cross, working with teachers, academics, and legal scholars, has developed a series of lesson plans entitled The American Civil War: A Humanitarian Perspective. Through activities that use primary sources, students learn about the roots of the American Red Cross through Clara Barton's work, battlefield conduct laws created by President Lincoln that predate the first Geneva Convention, and basic principles of humanitarian law.

Looking for some orientation to all of those sources? Sign up for one of the Smithsonian's April webinars designed to show teachers around Smithsonian Civil War resources. Or explore the Library of Congress's guide to 21 sources related to Southern secession.

The National Archives and Records Administration (NARA) invites you to examine the Civil War through "little-known stories, seldom-seen documents, and unusual perspectives" in their new exhibit "Discovering the Civil War", including lesson plans and other teaching resources.

The Library of Virginia's online exhibit "Union or Succession" also focuses on primary sources from the debate over secession. Check out the Library's "CW 150 Legacy Project," too—are any organizations in your area working on collecting sources?

How about primary sources such as letters from Lincoln, Grant, Lee, and other Civil War era figures? Today in the Civil War: Dispatches from the Rosenbach Collection reproduces Civil War-era documents from the Rosenbach Collection 150 years after their creation. Each day a new item is posted, accompanied by a full or partial transcript.

This barely scratches the surface of the Civil War materials available to you. Maybe you'd rather listen to your Civil War history—Gilder Lehrman offers more than 20 podcasts on the Civil War era. Longwood University also has you covered, with its "That a Nation Might Live" podcasts following the war week by week.

Would you rather follow (present-day) events as they unfold? Track commemorations nationwide with the National Park System's Civil War website.

Take a look around the Internet, see what else you can uncover, and share your finds in comments here! The sesquicentennial starts this month, but it will last for years. New resources will appear, and established ones will expand, so keep your eyes open!

My students have been participating in National History Day since my first year teaching in the public schools—more than a decade ago. Since that first year, I have grown tremendously as a teacher and as a teacher who is guiding students through the National History Day process. There's a lot I could write about National History Day. I truly think it's one of the best programs for asking students to research and then synthesize their research through a project. It allows for choice, higher-order thinking skills, and diversity in the way the project is presented.

It’s that project presentation format I want to focus on. At first, and for quite a number of years, my students participated in the exhibit category because it was my strength as a teacher, but for the last three years or so, the number of students participating in the website and documentary categories has really grown. I have continued to learn and stretch my boundaries as a teacher as well.

For those of you new to National History Day I highly suggest checking their site out online at nhd.org. In a nutshell, however, here is the program: Students choose their own topic that fits within the annual theme (this year’s theme is "Debate and Diplomacy: Successes, Failures, and Consequences"), they choose to work individually or in groups of up to five students (with the exception of the research paper), and they choose one of five categories to present their project in: research paper, documentary, performance, exhibit, or website.

The website and documentary categories are particularly wonderful for integrating social studies content and using technology to display the students’ hard work and knowledge. Here are some highlights and sticking points that I’ve found while having students work with the website and documentary categories.

Pros of Website:

• Students can pull a myriad of images, sounds, videos, and other primary sources directly from the Internet and put them on their website. This encourages students to incorporate 21st-century skills, specifically technology skills, while asking them to analyze and evaluate sources they have chosen, placing them in historical context. As with any of the venues for NHD, this also calls on historical thinking skills and meeting research standards for English Language Arts.
• It's free—as long as students have access to a computer and the Internet they can complete a website!
• It can be taken with students easily from home, to school, to aftercare.
• The website category is now streamlined through nhd.weebly.com. The beauty of this is that students who are just beginning may choose to use the drag-and-drop features of the website. Those who are more advanced may write their own HTML code to alter the site and create their own unique website.

Cons of Website:

• It's easy for students to ONLY use web sources for their project. Getting students to scan sources or construct their own videos and edit them can easily be overlooked if the teacher and parents are not vigilant.
• Students spend a lot of time with nuances of design like font and font size, sometimes to the detriment of the HISTORY of the project.

Pros of Documentary:

• Again, this type of project encourages students to incorporate 21st-century skills, specifically technology skills, while asking them to analyze and evaluate the sources they have chosen, placing them in historical context.
• Documentaries are very impressive when they are finished and done well.
• It can be very easy to map out the story, write a script, and then find the primary sources to "tell" that story.

Cons of Documentary:

• Students need to come to the project with at least a basic working knowledge of iMovie or Moviemaker.
• Students have to be prepared to spend a lot of time on the making and editing of the movie—it doesn’t have as much to do with the history of the topic, but rather presentation. This also becomes a tempting choice for the student who would rather not do as much historical work.

I think it's important to remember that it's about balance. As a teacher, I have seen students spend an inordinate amount of time on the creation of their website or documentary only to neglect the history. I've also seen students do a dynamic job of researching their topic, only to not present it in the best format because they don't allow enough time or have the background knowledge to create their presentation in the format they chose. It's very important to have a pulse of the students' strengths and time constraints when choosing the format for the project. One of the neat things is that NHD allows students to experiment with the presentation format and is a great way to highlight the integration of social studies and technology!

With planning and communication you and your students will have a great time learning history through National History Day!

The degree of difficulty educators face when dealing with new technologies varies, but the sensation of feeling like a “newbie” when it comes to technology can often create tech-wariness among teachers. Educators should not feel this way.

Teachinghistory.org's presentation at the 2011 American Historical Association (AHA) conference, entitled “Teaching and Learning History in the Digital Age,” offered attendees exposure to free and easy-to-use tools that can work for teachers, regardless of their technological abilities. The main message of this presentation? Start small and be willing to face unexpected hiccups along the way.

One educator, nearing retirement, was curious about digital tools as I shared with her the topic of my presentation while walking to another conference event. She was initially interested in attending my presentation but found that the whole topic of digital tools was too complex for her.

Besides, where would she even begin searching for new media tools? She found herself regretting her earlier decision to skip panels on digital tools. It seemed that her own dilemma—where to start looking for digital tools—is not unique. The goal of the presentation was to help educators like her gain exposure to technology that is easily available. My advice to her was the same as I provided the audience: Start with what feels comfortable.

Some educators might enjoy exploring complex tools, “going under the hood,” and learning new skills. Other educators might want a ready-made tool, like Wordpress, to help build a course website. The open-source nature of platforms and browsers like Wordpress, Firefox, Zotero, and Omeka allow daring educators to invent the new plug-ins that can radically transform educational tools. For the less adventurous educators, these platforms allow them to take advantage of the work of others.

The presentation at AHA was, in part, inspired by a recent series of articles by Robert Townsend in AHA's Perspectives on History (Oct., Nov., Dec.). In his findings, which surveyed over 4,000 two- and four-year college faculty, Townsend noted that educators are increasingly embracing digital tools. Nearly 70% of respondents characterized themselves as “active users”—a number that might surprise many. Upon closer inspection, however, active digital users are mostly younger (no surprise here), and the most popular tools are not what many digitally-savvy educators would necessarily consider cutting-edge: digital cameras, scanners, search engines, word processors, and online archive searches. Tools that have the potential to change how we “do” history—text mining, social media, GIS/mapping, and data visualizations—received few responses in AHA's survey.

My immediate reaction to Townsend's articles? Is that it? On the one hand, I found it rather underwhelming to see what passes as “digital history” in the second decade of the 21st century. On the other hand, a utopian view of this subject is probably not well-served considering the budgetary and curricular constraints teachers face; lasting change rarely develops out of radical, or revolutionary, change. A more measured approach would be to acknowledge that significant uses of technology in the history classroom will gradually occur through funding for technology training, or, more likely, through collaborative exchanging of ideas among staff.

The presentation at AHA, then, was structured to address three or four key areas teachers address in their planning stages. As always, these tools are helpful, but only when applied with thoughtful consideration towards teaching and research (several good reads recently posted on Edwired deal with the perils and possibilities of web tools).

Digital Tools for Presentations

• Google Maps is a good instrument for examining memorials, battlefields, and other historical sites, while also allowing users to create new and interesting links between locations.
• Google Earth allows users to create placemarks, polygon shapes, paths, and images on Google's database of satellite images. This is ideal for creating original maps or recreating routes on military campaigns, plotting the Underground Railroad, or analyzing the Great Migration patterns of African Americans to see if new relationships emerge.
• ManyEyes users can upload data and choose visualization preferences that might reveal new information about the past.
• Hypercities uses historical overlays on geographic maps to show change over time
• Prezi is a structural and/or non-structural approach to presentations where you can type text, embed media files, graphically organize items, and highlight the importance of elements—relative to other ones on the infinite canvas platform—based on size and colors. The presentation at the AHA conference used a Prezi.

Digital Tools for Communication

• Facebook and Ning allow users to create networks from scratch to imagine what social networks among Bostonian revolutionaries or suffragettes in the early 20th century might talk about. Multiple other free options exist.
• Twitter lets users publish 140-character updates. What would Abe Lincoln’s Twitter feed look like? What about soldiers on the Pacific front in World War II? John Quincy Adams is already on Twitter!
• Skype can help bring scholars and institutions together, establishing relationships with sister cities, schools overseas, and other individuals and organizations.
• Blogs can become a standard classroom management program (if scholars are not tied to BlackBoard), serve as a professional portfolio, or can help historians re-imagine the possibilities for what scholarship on the web looks like.
• Zotero, in a nutshell, functions like digital flashcards and a note-saving device by adding research items from a database (WorldCat works well), allowing users to create notes for each entry, and providing tagging, sharing, and publication functions. Zotero is a helpful tool for collaborative projects and archiving research sources over time.

Digital Tools for Production

• Anthologize puts together an original book or compilation from blogs and other sites across the web.
• Wiki allows users to develop wiki pages for class projects (upload maps, images, and other files) or research project items.
• Wordle graphically produces a word cloud based on text-mining activities, which often reveals interesting insights otherwise difficult to see in large chunks of text.
• YouTube and Vimeo are hosting platforms for any original video production.
• Picasa and Flickr have potential as forums for hosting photo collections (privately or publicly), helping educators and students find visual sources, annotate information, understand copyright laws, and connect images to historical events that are not visible at first (good places to search for images largely in the public domain include the Creative Commons search engine, Library of Congress, National Archives, NY Public Library Digital Collection, and the Smithsonian).
• iMovie and MovieMaker put users in the driver's seat in using images, text, music, and voiceovers—simple elements of a digital storytelling project—to create original documentaries or short films.
• Animoto is a simple tool that uses images, uploaded with music and text, to create small videos.

Digital Tools for Miscellaneous Tasks

• Mindmeister, FreeMind, and OmniGraffle create graphic organizers for study or for lesson/unit plans, and many of them can be placed online for collaborative work.
• Gaming has untapped potential as a teaching tool; see: Mission US, Do I Have a Right?, BBC History Games, and Playinghistory.org (a good collection of games).
• Diigo provides a way to annotate the web (highlighting and Post-it notes). It can be added to your browser toolbar and, as long as you are logged in, notes will always appear as you re-visit the page.

With such a long list, but one that barely touches the surface of what scholars can do with new media, it is easy to see that free and open-access tools are readily found online. The problem, however, is that many educators feel the same way as our curious veteran educator at AHA. The question “Where can I find these tools?” is still a bit too commonplace these days. As a result, teachers are often hesitant to seek out new technology—not necessarily due to a lack of will, but rather because many simply don't know what (or where) to search.

This presentation aimed at closing that gap in a small way.