One of my favorite ways to teach is by using Socratic seminars. If done well, an effective Socratic lesson can not only take me (the teacher) off the stage, but invest my students in their own learning by creating an environment of academic discourse, improvisational questioning and answering, critical analysis, and free-flowing exploration of content.

Of course, for all of these wonderful things to happen, class sizes must be manageable; instructors must design compelling questions that are specific enough to narrow focus, but also broad enough to elicit multiple answers; and, most importantly, students must bring a competent level of prior knowledge to the seminar so they can intelligently participate in the discussions. Over the years, I have found that prior knowledge is the biggest challenge in conducting an effective Socratic seminar. How do I get the kids to connect with the material before I ask them to discuss it?
Traditionally, I provide prior knowledge through brief lectures, homework assignments, and readings in the text. This year, I added primary sources to student preparation and I saw a dramatic difference in how my students connected with the material. Here is how I set up the lesson for two separate Socratic seminars; the first was on slavery and the second was on the 1920s.

I chose the slavery unit for my first Socratic seminar of the year because every student knows what slavery is and brings with them a basic understanding of the topic and its place in American history. My hope was that this prior knowledge would allow a certain degree of comfort and thus more participation by the students.

In order to make sure all of my students had a similar grasp of the topic, I asked the students to read the chapter on slavery in our text and identify the most significant points and ideas (I used a reading guide to do this). Secondly, I assigned each student a primary source from David Kennedy and Thomas Bailey’s collection of primary sources called The American Spirit. Each student was asked to read his or her document and connect it to the material from their textbook. Both of these assignments were due on the day of the Socratic seminar.

On the day of the seminar, I started the class by having each person quickly introduce their primary source and tell the class how it applied to the content from this chapter. (We have 90-minute block periods, so we were able to fit all of this into one day. You may want to break it up if your classes are shorter.) Each student was allowed 30 seconds to a minute to present their material and upon starting the seminar, I asked each student to incorporate their source into the free-flowing discussion. In essence, this forced participation while also allowing each student the freedom to chime in whenever they felt comfortable.

I found that by using this method, the focus of the seminar became grounded in primary resources and not just the secondary material that the text provided. I found that the depth of discussion improved and students were excited to incorporate their documents into the course of discussion because they had become personally tied to them. More students actively participated, the discussions were rooted in facts and not conjecture, and for the most part, the students really seemed to enjoy the process.

One more note: The documents dealing with slavery elicited a powerful reaction from my students. Content areas like slavery, the Great Depression, and World War II can offer a treasure trove of primary sources that will engage students in this process. The sources related to these topics are often easy to connect to and allow students to invest personally in each document.

For years, I found myself struggling to communicate to my students the depth and vibrancy of the post-World War I period. From the intolerance of the KKK, the Red Scare, and the Sacco-Vanzetti case to the cultural revolutions involving flappers, the Harlem Renaissance, and the Lost Generation writers, to the long-ranging ramifications of the automobile, the radio, and the advertising boom, I struggled to develop a focused timeline or lesson that connected these diverse topics in a coherent manner.

By using a Socratic seminar, I found that I didn't have to worry about connecting the topics—the kids did it for themselves! This might sound like a cop-out, and to some degree it was, but what I found was that by letting the students dictate the direction of the discussions after they completed a search for and chose a relevant primary source, it became more clear to all of us how many of these seemingly unrelated topics combined to tell a more complete story of the 1920s. Here's how I did it.

Prior to the seminar, I gave each student two assignments. The first was a chapter-wide review that touched on most of the items any teacher might want a student to get from this period. Second, I assigned each of the students one of the major topics from the period (examples of these included the Sacco Vanzetti Case, the Red Scare, flappers, Al Capone, Prohibition, the Scopes Monkey trial, the 19th Amendment, the Advertising Boom, and many more—see "For More Information" below for the complete list.) I asked them to research their topic more deeply and be prepared to share what they discovered. In addition, they were to find an applicable primary source directly connected to their assigned topic. This would also have to be presented. I recommended numerous research sites, but I always try to steer them to Teachinghistory.org.

When the students came to class on the day of the seminar, they presented their topics and primary sources in the same fashion as they did for the slavery seminar, and when they were done, we started the seminar.

After about 15–20 minutes of discussion (or when things stagnated), I asked all of the students to look at their topic cards. Each card had a number (1–10) on it that was associated with a theme or idea that I wanted the students to understand. I asked all of the students to find other students with the same number on their cards and sit together. (We all know how physical movement can positively affect a classroom environment. I found that doing it during a free-flowing Socratic seminar can help refocus the group and entice some of the quieter kids to start speaking up.)

Once in their groups, I asked each person to quickly remind each member of their topic and then, AS A GROUP, deduce the common theme that brought them together. They presented this finding to the class and proceeded with the seminar by focusing on some of the new themes discovered.

After about 15–20 minutes, I followed the same process, but this time, I combined multiple groups with common themes and then asked each to figure out what brought them all together. We presented the new findings and then spent the remainder of class wrapping up the seminar.

By combining primary sources and student critical thinking we were able to come to a much deeper and multi-tiered understanding of the 1920s. There was a stark difference between the superficial chronology that I had used in the past and this dynamic interaction that forced students to make connections and inferences about the diverse topics presented to them by the Roaring Twenties.

In both of these lessons, the use of primary sources allowed me to enrich the content areas and connect students to actual events, people, and time periods. As historians, I think it is our responsibility to incorporate these powerful tools into the fantastic lessons that we are already doing. Hopefully, this article will inspire another day of greatness in your classroom. And if it does, please share it with me!

Ron Gorr
Air Academy High School
ronald.gorr at asd20.org

A pocket camcorder shrinks the technology of a video camera to the size of your pocket. While not the highest-quality recording device, pocket camcorders offer an easy way to point and shoot video. Although camcorders have been used in classrooms since the 1980s, greater availability of pocket camcorders has revolutionized the way we think about using video in the classroom. Before, a teacher was lucky to check out one camera for use in his classroom. Today, with pocket cameras costing around $150, schools can afford to have multiple camcorders in teachers’ hands. In addition, the pocket camera affords increased flexibility in storage and editing over its predecessors.

Pocket camcorders are relatively inexpensive with continually falling prices. Most pocket camcorder models cost between $150-$250. The difference in price is largely dependant upon the quality of video it produces and its memory capacity. When searching for a pocket camcorder, you should consider what it will be used for in the classroom. For most projects high definition video and zoom capabilities are valuable, but not a requirement. However, battery life and ease of uploading should be considered. Controls for recording and playing back video should be easily found on the unit. Many media centers have invested in these devices, but if yours has not and you would like to have a few cameras in your own classroom, funding need not hold you back. Currently, there is a 2-for-1 deal on Flip brand video cameras at the nonprofit DigitalWish.com. Also, you can look into buying refurbished pocket camcorders online for around $75.

Increasingly we see smartphones with video capabilities in students’ hands. This will likely make the pocket camcorder technology short-lived. But for now the pocket camcorder offers all students a chance to learn by creating video. I feel there is no need to worry as the same teaching techniques can be applied with the new smartphones as these devices become widespread.

To use a pocket camcorder, you will either need a computer on which to upload the stored video (most often via USB) for editing and sharing, or a way to project video from the pocket camcorder to a television or LCD projector (usually via HDMI cable). Once you figure out the logistics of students presenting or sharing their videos, you’ll need a reason to have students use the cameras! I believe the pocket camera’s true benefit is providing students authentic learning and assessment opportunities. The new National Curriculum Standards for Social Studies put out by the National Council for the Social Studies includes a number of products that could be created with a pocket camera. Students could take pocket cameras home to conduct interviews of those that have witnessed historical events. Or, they could create a public service announcement publicizing healthy habits. Students could also use their cameras to capture visual evidence of culture in their community or create a documentary on a community issue. I have also seen teachers assign students the task of recording and narrating trips to historical sites to share with classmates. I had students create CommonCraft-like videos in which they explained a constitutional amendment “in plain English.” In this project students created a script and a storyboard, and used black-and-white cutouts to help explain their assigned amendment. If rehearsed properly students could shoot their two-minute video in one take and did not need to spend time editing. Aside from a pocket cam, the only other additional piece of equipment necessary is a tripod that will allow the camera to face downward to record action beneath.

The social studies classroom offers many avenues to incorporate the pocket camera into instruction and assessment. I hope that you experiment with other uses for the pocket camera and share them with us here.

Today, the 146th anniversary of President Abraham Lincoln’s death, a new historical feature film, The Conspirator, opens.

It is interesting timing for another reason as well. The Conspirator is the first major motion picture to open during the Civil War sesquicentennial and yet it begins with one of the war’s closing chapters: the assassination of President Lincoln. It quickly, however, takes you beyond the events of the assassination and into a less well-known aspect of post-Civil War history.

Directed by Robert Redford, the film focuses on the relationship between the only woman accused in the assassination conspiracy, Mary Surratt, (played by Robin Wright) and her defense attorney, Frederick Aiken (played by James McAvoy). Aiken, a Union war hero, at first does not want to have anything to do with the defense of Surratt. In turn, Surratt does not want to do anything to possibly implicate her son who flees the country after the assassination and is considered a suspect.

Aiken eventually decides that Surratt deserves a fair trial and it is through Aiken that we as an audience wrestle with the central question of the film: Was Mary Surratt complicit in the Lincoln assassination? Like a good teacher, the movie leaves you to decide this for yourself.

In conjunction with the film, the producers of The Conspirator developed an Educators’ Page with links to a downloadable Educational Resource Guide (41 pages) and movie poster. Free registration is required.

The guide offers three lessons: Women and the Civil War, Impact of Presidential Assassinations, and Right to a Fair Trial, all geared toward students ages 13 and older.

If you are looking for additional ways to use interest in The Conspirator in your classroom, Teachinghistory.org can point you in some good directions.

Let’s start with the big question: What do students learn when watching historical feature films? In this study from the University of British Columbia, researchers found that students often empathize more strongly with the past after seeing a historical film, but they also have difficulty analyzing the film’s historical accuracy. So it is important to provide students with the background knowledge they need in order to analyze a film’s historical accuracy.

Here are a few resources found on Teachinghistory.org related to the Lincoln assassination:

• For a gripping retelling of the Lincoln assassination, listen to this NPR podcast at Fords’ Theatre with James Swanson, NY Times best-selling author of Manhunt.
• Find answers to the question of why John Wilkes Booth wanted to assassinate the president in this Ask a Historian Q&A.
• In another Ask a Historian, explore the question of whether President Lincoln had premonitions of his own death.
• For information about Mary Surratt, visit the Surratt House Museum.
• For younger students, this review of the Gilder Lehrman Institute lesson, What Events Led to the Lincoln Assassination?, is suitable for grades 4 and 5.
• The Chicago Historical Society produced an interesting online exhibit, Wet with Blood, that invites you to join historians and scientists to look at the artifacts related to the Lincoln assassination.
• Looking for primary source materials related directly to the conspirators’ trial and execution? The Daniel Weinberg Collection at the Indiana Historical Society has over 90 items related to the assassination conspiracy, including the handwritten execution order.

For other resources beyond Teachinghistory.org, the University of Missouri-Kansas City School of Law offers the Trial of the Lincoln Assassination Conspirators that includes images, newspaper articles, and excerpts from the trial transcripts. Your students can compare the primary source material related to the trial to the movie’s version of events.

The Library of Congress’ Teaching with Lincoln has a section of materials related to the assassination, which includes resources for teachers, resources for students, and primary sources.

Films offer a great way to introduce young people to the stories of history and with the right teaching tools they can help engage students in historical inquiry. Try incorporating a few ideas in your next lesson and let us know what works!