Elizabeth Schaefer on Mental Maps in American History

Date Published
Image
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Photo, Mental map, American Indian History, Elizabeth Schaefer, 2010
Article Body

In a world where kids are extremely familiar with a robotic "Turn left," and may have never actually seen a road atlas, geography has never been so important in the history classroom. Until mental maps, geography lessons did not often win the battle against history standards for precious time in my classroom. Now instead of being a sideshow, I consider maps a necessary step in teaching and checking for comprehension. Learning history content needs to be partnered with visualizing the environmental influences. After all, in order to understand how America was shaped, knowledge of the land is crucial.

Mental maps add another dimension to the history classroom. If you are not utilizing them to teach American history concepts, I recommend that you read below to discover how they help to build connections, incorporate different learning styles, and check for depth of understanding.

What is a Mental Map?

A mental map is a rough sketch of the world simplified enough that the outline can be remembered and repeated. The outline of the map can then be labeled with physical, political, or historic details.

How Do I Teach Mental Maps?

(The map described draws USA and its immediate neighbors.)

The Set-Up:

The teacher simply needs an overhead projector and some wet erase markers to begin (colors help!). The students need a piece of lined or computer paper and a writing utensil.

Before starting to draw, it is important to emphasize that no two mental maps will look identical.

First, I recommend figuring out a folding system that works for you. Folding the paper before beginning keeps the maps more proportionate. I like my students to divide the paper into six parts. Draw imaginary fold lines across the overhead to help orient the students.

Before starting to draw, it is important to emphasize that no two mental maps will look identical. Students can have trouble accepting that, and for the perfectionists this can be a particular challenge.

The Story:

The most important step to teaching mental maps is creating a story that will aid in memory. Tell the story using the overhead projector as a visual guide. After telling each part of the story, draw the corresponding piece of the map on the overhead, have the students repeat the steps, and periodically check their papers. Once they learn the outline, we use it throughout the year again and again so they have a very good understanding of our basic geography.

Many different stories could work and I have experimented with a few. This year, I told the story of "Norbert Americus, Zookeeper Extraordinaire." The story goes: Mr. Americus wanted to make the best zoo possible so he started collecting the biggest animals that he could. (If you prompt the students, you may find that they are very good at guessing the animals.) First he collected an elephant and a giraffe. Then he decided to get the very biggest animal even though he lives in the sea. Add a whale's tale to the top.

A little prairie dog wandered over from the deserts of America to see these big animals. He saw them and panicked. He took one look back and scurried all the way to the edge of the paper.

When the prairie dog arrived in Alaska, another nervous animal was there—a turtle. The turtle popped his head out when he saw the prairie dog.

The prairie dog and the turtle had each other now. They realized they had reached the West Coast so they decided it was time to chiiiiiiill out. Actually they chilled out so much that they were all the way down the Baja Peninsula before they knew it!

Just about then, the turtle and the prairie dog started talking. The animals in Mr. Americus's zoo seemed nice enough. In fact, none of those animals even eat turtles or prairie dogs. They turned back around and asked if they could be part of the zoo. The big animals liked the small animals and they of course said- "Y not?"

And that is the story of the Mr. Americus's Zoo!

In the first map that I teach, we draw the 2001 USA so we add an animal from way down low and way up high to the zoo—a snake and a bird—to outline the three major countries.

For American history, I do not include all of North America for simplicity's sake and I also exaggerate the size of America compared to Canada in order to fit features throughout the year. These two factors should be pointed out to the students, and you should show them a real map and discuss the purpose of a mental map versus a real map.

How Does This Apply to American History Specifically?

In world history, mental maps had been a great way to teach all of the different continents, so when I began U.S. history, I was concerned about the efficacy of repeating the USA map. I have discovered that not only can the single outline work, it is also beneficial to establish that one outline early on and recycle it so the focus can move to the details. Also, this helps to connect the historic pieces. For example, adding the Treaty of Paris land, then the Louisiana Purchase, and then the Treaty of Guadalupe Hidalgo, the students can really visualize the growth of our nation.

As you view the maps, please note that they also help orient the students to their country. Many of my DC students have never made it to see the White House, let alone making it past Maryland or Virginia. So they can establish the basic size and geography of our country in relation to places that they have heard of or seen on television.

Some of the maps I have used include:

Top 5 Reasons I Recommend Mental Maps
  1. Mental maps are accessible. The students have fun as if they have learned a neat new trick, and yet pretty soon they can easily locate the land America gained in the Treaty of Paris or describe the length of the Trail of Tears.
  2. Mental maps provide an avenue for students with different talents to shine on an actual test. Often times these talents show up in projects or classwork, but this aids that talent to come out in more rigid assessments as well.
  3. Mental maps force some traditionally excellent students to stretch their brains and skills outside of their comfort zone.
  4. Mental maps are simple to modify. I provide a few special education students the basic map outline and allow them to fill in the details important to the unit.
  5. Mental maps allow the teacher to check the difference between test memorization and actually comprehending the material. If they are able to answer that the Louisiana Purchase doubled the size of the United States on a multiple-choice question but then make that land a mere sliver on the map, the teacher knows that they have reached a level of regurgitation rather than of actual learning.
For more information

Students having difficulty visualizing the geographic concepts they're mapping? What does a butte look like? How about a mountain pass? In their TAH project, educators Terri Ruyter and Michele Yokell brought geography to students in three dimensions. Watch the video here.

Interested in another sort of mapping? The Tech for Teachers entry Mind Mapping explores concept maps as an aid for memory and understanding.

For more by Elizabeth Schaefer, check out her blog entries on the Interactive Declaration of Independence and the impact of 9/11 in the classroom.

Joe Jelen on Document Cameras

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Photo, Lumens Desktop Document Camera, June 19, 2007, AV-1, Flickr
Photo, Lumens Desktop Document Camera, June 19, 2007, AV-1, Flickr
Article Body
What is a Document Camera?

A document camera makes a great addition to a history classroom with a video projector or TV. A document camera captures anything under its lens and projects it on the screen. While this technology has been around for a few years, I have noticed it has been a little slow to catch on for a variety of reasons.

Some teachers may be hesitant to embrace the document camera because they believe it to simply be a glorified overhead projector. The document camera beats the old overhead projector in many ways, the first being that the document camera does not require one to make transparencies. A teacher can project artifacts, photos, worksheets, and anything else that can fit under the camera lens. In addition, students are better able to see the image produced by a document camera as it is much brighter and clearer than the image produced by the overhead projector. Best of all, you no longer leave school covered in overhead marker!

How Can I Afford One?

The cost of the document camera may also make this teaching tool seem out of the reach of many teachers and districts in these lean budget years.

It is also possible to obtain grant money for document cameras from places like DonorsChoose.

While document cameras range in price from $200 to $2,000, this should not preclude one from having their own document camera. You can find a used document camera on eBay or a surplus property store for under $100. I bought mine at one such surplus property store, associated with the
University of Maryland, for $25. Another option is to make a document camera yourself using a webcam and available USB port. The only drawback to this setup is you have to be able to load software on your computer attached to the video projector in your classroom. A ready-made version of this runs about $69. It is also possible to obtain grant money for document cameras from places like DonorsChoose.

How Do I Set It Up?

Once you have your document camera installation is straightforward. Some document cameras come with a freeze image button which is a great feature to capture a page in a book or map that might be difficult to hold in place. If the document camera does not have this feature, you can hook up the document camera directly to the video projector, which often has the ability to freeze an image. If your document camera is not one that hooks up to your computer via USB, you can also set up the document camera directly to your projector. This allows you to toggle between the image on your computer screen (assuming it too is attached to your video projector) and the image from your document camera. You can also connect most document cameras to a television using an S-video cable or component video cable. It should be noted, however, that the clarity is not as crisp when using the S-video cable or component video cable compared to using a VGA or DVI connection.

How Can I Use It?

The document camera has vast instructional possibilities. I have used my document camera every day in my history classroom. One of the benefits of having a document camera in a history classroom is having the ability to analyze primary sources together as a class. I am able to zoom in on important components of a photograph or text and can invite students to the document camera to annotate pictures or text without bulky markers or transparencies. I am also able to share maps in books easily with students, in color. Students are able to share work they have created immediately with the class without having to scan an image or make a transparency of the document.

My favorite use of the document camera is allowing me to spotlight and share exemplar student work.

This means that jigsaw activities work very efficiently, with each group able to share what they have written on nothing larger than a worksheet. Collectively, classes have created essay outlines and timelines together. The document camera allows students to share storybooks they have created, projected large enough for the class to see. From a classroom management perspective, the document camera allows me to easily show students the worksheet we are working on or the question I want them to focus on. I am also able to place my stopwatch under the camera to show students how much longer they have to complete a task. Finally, my favorite use of the document camera is allowing me to spotlight and share exemplar student work. I am able to give specific praise to a well-written essay or project.

I hope you are able to get your hands on a document camera and share your tips and tricks with others. You can find product reviews for document cameras in this article from Scholastic.

For more information

Looking for more suggestions for creative overhead, smartboard, or document camera activities? Jelen demonstrates a technique for introducing students to visual primary sources in our video "Zoom-in Inquiry".

From MP3 players to Skype, our Tech for Teachers section examines other tools appropriate for classroom use.

National Archives Launches DocsTeach

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Detail, DocsTeach
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With the National Archive's DocsTeach, educators can find primary sources and the tools to present and interpret them on the same website.

Officially launched September 20, DocsTeach brings more than 3,000 primary sources together with seven online activities, each designed to reinforce specific classroom skills. Register for free, and log in to browse or search the site's photographs, speeches, letters, drawings, memos, video clips, maps, and other sources, dating from 1754 to the present day. Bookmark those that interest you, and head over to the site's "Activities" section.

Here, you can incorporate your chosen sources into online activities adaptable to students at all grade levels. Save activities to access later—including in the classroom.

Activities include:

  • Find a Sequence: Have students arrange primary sources in a particular order. DocsTeach suggests using this activity to prompt students to determine the chronological order of sources, or to order steps in a process (for instance, which documents represent which steps in the veto process? In the drafting of the U.S. Constitution?).
  • Focusing on Details: Use five different tools to focus student attention on specific sections of a primary source. Do you want your students to focus on a certain facial expression before being distracted by the rest of a photograph? Use "Zoom/Crop,” "Spotlight," or "White Out/Black Out." How about removing a few key words from a document and having students determine, from the context, what they might be? Or pointing out the date and other contextualizing evidence in a handwritten letter?
  • Making Connections: Arrange primary sources in a particular order, and have students write arguments for why one source leads to another. Choose sources that lead up to a major historical event—a telegram on the shelling of Fort Sumter might lead to Abraham Lincoln's suspension of the writ of habeas corpus, for instance. Or maybe your sources are thematically related—a 1918 poster using a woman in uniform to recruit male Marines leads to a 1942 WACC recruitment brochure leads to a 1990 poster calling women to join the U.S. Army
  • Seeing the Big Picture: Match primary sources in related pairs. As students successfully make the matches, they reveal pieces of a larger picture. How do the matched pairs relate to, say, the image of the Declaration of Independence or the 19th Amendment?
  • Interpreting Data: Call out particular data points on primary sources incorporating charts and graphs, and embed comments and questions in the source. Guide how students react to the data they see and lead them to ask who gathered it, how they gathered it, and why.
  • Mapping History: Use a modern or historical map as a background, and have students place sources in the location they come from or relate to. Where do sources locate New Deal projects? Major battles of the Civil War? Protest marches throughout U.S. history?
  • Weighing the Evidence: Present students with primary sources on a particular historical issue, and have them decide whether they support one interpretation or another. Try the causes of the Civil War. Which documents support an economic cause? Which support slavery as a dividing issue?

Write introductions and conclusions to any activity, and publish them to share with other DocsTeach users, if you choose. Or check out the National Archives' sample activities.

At present, only 28 pre-made activities are available, but check back as more users register at the site and share their work.

For more information

Read more about DocsTeach in our Tech for Teachers entry on the website.

Picturing America

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Picturing America homepage, NEH
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The Picturing America website, created by the National Endowment for the Humanities, presents 27 iconic images in American history designed specifically to encourage educators to use images as primary source documents in the classroom. The images range in time from 17th-century depictions of the Catholic mission in San Antonio to the contemporary art of Washington, DC native Martin Puryear.

The printed materials are no longer available, but you can read more about the online resources here.

Women of World War II Anonymous (not verified) Fri, 10/29/2010 - 12:36
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Poster, date unknown (World War II)
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In 1943, at the peak of World War II, the United States military inaugurated the Women Airforce Service Pilots, or WASP, program. The program was designed to bring women pilots into the Air Force in light of the growing shortage of male pilots. More than 1,000 women served in non-combat positions, and eventually flew more than 60 million miles for the war effort. In March 2010, these women received the Congressional gold medal, among the highest civilian honors for courage, service, and dedication.

This website presents more than 250 photographs of women in the service during World War II, including 30 of the WASPs. The Women's Army Corp (WACS), Coast Guard SPARS, Navy WAVES (Women Accepted for Volunteer Emergency Service), Army nurses, and women Marines are also included. There are photographs of nine "notable women," such as Jacqueline Cochran, the founder of the WASPs program, and Lieutenant JG Harriet Ida Pickens and Ensign Frances Wills, the Navy's first African American WAVES officers.

Accompanying these photographs is a selection of close to 100 recruiting posters targeted at women. While other websites document the role of women during World War II, this website stands as one of the largest repositories of contemporary photographs of their military efforts.

Travel Grants for Jefferson-related Projects

Description

These grants fund travel for scholars and teachers wishing to make short-term visits to Monticello to pursue research or educational projects related to Jefferson.

Sponsoring Organization
Thomas Jefferson Foundation
Application Deadline
Award Amount
Not specified

Teaching with Artwork

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Photo, The Midnight Ride of Paul Revere, July 15, 2008, IslesPunkFan, Flickr
Photo, The Midnight Ride of Paul Revere, July 15, 2008, IslesPunkFan, Flickr
Article Body

What first comes to mind when you hear the phrase "primary sources?" Famous documents such as the Declaration of Independence? Newspaper articles reporting on Pearl Harbor? Letters from soldiers during the Civil War? Maybe you think of visual sources—antique maps or Lewis Hine photographs.

But what about artwork? What does a 1796 portrait of George Washington tell us—about the man, about the time, about the artist? What does an 1851 painting of Washington crossing the Delaware say? It can't be a primary source for the actual crossing, but what information does it convey about American mythology and historical understanding? What information can students bring away from a piece of art?

Like all primary sources, artwork offers unique opportunities and pitfalls when introduced to the classroom. Carolyn Halpin-Healy, of the Metropolitan Museum of Art, suggests seven steps students (and their teachers) should take when approaching art. After processing their initial emotional reactions and describing what they see, students move on to considering the art's original context and historical connections. They then reassess the piece using their new, fuller understanding.

For a sense of this process—though not a full exploration—watch professor David Jaffee analyze two 19th-century artworks, a family portrait and a popular print.

Interested in trying out this approach for yourself? For a ready-to-run lesson, EDSITEment's "Midnight Ride of Paul Revere: Fact, Fiction, and Artistic License" guides high school students in interpreting a 1931 painting of Paul Revere's ride.

If you have the time and resources for a field trip, search Teachinghistory.org's Historic Sites and Museums database for museums where students can examine art in person. Also consider contacting local museums about professional development opportunities—they may offer pre-trip orientations for teachers or workshops focusing on teaching with art.

If you can't take your students to the art, bring the art to them. The Internet hosts a wealth of virtual collections from museums across the country (and the world). Wherever you live, your students can draw on the resources of the
National Portrait Gallery
or the Smithsonian American Art Museum. A keyword search for "art" in Teachinghistory.org's Website Reviews brings up more than 150 archives and exhibits, free to access online.

And for suggestions of even more resources, see how our co-director, Daisy Martin, answers the question, "What resources or techniques would you recommend for teaching using art and its analysis in the social studies/U.S. history classroom?" in Ask a Master Teacher.

Film Series for Educators: Journey to Freedom

Description

From the Facing History and Ourselves website:

"This film [Journey to Freedom] tells the story of Waitstill Sharp, a Unitarian minister from Massachusetts, and his wife Martha, a social worker, who helped feed and shelter thousands of refugees and assisted anti-Nazi dissidents and Jews as they escaped to safety, first in Nazi-occupied Czechoslovakia and later in France. The Sharps were recognized as Righteous Among the Nations at Yad Vashem—the highest recognition accorded by the state of Israel to non-Jews who risked their lives to save Jews during the World War II. The Sharps' compelling story reveals a largely unknown chapter of Holocaust history and provides a new perspective on America's relationship to it. This film is an important addition to Facing History's collection of classroom resources that focus on rescue and resistance during the Holocaust. The Facing History Film Series is presented in partnership with the Denver Film Society.

The workshop is in two parts. Part 1 (4:30-6:30 pm) will be an educator workshop focused on pedagogy. Part 2 (7:00-9:00 pm) will include the film presentation. A light dinner will be served between the two parts."

Contact name
Karen Mortimer
Sponsoring Organization
Facing History and Ourselves
Target Audience
K-12
Start Date
Cost
Free
Duration
Four and a half hours