When the 13 colonies first rebelled against England, they called on the help of established nations—including France and Spain—to succeed. After the Revolutionary War, the newborn United States gradually began to take part in world affairs itself, making payments and treaties, waging war, and withholding or offering aid. Today, the U.S. maneuvers its way through a constant web of decisions. Who does it choose to help and how? What kind of aid should it offer? Military? Economic? Social? When and why does it withhold aid? How have the choices it makes today grown out of those made in the past?

Following the March 11 earthquake that rocked Japan, your students may have questions about the U.S. and international aid. Or maybe they're curious about the uprisings in the Middle East, a part of the world with which the U.S. has a complicated history of trade, war, and aid.

A good place to start learning about U.S. aid history is, appropriately enough, the U.S. Agency for International Development, or USAID. Established in 1961 in an effort to separate non-military and military aid, USAID combined the social and economic aid efforts of a number of smaller initiatives under one "roof." Though the website's history page is dense, it provides a sense of the complexity of aid issues. If you want to dig a little deeper (and read a little more), download the primer on USAID. (The section on "Responding to Crises" may be particularly relevant right now.)

For statements on current events, check out the Senior Staff Speeches and Testimony section. Press releases also feature current information. For a broader view, search by location to learn more about USAID's work in Haiti, Egypt, Thailand, and other nations. Browse issues of USAID's newsletter, FrontLines, starting in 2003, to see what's been given the most press in the past few years.

Ready to head further back in time? In our Ask a Historian feature, look at aid in the Middle East, both non-military and military, during the 1950s.

Skip back a few years more and learn about the Marshall Plan, a well-known precursor of USAID designed to help Europe rebuild following World War II. USAID's small online exhibit on the Plan features audio, visual, and text primary sources, while the Library of Congress hosts an exhibit on the Plan. If you need more primary sources, try the document collection Truman & the Marshall Plan at the Harry S. Truman Library and Museum.

Of course, U.S international aid didn't begin with the 20th century and isn't limited to the federal government. Read up on the history of the American branch of the Red Cross, an organization founded by Clara Barton in the late 19th century. (The bibliography in the "Students" section recommends American author Pearl S. Buck's 1948 children's novel The Big Wave for learning about tsunamis. You might consider introducing this novel to students as a primary source itself, reflective of Buck and the context in which she wrote.)

Consider having students trace the U.S.'s relationship with a particular country or region back in time. For instance, what part is the U.S. playing in events in Libya now? What is our stance on the country and events there? What was it back in the early years of the U.S.? (For an idea, listen to historian Christine Sears describe the First Barbary War, one of the U.S.'s early overseas conflicts.) Between then and now, how has our position changed and evolved? Have we given aid or taken it away? When and how?

As it has grown in power, the U.S. has shifted in its relationship to other parts of the world again and again. Exploring the history of international aid might help you (or your students) follow these shifts through time and gain a better understanding of responses and relationships today.

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.