History of Higher Education: A Guide for Pre-Service Teachers

Image
Article Body

What is it?

Higher education in the United States has been shaped by history and has played a role in shaping history. Around the time of the American Revolution, college was almost exclusively for white men and, even then, often only for wealthy white men. Over time, women, Black Americans, the middle class, working class and poor Americans gained access to higher education, but this was not a simple story of gradual and steady reform. Instead new types of schools with new missions were founded at various points in the past, some were successful and some were not. Some still exist today, and all have changed over time emphasizing different courses of study and catering to new groups of students. This guide explores different types of schools and how they’ve developed over time. 

Key points:

  • This activity will take one 90-minute period or two 45-minute periods. It is appropriate for a high school U.S. history or government classroom, but can be modified for a variety of learners.
  • Students will analyze, interpret, and evaluate primary sources. 
  • Students will learn more about the variety of colleges and universities in the United States and how they’ve changed over time. 
  • Guiding Question: What forms does higher education take in the United States?

Introduction

Charles Dorn has summarized the history of higher education in the U.S: “what we conveniently call ‘higher education’ today is in actuality a composite of institutional types that developed over the course of 200 years”. The different types of institutions include public institutions, both large and small, private colleges, some religiously affiliated, some not, Historically Black Colleges and Universities, women’s colleges, and community colleges - among others. While depictions in popular culture and even in news media outlets often focus on very elite universities, the vast majority of students do not attend these elite schools and are instead enrolled at the variety of institutions discussed above. The goal of this guide is for students to learn more about higher education today by looking at its history and specifically at the different types of institutions, why they were founded, and how that history shapes the present status of higher education.     

 

Hook/Bellringer

At the beginning of class ask students to name colleges or universities that they have heard of and to add where did they hear about them. Write answers on the board or have students write the answers on the board. You can stop adding names after you have about 10 schools. Alternatively students could answer through a web platform like Padlet which could be projected on the screen. 

 

Once there is a collection of schools on the board ask students:  What do you know about these schools (ie are they public or private, 4 year or 2 year, larger or smaller etc.)

 

Introduce the activity by noting that there are a wide variety of institutions in higher education each with a different history. They were established for different reasons to meet different needs and they have changed over time to respond to changing student populations and to the world around them. Using primary sources —  photographs of various schools — students will virtually “tour” different campuses to better understand these schools. Divide students into 6 groups based on institution type: Community Colleges and Junior Colleges, Large Public Universities, Regional Public Universities, Historically Black Colleges and Universities, Private Liberal Arts Colleges and Universities, and Women’s Colleges. When they’re in their groups provide the sources and the brief description of their type of school. Direct them to use the sources the virtually “tour” these schools. Ask them to take notes on what they notice:

 

What kind of facilities and buildings do you see? 

What can you tell about the kinds of academic programs at these schools?
What kinds of activities are offered? (IE Sports? Recreation opportunities? Socializing opportunities? Museums?) 

Do you think this is a state school or a private school? What makes you think so? 

What other questions come to mind?  

Digital Research Activity 

Students will then choose a specific school to research historical sources.  Using the historical newspaper database Chronicling America to find where the school is mentioned. They will create an informal “Then and Now” presentation based on similarities and differences they notice about the school in the past and in the present. 

 

Tips for searching Chronicling America

  • Look up the school on Wikipedia to see if it had a different name in the past. Use an older name as a search term on Chronicling America. 
  • Many colleges and universities advertised in newspapers so searching for the name of the school plus “courses” can be helpful for finding these. 
  • Search results can be filtered by state — this can be a way to narrow down the search results when searching for a specific school.


 

Primary Sources

 

Women’s Colleges

Women’s colleges are typically private liberal arts colleges founded to provide women with a 4 year college education when opportunities for women in higher education were limited. Many women’s colleges were founded between 1870 and 1890. The number of women’s colleges in the United States grew until the mid-1960s when there were over 250 in the United States. Since that time the number of women’s colleges has decreased with the schools either closing, becoming co-ed, or merging with a men's college. As of 2024, there were 26 women’s colleges in the United States that fulfill a unique role educating and empowering women.  

 

Mount Holyoke College

Inside the Emily Williston Library on the campus of Mount Holyoke College, a private women's liberal arts college in South Hadley, Massachusetts | Library of Congress | www.loc.gov/item/2019690140/

Inside of a library. Book shelves line the front and back walls, chandeliers hang from the ceiling, and there is a large window in the back of the room looking out onto a brick building. There is a small group of people in the library.

View of the campus at Mount Holyoke College, a private women's liberal arts college in South Hadley, Massachusetts | Library of Congress | www.loc.gov/item/2019690144/

Two women sit on a grassy field with a few trees lining the perimeter. A large brick building sits in the background.

View of the campus at Mount Holyoke College, a private women's liberal arts college in South Hadley, Massachusetts  | Library of Congress | www.loc.gov/item/2019690145/

Outside in Mount Holyoke. A street light and paved path are in the front of the photograph. Next to those is a grassy field lined with trees, and a brick tower toward the back of the frame. In the distance, a few people are walking in the group

Smith College 

Scene at the boathouse on the campus of Smith College in Northampton, Massachusetts, one of the "Seven Sisters" schools, an alliance of East Coast liberal-arts colleges created to provide women with education equivalent to that provided in the men-only Ivy League  | Library of Congress | www.loc.gov/item/2019690193/

Boathouse on the lefthand side, and two small wooden boats float in the water next to it. Trees line the body of water into the distance of the photo.

Scene at the botanic garden on the campus of Smith College in Northampton, Massachusetts, one of the "Seven Sisters" schools, an alliance of East Coast liberal-arts colleges created to provide women with education equivalent to that provided in the men-only Ivy League | Library of Congress | www.loc.gov/item/2019690192/

Mixed terrain of grass, paved road, and gravel road. A small lawn contains a bench, a tree, and a few stones. In the distance is a greenhouse with a glass, domed ceiling.

Pond and conservatory on the campus of Smith College in Northampton, Massachusetts, one of the "Seven Sisters" schools, an alliance of East Coast liberal-arts colleges created to provide women with education equivalent to that provided in the then men-only Ivy League   | Library of Congress | www.loc.gov/item/2019690187/

In the foreground, there is a pond with moss growing over the top and a flamingo statue in the center. The pond is surrounded by grass and trees, as well as the conservatory building on the left side. A large brick building sits at the back of the photo on a hill.

 Elmira College (founded as women’s college, now co-educational)

Gillett Memorial Hall, completed in 1891 on the campus of Elmira College in Elmira, New York  | Library of Congress | www.loc.gov/item/2018700052/

A large brick building sits at the end of a paved path. The building contains two gable roofs on each side of the building, and windows line the front. The sky is blue, with a few light white clouds

Entrance arch on the campus of Elmira College in Elmira, New York  | Library of Congress | www.loc.gov/item/2018700071/

Outside, two brick columns line either side of a brick path. The columns are connected by an arched sign reading Elmira College

 

HBCUs

 

Historically Black Colleges and Universities (HBCUs) include both private and public schools that were established before the 1964 Civil Rights Act with the mission of providing higher education to Black Americans. There are 101 HBCUs in the United States that carry out the mission of educating Americans regardless of race and preserve Black American culture and history.  

 

Grambling State University

A massive, horizontal "G" sculpture on the campus of Grambling State University, a pre-eminent HBCU (historically black college or university) in rural Grambling, Louisiana | Library of Congress | www.loc.gov/item/2020744158/

Outdoor setting with a brick building lining the back of the photograph. In the foreground, a large, horizontal sculpture of the letter G sits on a small patch of grass. The patch of grass is surrounded by a concrete path and a few benches.
 

The McCall Dining Center on the campus of Grambling State University, a pre-eminent HBCU (historically black college or university) in rural Grambling, Louisiana | Library of Congress | www.loc.gov/item/2020744159/

Outside of a one-story building with windows making up most walls. A window-walled tower rises above the rest of the building. The building sits off a paved road.

The Frederick C. Hobdy Assembly Center on the campus of Grambling State University, a pre-eminent HBCU (historically black college or university) in rural Grambling, Louisiana  | Library of Congress | www.loc.gov/item/2020744160/

Outside of a large building that reads "Frederic C. Hobdy Assembly Center." The building contains two flags, the US flag and a smaller yellow flag.
 

The home team's cheering section overlooking the 50-yard line at Eddie Robinson Stadium, the home field of the Grambling Tigers football team at Grambling State University, one of America's pre-eminent "HBCU" (historically black colleges and universities) | Library of Congress | www.loc.gov/item/2020744093/

One side of an outdoor stadium seating section. The rows of seats spell out GSU in red lettering

 

University of Arkansas Pine Bluff 

 

Identifying sign and sculpture at the University of Arkansas Pine Bluff in Pine Bluff, Arkansas | Library of Congress |  www.loc.gov/item/2020741546/

Outside image of a sign and a sculpture. The sign has two posts and a rounded top and reads University of Arkansas Pine Bluff. The sculpture is a bronze color with three abstract shapes stacked on top of one another.

 

The Walker Center multipurpose research hall at the University of Arkansas Pine Bluff in Pine Bluff, Arkansas | Library of Congress | www.loc.gov/item/2020741547/

Outside of a large red brick building, which sits on a field of grass and a paved sidewalk leads up to the front door. Trees border the building.

The Dawson-Hicks Hall dormitory at the University of Arkansas Pine Bluff in Pine Bluff, Arkansas | Library of Congress | www.loc.gov/item/2020741567/

Large brick and cement building with three prominent gables. Windows are gridded on the front of the building. A small sign sits out front too far to read.

A clock that is the centerpiece of the University of Arkansas Pine Bluff in Pine Bluff, Arkansas | Library of Congress | www.loc.gov/item/2020741724/

Large brick clocktower sits in a field of short green grass. Trees line the back of the clocktower, and more brick buildings sit behind the trees. There is a paved sidewalk leading to the clocktower.
 

Lion sculpture on the campus of the University of Arkansas Pine Bluff in Pine Bluff, Arkansas, whose athletic teams are the Golden Lions | Library of Congress | www.loc.gov/item/2020741566/

Outdoor sculpture of a lion on a rock. The sculpture is white, and it sits in the grass.

 




 

Regional Public

Regional public universities educate a large number of students in higher education. Many were founded as Normal Schools or Teachers Colleges and they continue to provide education to students in all areas of the country who may not have access to larger schools or private schools. According to the American Association of State Colleges and Universities these schools enroll a disproportionately higher number of students of color, of low-income backgrounds, first generation, Pell Grant recipients, community college transfers, working adults, and veterans compared with other public and private institutions.

 

Southern Oregon University

A springtime view of an academic building at Southern Oregon University in Ashland | Library of Congress | www.loc.gov/item/2018698087/

Bright green grass field lined with green and blossoming trees. A brick building sits on the far edge of the field.

A cyclist passes before the library building at Southern Oregon University in Ashland | Library of Congress | Library of Congress | www.loc.gov/item/2018698081/

Front of a large brick and glass building. Steps lead up to the building, which has both a rectangular base and a cylindrical component that is completely glass. A man on a bicycle rides in front of the building.

Stone artwork array on the grounds of Southern Oregon University in Ashland  | Library of Congress | www.loc.gov/item/2018698083/

Stone sculptures sit in a grassy field with a few small trees. A brick building sits off the field in the distance.
 

Metal-art sculpture on the grounds of Southern Oregon University in Ashland | Library of Congress | www.loc.gov/item/2018698082/

Outside garden area with grass and a few trees. In the center of the photo is a sculpture on a pedestal. The sculpture is orb-like, but transparent.
 

University of Texas-El Paso

Building on the campus of the University of Texas-El Paso | Library of Congress | www.loc.gov/item/2014631177/

Outside of a tall, sand colored, four story building. Pedestrians walk by in the foreground.

Building on the campus of the University of Texas-El Paso  | Library of Congress | www.loc.gov/item/2014631178/

Outside of a building. Two benches face each other outside the building on a concrete path.

Building on the campus of the University of Texas-El Paso | Library of Congress | www.loc.gov/item/2014631182/

Large four-story sand academic colored building with pedestrians walking by on a paved path.

The Chihuahuan Desert Garden and campus buildings of the University of Texas at El Paso | Library of Congress | www.loc.gov/item/2014630702/

Desert garden sits in front of a large, light tan building with a flat roof. Cars are parked in a lot between the building and the desert garden.

Glass wall and stairway at the University of Texas at El Paso | Library of Congress | www.loc.gov/item/2014632620/

Outside photograph of a multi-colored glass wall descending alongside a cement stairwell. The glass wall takes up the bottom half of a building wall. The rest of the building's wall is a light tan color.

Glass wall at the University of Texas at El Paso | Library of Congress | www.loc.gov/item/2014632619/

Outside image of a glass wall. The glass panes are colored to form a pointed arch. Outside to inside of the arch, the colors are blue, green, brown, orange, transparent, and then repeat.

Gateway sign at the University of Texas at El Paso | Library of Congress | www.loc.gov/item/2014632616/

Outside, stone sign with a circle in the center reading The University of Texas at El Paso. Those words encircle a star.
 

The University of Texas at El Paso | Library of Congress | www.loc.gov/item/2014632618/

 

 

West Chester University

This is a ram statue, though not a golden one, in front of the Old Library building on the campus of West Chester University in West Chester, Pennsylvania. The school's sports teams are nicknamed the Golden Rams. The Department of Anthropology and Sociology, and the Institute for International Development are housed in the 1902-vintage building | Library of Congress | www.loc.gov/item/2019689476/

Outdoor garden/courtyard. Yellow and purple flowers line the perimeter. A ram statue is in the center of the courtyard, looking away from photographer.

This is a ram statue, though not a golden one, in front of the Old Library building on the campus of West Chester University in West Chester, Pennsylvania. The school's sports teams are nicknamed the Golden Rams. The Department of Anthropology and Sociology, and the Institute for International Development are housed in the 1902-vintage building | Library of Congress | www.loc.gov/item/2019689477/

Outside photograph of a ram statue situated in front of a large yellow building. The building has a singular gabled roof with four marble columns lining the front.

The Old Library building on the campus of West Chester University in West Chester, Pennsylvania. The Department of Anthropology and Sociology, and the Institute for International Development are now housed in the 1902-vintage building | Library of Congress | www.loc.gov/item/2019689478/

Outside front view of the library building. A concrete path cuts through a field leading up to the building. At the end of the path is a stairwell leading to the building. The building contains a gabled roof and four columns.

Large Public 

Large public universities enroll tens of thousands of students. Many started as Land Grant Schools, a federal program that began in 1862 with the Morrill Act and the Second Morrill Act of 1890. Funds were raised by selling western lands, most of which had been taken from Native Americans, sometimes even without a formal treaty. (see Landgrabu.org for more). Land grant schools were established to promote applied science in agriculture and industry but now most large public universities offer a wide range of degrees in including liberal arts. Many of these institutions also have a strong research focus. 

 

University of Michigan

University of Michigan Campus, Ann Arbor, Michigan. Aerial view | Library of Congress | www.loc.gov/item/2020714690/

Outdoor aerial view of large stone buildings and green areas with trees.

University of Michigan Campus, Ann Arbor, Michigan. Tower | Library of Congress | www.loc.gov/item/2020714700/

Large cornered tower on ann arbor's campus.

Power Center for the Performing Arts, University of Michigan, Ann Arbor, Michigan. Exterior | Library of Congress | www.loc.gov/item/2020714689/

building with large cylindrical cement columns along the side to support it, the whole outside facing wall is reflective panes of glass. There are large trees with yellow leaves in the foreground

Angell Hall, an academic building at the University of Michigan in Ann Arbor. It is after James Burrill Angell, who was the university's president from 1871 to 1909. The Angell Hall Observatory is located on the fifth floor roof of the building, which opened in 1924. On March 24, 1965, Angell Hall was the site of the first "teach-in" protesting the Vietnam War. More than 3,000 people attended the all-night program of seminars, rallies and speeches | Library of Congress |  www.loc.gov/item/2020722994/

Large building with greek style columns and design at the top.

The 1936 Burton Memorial Tower on the campus of the University of Michigan in Ann Arbor. Named for former university president Marion Leroy Burton, the carillon tower, designed by Albert Kahn, now (as of 2019) houses the Baird Carillon, classrooms, and faculty offices for members of the Department of Musicology | Library of Congress | www.loc.gov/item/2020722990/

Tall stand alone tower with a number of small windows looking out and a clock at the top

The University of Michigan Art Museum, in the 1910 Alumni Memorial Hall on the campus in Ann Arbor. Its original purpose was threefold: to provide a space for the university's growing art collection, open space for the graduate school, and honor alumni who had served in the nation's wars to that date | Library of Congress | www.loc.gov/item/2020722995/

A wide walkway extends towards the museum, lined with black metal park benches and green space with trees behind them. Stairs ascend to the building entrance which is surrounded with columns. Between the columns, advertising posters are hung.

Abstract impressionist artist Mark di Suero's 53-foot-high "Orian" sculpture enlivens the campus of the University of Michigan in Ann Arbor. Initially exhibited at Chicago's Millennium Park, it arrived on campus on long-term loan in 2008. Ten years later t was removed because of drainage repairs, which provided an opportunity to send the sculpture back to the artist's studio in New York for conservation work and a fresh coat of vibrant reddish-orange paint | Library of Congress | Library of Congress | www.loc.gov/item/2020722993/

Large abstract sculpture is on a green lawn next to a sidewalk.
 

University of Wyoming

The sports arena and auditorium at the University of Wyoming in Laramie, Wyoming | Library of Congress | Library of Congress | www.loc.gov/item/2015632803/

Weathered statue stands before a dome shaped building. The statue depicts a cowboy riding a bucking horse.

S.H. Knight's Tyrannosaurus sculpture stands near the entrance to the Geological Museum at the University of Wyoming in Laramie, Wyoming | Library of Congress | www.loc.gov/item/2015632813/

A tall dark, potentially metallic statue of a Tyrannosaurus Rex outside of a tan building.
 

Cooper House, home to the American Studies program at the University of Wyoming in Laramie, Wyoming | Library of Congress | www.loc.gov/item/2015632809/

White house with two stories a red clay tile roof.

D. Michael Thomas's "Breakin' Through" statue at the University of Wyoming in Laramie, Wyoming. The statue evokes the university's "Cowboys" sports nickname ("Cowgirls" in the case of women's teams), and the state nickname as The Cowboy State | Library of Congress | www.loc.gov/item/2015632797/

Statue of a person riding a horse through a white brick wall with the words "Breakin Through" on the top most part of the wall that is still intact.

The Marian H. Rochelle Gateway Center at the University of Wyoming in Laramie, Wyoming, a convocation center that the university calls its "front door" | Library of Congress | www.loc.gov/item/2015632795/

Large building with large windows and a cowboy statue of a person riding a bucking horse.

Engineering Hall, home to the engineering department at the University of Wyoming in Laramie, Wyoming | Library of Congress | www.loc.gov/item/2015632814/

Tall brown stone or brick building with tall paned windows.

The Arts and Sciences building at the University of Wyoming in Laramie, Wyoming | Library of Congress | Library of Congress | www.loc.gov/item/2015632812/

Tall brown building with four floors and windows. The center of the building is the tallest and the height of it decreases to each side.

The College of Agriculture building at the University of Wyoming in Laramie, Wyoming | Library of Congress | Library of Congress | www.loc.gov/item/2015632811/

Large tan building visible beyond a grass field with evergreen trees and one overhead light pole.

The College of Business building at the University of Wyoming in Laramie, Wyoming | Library of Congress  | Library of Congress | www.loc.gov/item/2015632810/

Shorter building on left connected to taller building on right by a glass hallway with entrance doors. Two tall trees and other green shrubbery grow in front.

University of Nebraska-Lincoln

Louise Pound Hall on the University of Nebraska campus in Lincoln, the capital city of the midwest-U.S. state, houses (as of 2021) the Department office of Child, Youth and Family Studies and the office of the College of Education and Human Sciences | Library of Congress | www.loc.gov/item/2021758197/

Wide building with a dozen tall concrete columns at the front.

Once the college engineering building, Richards Hall on the University of Nebraska campus in Lincoln, the capital city of the midwest-U.S. state, now (as of 2021) houses the School of Art and the Eisentrager-Howard Art Gallery | Library of Congress | www.loc.gov/item/2021758196/

Orange or red brick building with a red roof. Picnic table with a red umbrella stands to the left and two large evergreen trees stand in front of the building.

Since 2003, the Van Brunt Visitors Center has served as the unofficial "front door" to the campus of the University of Nebraska in Lincoln, the capital city of the midwest-U.S. state | Library of Congress | www.loc.gov/item/2021758202/

Red brick building with sloped roof in the background, abstract art installation on the lawn that uses large book pages.

Japanese artist Jun Kaneko's 2009 "Untitled" ceramic and galvanized-steel sculpture outside the Sheldon Museum of Art on the campus of the University of Nebraska in Lincoln, the capital city of the midwest-U.S. state | Library of Congress | www.loc.gov/item/2021758200/

Large abstract sculpture on a lawn of a head with no hair, but a bright blue face.

Artist Ed Carpenter's "Harvest" sculpture greets those approaching the Pinnacle Bank Arena, the home of the University of Nebraska men's and women's basketball teams in Lincoln, the capital city of the midwest-U.S. state of Nebraska | Library of Congress | www.loc.gov/item/2021758193/

Sculpture in front of a building with tall pieces of metal placed in a circle that bend outwards at the top.

These four columns have become a landmark on the campus of the University of Nebraska in Lincoln, the capital city of the midwest-U.S. state | Library of Congress | www.loc.gov/item/2021758203/

Four columns stand alone.

The Sheldon Museum of Art, on the campus of the University of Nebraska in Lincoln, the capital city of the midwest-U.S. state | Library of Congress | www.loc.gov/item/2021758198/

Steps with hand rails ascend to the entrance of the Sheldon Art Museum. There are three archways that stand in front of the large windows. On the steps there is a dark metal sculpture of a head on its side.


 

Private, Liberal Arts

 

Liberal arts colleges offer 4 year degrees and also emphasize a broad education and general knowledge including science, history, literature, math, and languages. Private schools tend to be smaller and many, although not all, were originally founded as religious institutions.  

 

Amherst College

The campus quadrangle, colloquially called the "quad," at Amherst College, a private liberal-arts college in Amherst, Massachusetts | Library of Congress

https://www.loc.gov/item/2019690237/

Wide green field with tall trees. A sidewalk goes through the park with black street lamps.

The Keefe Campus Center, the student activities building at Amherst College, a private liberal-arts college in Amherst, Massachusetts | Library of Congress | www.loc.gov/item/2019690233/

A large two story building on the corner of two paved roads. Lots of open green space in the foreground.

The Keefe Campus Center, the student activities building at Amherst College, a private liberal-arts college in Amherst, Massachusetts | Library of Congress | www.loc.gov/item/2019690234/

Side view of Keefe Campus Center

Davis & Elkins College

Campus view of Davis & Elkins College in Elkins, West Virginia. The Albert Hall science building is in the foreground | Library of Congress | www.loc.gov/item/2015631689/

Two brick buildings on a hill just beyond an open grassy field.

Campus view of Davis & Elkins College in Elkins, West Virginia. The Albert Hall science building is in the foreground | Library of Congress | www.loc.gov/item/2015631691/

Side view of David & Elkins College showing the stairs that lead up to the building.
 

Graceland mansion on the campus of Davis & Elkins College in Elkins, West Virginia | Library of Congress | www.loc.gov/item/2015631695/

The bottom half of the house is stone and the top half is painted blue with a red roof and a few short turrets.

Halliehurst mansion on the campus of Davis & Elkins College in Elkins, West Virginia | Library of Congress | Library of Congress | www.loc.gov/item/2015631694/

Three story dark brick home with three chimneys and a turret.

Booth Library on the campus of Davis & Elkins College in Elkins, West Virginia | Library of Congress | www.loc.gov/item/2015631692/

View of Library built on a hill but extends off of the hill.



 

St. Olaf College

A woodsy fall view of a portion of the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723532/

View of a green space on campus next to a sidewalk. A number of trees are in this space and their leaves are orange.

A woodsy fall view of a portion of the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723535/

View of a woodsy section of campus, tree leaves have turned yellow and orange and fallen leaves cover the ground.

A woodsy fall view of a portion of the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723538/

A yellow wooden chair sits on a wide tree stump surrounded by fallen leaves in a preserved nature section of the campus.

A portion of Boe Memorial Chapel on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723536/

Side view of the church through a wooded area with tall trees and orang autumn leaves covering the ground.

A portion of Boe Memorial Chapel on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723539/

Five sidewalks meet at one point and between them are small green spaces with trees and fallen autumn leaves.

Mellby Hall, the oldest residence hall on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota  | Library of Congress | www.loc.gov/item/2020723530/

Beige four story stone building with a black roof.

Mellby Hall, the oldest residence hall on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723531/

Another view of Mellby Hall

Boe Memorial Chapel on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress

https://www.loc.gov/item/2020723537/

Front view of the chapel showing the cross at the top, stained glass windows ascending up, and three sets of orange double doors.

The Theater Building on the campus of St. Olaf College, a private, liberal-arts college in Northfield, Minnesota | Library of Congress | www.loc.gov/item/2020723533/

Walkway leading the the theater building which has stairs going up to the door and classic brick architecture.
 

Community Colleges and Junior Colleges

According to the U.S. Department of Education, almost half of all students in higher education are enrolled in Community Colleges or Junior Colleges. Over half of adults with a 4 year degree began their education at a community college. Community colleges and junior colleges also enroll a high number of first generation students and lower income students. While the first institution of this type was established in 1901 with the founding of Joliet Junior College (JJC) in Joliet, Illinois, the largest growth of community colleges occurred after 1945 as college attendance rose overall the federal and state government encouraged the development of schools that could bridge the gap between high school and college, provide training in trades, and serve as cultural centers for communities. 

 

Western Wyoming Community College

 

Buildings at Western Wyoming Community College in Rock Springs | Library of Congress | www.loc.gov/item/2017688034/

Far away view of Western Wyoming Community College's campus showing some of the taller brick buildings there.

Buildings at Western Wyoming Community College in Rock Springs | Library of Congress | www.loc.gov/item/2017688035/

Brown brick buildings with red metal roofs and sky lights.

Buildings at Western Wyoming Community College in Rock Springs | Library of Congress | www.loc.gov/item/2017688036/

Large cube shaped building with red-orange and tan stripes made to look like layers.

Potomac State College of West Virginia University

Davis Hall, a dormitory and conference center at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631540/

Dark brick three story building with rows of windows and a chimney just beyond a green lawn and some tall trees.

Science Hall at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631537/

Brick building with rows of windows with a sign in front that reads "Potomac State College West Virginia University Science Hall". The doorway is framed by a decorative cement design and two large white ball sconces. Between the building and the sidewalk there are shrugs and a flower bed.

Catamount statue at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631534/

Bronze statue of a cougar on a pedestal with a plaque reading "Welcome to catamount country."

Academy Hall at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | Library of Congress | www.loc.gov/item/2015631538/

Large three story square brick building.

Reynolds Hall, a dormitory at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | Library of Congress | www.loc.gov/item/2015631539/

Three story brick building with four columns at the entrance and two chimneys on the roof.

The 1919-vintage Administration Building at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631542/

Large three story rectangular brick building with tall windows, stairs leading to the entrance, and two large columns by the door.

Mary F. Shipper Library at Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631535/

Brick and cement building just beyond a green lawn and a small roadway.

Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631536/

Zoomed out view of Science Hall where all three floors are visible.

Overview of Potomac State College of West Virginia University, a two-year junior college affiliated as a division of West Virginia University located in Keyser, West Virginia | Library of Congress | www.loc.gov/item/2015631541/

Photo of Potomac State College campus as it sits in a valley. Just behind the campus is a forested mountain. This photo is taken from a hill on the other side of the valley.

Immigration from Asia Post-1970: A Guide for Pre-Service Teachers

Image
Article Body

What is it?

Immigration is a hotly contested issue that brings up strong reactions on both sides. Immigrants form communities that are integrated with communities of other immigrants and Americans who were born in the U.S. They live in cities and in rural areas and in all regions of the country. Increasingly they come from all over the world. This guide supports students as they examine sources related to immigration from Asia and look for connections and commonalities between these communities and their own.      

Key points:

  • This activity will take one 90-minute period or two 45-minute periods. It is appropriate for a high school U.S. history or government classroom, but can be modified for a variety of learners.
  • Students will analyze, interpret, and evaluate primary sources. 
  • Students will learn more about the variety of immigrants who have made their home in the United States. 
  • Guiding Question: What can we learn about photographs of immigrant communities from Asia in the U.S.?  

Introduction

Immigration is a commonly taught topic in United States history courses especially in the 19th century through the early 20th century, but there are fewer resources available on immigration from the 1960s to the present day. In addition, the resources that exist mostly focus on immigration from Mexico and Latin America. Immigration from Asia has been a major portion of immigrants to the United States especially since 2000. Immigrants from China, India, the Philippines, Vietnam, Laos, Cambodia, South Korea, Bangladesh among many other nations are not a monolith. Some came under visas designed to attract immigrants for specific professional jobs while others are refugees fleeing civil war or repressive governments. Economic hardship in their home countries was also a “push” factor. These immigrants have settled in many different areas in the United States as well changing communities in a variety of ways as immigrants have always done. This is a nuanced history and in this guide students will examine primary sources consisting of photographs from the communities where immigrants from Asia have settled in the United States. Using close analysis students will find patterns and themes so that they better understand the impact and contributions of this growing segment of immigrants. 

Hook/Bellringer

Post the following question on the board: According to the American Immigration Council there are 44.9 million immigrants (foreign-born individuals) living in the United States, can you guess the top five countries these individuals come from?

This could be set up via a number of online quiz tools like Kahoot or just on the white board with paper obscuring the answers. An unlabeled bar graph indicating the percentages below would work well too. 

Provide students with a “bank” of possible countries. Such as Germany, Italy, Brazil, China, Russia, Mexico, Argentina, Cuba, India, Nigeria, Egypt, Philippines, Australia, El Salvador.  

  1. Mexico (24 percent of immigrants)
  2. India (6 percent)
  3. China (5 percent)
  4. Philippines (4 percent)
  5. El Salvador (3 percent)

Give the students a chance to guess and reveal answers as they are named. If they can not name all of them, give them 5 or so chances, and then reveal the rest of the answers. 

Note that after Mexico the next three countries of origin are Asian countries. It might also be helpful to point these countries out on a map. 

Brief discussion: What about this list surprises you? Are there countries that are higher than you thought? Lower? 

Inform the class that immigration from Asia has been increasing as a percentage of overall immigration to the United States. It wasn’t until the 2000s that more than one Asian country was even a top ten country of origin for immigrants to the U.S. In the next activity they will learn more about how immigration from Asia has changed the United States. 

 

Primary Source Analysis - Community Connections

The primary sources below are all photographs that depict Asian immigrant communities in the United States. They include photos of people engaged in a wide variety of activities including playing cards, selling and buying clothes, getting a haircut, playing chess, buying food, celebrating, socializing. There are also a variety of buildings including markets, restaurants, houses of worship, clothing stores, nail salons, laundromats, pharmacies, hardware stores and more. Together they provide a glimpse into the variety of ways individuals from the largest continent on earth have made their homes in the United States. The goal of engaging with these sources is for students to make connections between the activities that occur in their communities with what they see in these photographs of immigrant communities. 

  1. Make the photos available to students either through links or by printing them out and arranging at different stations in the classroom. 
  2. Have students select three photographs and complete the Primary Source Analysis Tool for each. [A Library of Congress Teacher’s Guide for analyzing photographs can be found here.]  Further tips for examining sources:
    1. Encourage students to slow down and examine the photos carefully
    2. Zoom in on the photos and take note of details. 
    3. What words do they see - either in English or another language?
    4. What products are for sale in the stores?
    5. Are there people in the photos? What do they appear to be doing?
  3. Once they’ve completed their 3 analysis sheets, put them in pairs and small groups. Working together they will come up with connections between the photos and their own communities. Encourage students to think creatively. There might not be a Hindu temple in their community, but what places of worship are there? People might not gather to play cards, but what do they do for leisure and to socialize? Have one student per group compile a list of these Community Connections. 
  4. After working in their groups for 15 minutes, the groups can share out with the class the connections they made. 

 

Primary Sources

 Kim, a Korean immigrant, showing a suit to Michael, Jinny's, Broadway, Gary, IN | Library of Congress | www.loc.gov/item/2022650724/

A woman stands points to one of several suits hanging in front of a closed garaged door.

 

Vietnamese immigrants playing cards outside Tan Phat Noodle House, 3301 Westfield Ave., Camden, NJ 2015 | Library of Congress | www.loc.gov/item/2020698722/

Outdoors in a parking spot between two parked cars four men play cards at a table.

 

Hookah lounge in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. Hookah lounges are places where patrons share communal hookahs, or water pipes | Library of Congress | www.loc.gov/item/2020722865/

A corner store with two large signs reading Tropical Hookah facing each steet above the door.

 

A Middle Eastern-themed interior design shop in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis | Library of Congress | www.loc.gov/item/2020722860/

A store window containing pillows and chairs with ornate fabric designs.

 

A barber named Hani gives a customer, Ali, (both gave only their first names) a haircut in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis | Library of Congress | www.loc.gov/item/2020722862/

A barber cuts a gray-haired man's hair in front of a mirror with an ornate border.



Store in Hamtramck, Michigan, selling clothing, including burqas, or enveloping outer garment worn by women in some Islamic traditions. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis | Library of Congress | www.loc.gov/item/2020722864

A small store advertises Abaya and Gifts in English and Arabic.

 

Nail-care shop in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress| www.loc.gov/item/2020722863/

Small store front with a sign above the door reading Nails.

 

The Makka Hi Fruit Market in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress | www.loc.gov/item/2020722869/

Sign in front of a building reads Makka Hi Fruit Market then Arabic script below that Halal Food Vegetable.

 

A colorful tire shop in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress | www.loc.gov/item/2020722824/

A shop called Number 1 Al's Auto Care Fix (english and arabic) is painted outside with pictures of different car parts

 

The Al-Qamar pizza parlor in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress |  www.loc.gov/item/2020722826/

A small building has a sign reading Al-Qamar pizza and grill with pictures of pizzas on the windows

 

Burk's Igloo ice-cream stand in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith - original digital file | Library of Congress |  www.loc.gov/resource/highsm.60598/

Ice cream stand decorated with a large ice cream cone.

 

Masjidun-Nur, a Muslim place of worship in Hamtramck, Michigan. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress | www.loc.gov/item/2020722828/

One-story white building with a "Masjidun-Nur" sign and green minaret designs.

 

Clothing store in Hamtramck, Michigan. Note the welcoming sign in three languages in the window. Known in the 20th century as a vibrant center of Polish-American life and culture, Hamtramck has continued to attract immigrants, especially Yemenis and Bangladeshis. In 2015, its city council became the first city council in the United States with a majority of the members of the Muslim faith | Library of Congress | www.loc.gov/item/2020722866/

Store front with chalkboard in front of the store reading "A Collectible Clothing Boutique. A Place for Something Unique."

 

 

 

Crivijit, originally from India, working for Uber, Myrtle Ave. at Wyckoff Ave., Brooklyn | Library of Congress | www.loc.gov/item/2021653446/ 

A man in a hoodie sits on a parked scooter with a large insulated backpack on his back

 

The Hindu Temple and Cultural Center, near the town of Madrid in Boone County, Iowa | Library of Congress |  www.loc.gov/item/2016630539/

An ornate white building with carved designs and figures.

 

One of several elaborate carvings outside the Hindu Temple and Cultural Center, near the town of Madrid in Boone County, Iowa | Library of Congress | www.loc.gov/item/2016630538/

Elephant sculpture in front of temple.

 

 

The OK Boss Asian grocery stores in Windom, Minnesota. As of 2020, Asian restaurants and stores proliferated in small, southern Minnesota towns | Library of Congress | www.loc.gov/item/2020723773/

A small building with a OK Boss Asian Grocery Store sign. The sign also has a cartoon of a cowboy feeding a horse some green leaves.



 

Chinese food shops in the Lakewood neighborhood, Chicago, Illinois | Library of Congress | www.loc.gov/resource/afc1981004.145/?sp=1

Store front with Chinese characters. Porcelain cups can be see in the window. In the foreground 2 women get into a car.

 

 

Yoga studio in the Lakewood neighborhood, Chicago, Illinois | Library of Congress | www.loc.gov/resource/afc1981004.145/?sp=11

Building with an International Institute of Shinsundo Shinsun Yoga sign with image of a person doing yoga.

 Chinese women playing cards. Bayard St. and Baxter St., Chinatown, Manhattan | Library of Congress |  www.loc.gov/item/2022642962/

The women sit at tables with each other. The venue appears to be sunny and outdoors. Many of them have suitcases and backpacks with them.

 

Elderly men playing Chinese chess. Columbus Park, Bayard St., Chinatown, Manhattan | Library of Congress | www.loc.gov/item/2022885526/

Elderly men gather around an outdoor table in New York City. Four of them sit across from each other on either side of the table on park benches and the rest of the men stand and observe.

 

 

Jolllybee, Filipino Restaurant, 609 8th Ave., Manhattan | Library of Congress | www.loc.gov/item/2021643708/

Three employees taking, assembling, and packaging orders. There are two customers waiting to pick up their orders and two customers placing their orders.

 

Filipino street vendors, 67-12 Roosevelt Ave., Queens | Library of Congress | www.loc.gov/item/2022885550/

A small group of Filipino women sell headbands and other goods at their booth on a street in New York City

 

Baptism celebration, Kabayan Bistro, a Filipino Lounge, 6909 Roosevelt Ave., Queens | Library of Congress | www.loc.gov/item/2024696323/

A family gathers around tables at a Filipino restaurant to celebrate a baptism.




 

The Fil Am float, representing the Filipino American Association of Portland & Vicinity, Inc., passes by in the Fred Meyer Junior Parade, one several events in Portland, Oregon's, annual Rose Festival | Library of Congress | www.loc.gov/item/2018699497/

The float has lots of roses and flowers around the bottom and a crown floating at the top above a group of young girls who sit on the float and wave.

 

Vietnamese laundromat and Pizzeria, Saunders St. at N. 27th St., Camden, NJ, 2023 | Library of Congress |  www.loc.gov/item/2024695773/

Photo taken in 2023 of a brick building with two signs on it written in Vietnamese indicating where to enter for pizza or for laundry service.

 

 

Vietnamese laundromat and Mexican Taqueria, Saunders St. at N. 27th St., Camden NJ, 2006 | Library of Congress |  www.loc.gov/item/2020702024/

Photo taken in 2006 of the same brick building as above on Saunders Street in Camden, New Jersey. Two signs on the outside of the building written in Vietnamese indicating where to enter for the mexican restaurant and for laundry service

 

Korean musicians, Broad St. at Market St., Newark, NJ | Library of Congress | www.loc.gov/item/2021635295/

At the corner of Broad street and Market Street in Newark, New Jersey a small group of Korean musicians perform for the public. They stand next to the crosswalk lights and one of them plays a guitar.

 

Entrance sign at the Assi Plaza Asian grocery and Korean and Chinese specialty store in the Flushing neighborhood of the New York City borough, or county-like jurisdiction, of Queens | Library of Congress | www.loc.gov/item/2018701181/

Sign over the entrance to Assi plaza where there is an Asian grocery store as well as a Korean and Chinese specialty store. The sign includes Chinese, English, and Korean writing.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699994/

There are street vendors, resting pedestrians, and people walking by in front of a Chinese pharmacy.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699995/

People walk past the GV Trading store on the corner of a street in Chinatown. Someone rides theirbike past

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699996/

 

Pedestrians walk in front of a store with a red awning reading K.L. Seafood Corps in Chinatown

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699997/

Pedestrians walk in front of Huan Jin Vegetable store front in China Town

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699998/

A small crowd of people walk in front of a store front titled Dahing Seafood Market.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress |  www.loc.gov/item/2018700000/

Store front reading Vivi Bubble Tea with a pink background. A statue of Marge Simpson sits on a bench in front of the store.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018700001/

Front of building reading NG Fook Funeral Services. Construction equipment surrounds the building.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699941/

A man sits cross-legged on a chair in front of a store called New China Beauty Salon.

 

Fish market in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699985/

Fish arranged on tables in the market as a few people in the background survey the various fish.

 

Produce stand in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699986/

Crates of spinach, radishes, scallions, and other green vegetables sit in the foreground with prices. A few men stand behind the produce wearing gloves and interacting with the produce.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699987/

A man lens on a fire hydrant in front of a store in China Town. A woman walks behind him.

 

Scene in Lower Manhattan's Chinatown neighborhood in New York City | Library of Congress | www.loc.gov/item/2018699988/

A woman walks past a store-front building in China Town carrying a bag

 

Some of the hundreds of participants at the 10th-annual Hmong New Year Celebration in downtown Chico, California, pose | Library of Congress | www.loc.gov/item/2013631121/

A group of 12 people organized in two lines, the frontline kneeling and the back line standing behind. Participants are wearing traditional clothing.

General Tips for Teaching Controversial Subjects

  • Center activities on primary sources. Primary sources are tangible evidence that allow students to engage directly with history. These primary sources in particular were preserved and digitized by the Library of Congress because they were deemed important to the history of the United States.
  • Discussion and analysis of these sources can be wide ranging, but within each class those discussions can always be turned back to the source itself.
  • The sources are also, by definition, only pieces of a puzzle. They bring us closer to understanding the past but there is always room for doubt and uncertainty.  
  • Questions, Observations, and Reflections should come from students. These are primarily student-directed learning activities. It is the instructor's role to create a space for inquiry and empower students to drive the inquiry.
  • It may help to remind students at the outset that it is normal for different individuals to come to different conclusions, even when we are looking at the same sources. Further, it would be strange if we all agreed completely on our interpretations. This can normalize the strong reactions that can come up and enables educators to discuss the goal of historical research, which is to hopefully go beyond the realm of individual  perspective to access a fuller understanding of the past that takes multiple perspectives into account.
  • Teaching historical topics that involve violence and other trauma can be traumatic for some students as well. Providing students with previews of what content will be covered and space to process their emotions can be helpful. The following video series from the University of Minnesota contains further tips for teaching potentially traumatic topics: https://extension.umn.edu/trauma-and-healing/historical-trauma-and-cultural-healing.

 

9/11 and Commemoration: A Guide for Pre-Service Teachers

Image
Article Body

What is it?

For students in high school today the events of September 11 belong to the past, but they may very likely encounter the yearly commemorations of those events on television or social media or they may have seen a physical memorial either in their area or while traveling. The past regularly enters our daily lives in this way and this is distinct from history. This guide explores commemorations, memorials, and monuments of the September 11 attacks to help students identify and recognize how they engage with the past how that process differs from history. 

Key points:

  • This activity will take one 90-minute period or two 45-minute periods. It is appropriate for a high school U.S. history classroom, but can be modified for a variety of learners.
  • Students will analyze, interpret, and evaluate primary sources. 
  • Students will learn more about the events of September 11 and also how those events exist in public memory. 
  • Guiding Question: What's the purpose of commemorations and memorials 

Introduction

History is the process by which we try to better understand the past, but history is not the only way human beings use the past or make meaning out of past events. This guide looks at another process of remembering the past through commemorations and memorials. Specifically it looks at the commemoration of and memorials to the September 11, 2001 attacks in the United States in order to help students identify the differences between commemorating past events and studying those events historically. While the events of 2001 seem quite recent for some of us, they are far enough in the past to begin to be considered as history — especially for students in high school today who are too young to have been alive when these attacks occurred. Analyzing how various commemorations and memorials engage with the past will help students recognize the difference between this engagement and history while also understanding better the place the events of September 11, 2001 in public memory. 

Hook/Bellringer

Write on the board: What is a commemoration? Can you think of examples? 

If students are struggling with this prompt, add related words that they might be more familiar with such as “memorials” or “monuments”. Explain that memorials and monuments are specific kinds of commemorations. Have students come up with 5-10 examples of their own and have them note what event is being commemorated by the memorial.

Show the following images to prime their memory. 

Washington Monument, Washington, D.C. | Library of Congress | www.loc.gov/item/2010641711

The Washington Monument, a tall white obelisk on the national mall

Aerial view of the Lincoln Memorial, Washington, D.C. | Library of Congress | www.loc.gov/item/2010630765

Aerial view of the Lincoln memorial. White rectangular granite building with stairs leading up to it and columns around the sides.

Memorial Day, Vietnam Memorial, Washington, D.C. | Library of Congress | www.loc.gov/item/2010630875

Close up photo of the Vietnam War Memorial in Washington, DC on Veterans day. There are soldier's boots, letters, photos, flowers, and other sentimental items placed in front of the memorial

Note: Teachers may also want to include memorials and monuments from their community or region. 

Background/Context

[This can be read to class, assigned for the class to read ahead of time, or you can substitute another resource such as the FAQ from the National 9/11 Memorial and Museum.] 

On the morning of September 11, 2001, a group of 19 men forcibly took control of four separate commercial jet airliners. The first two planes struck each of the World Trade Center's Twin Towers [office buildings with more than 100 floors each] in New York City and a third aircraft struck the Pentagon — the headquarters for the U.S. Department of Defense — in Arlington, Virginia. A fourth aircraft crashed into an open field in Somerset County, Pennsylvania after the passengers and crew, having learned about the earlier attacks via phone calls they were able to make to family and friends, attempted to take control of the aircraft away from the attackers. In all 2,996 people died in the attacks. It was later learned that the attackers were associated with an extremist group, al Qaeda, then based in Afghanistan. The response from the U.S. government led to an invasion of Afghanistan from which troops were only withdrawn in 2021. The attack was also used to justify the 2003 invasion of Iraq. The attacks resulted in changes within the U.S as well, including new laws such as the 2001 Patriot Act, changes to airline security procedures, and even changes to the structure of the federal government with the creation of a new cabinet department, the Department of Homeland Security. The full effects of these attacks are still being felt today both in the U.S. and around the world. 

[While you read the above background, you may want to display the images in the blog post below that show the lower Manhattan skyline before and after the attacks.] 

The World Trade Centers in an Evolving Skyline | Picture This | blogs.loc.gov/picturethis/2016/09/the-world-trade-centers-in-an-evolving-skyline/

Four photos of the New York skyline in different years. Those from before 9/11/2001 show the twin towers. Those after show monuments to the attack

 


 

Activity

Have your students examine the images below in the Primary Sources section. This can be done digitally with the links provided below or the sources can be printed out for students to examine physically. Each source is a photograph of a memorial to the September 11 attacks. The memorials come from different locations across the U.S. and were built at different times. Some are informal handmade memorials put in place immediately after the attacks. Others were planned monuments built several years later. Students should examine these sources closely and then work together to sort them into those memorials that were placed at the site of the attacks (either at the World Trade Center Towers in New York, the Pentagon in Arlington, Virginia, or the field near Shanksville, Pennsylvania). Students should then divide the photos into those that were placed in the immediate aftermath of the attacks (2001-2002) and those that were constructed later (after 2002). Students can make use of the information that accompanies the images on the Library of Congress page to make these determinations about time and location. 

This sorting can be done physically with printouts on four tables or desks or digitally with platforms such as Google slides or Padlet.

Once these have been sorted, prompt students to look for patterns by examining the photos closely. Provide the following questions for students to consider as they examine the images:

  • What if anything does the memorial communicate about the September 11 attacks?
  • What themes do they express or communicate? 
  • Do they look similar to any other memorials you have seen? Which ones and in what way?
  • How do the memorials and commemorations differ by time and location?

 

These questions could form the basis of a whole class discussion or students could discuss them in groups of 3-5 and report out. If the course is online students could post their responses in a discussion board in their LMS. 

Optional Short Essay Assignment for homework (1-2 paragraphs)

What purpose do you think memorials and commemorations serve? What’s their purpose? How might historians engage with the events of September 11? What sources would they use to understand the event and its impact?

 

Primary Sources

 The 9/11 Memorial in Overland Park, Kansas, a Kansas City suburb, includes informational signs about the four aircraft destroyed, and their passengers killed, in the terrorist attacks on the World Trade Center in New York, the Pentagon in Washington, and in a hijacking over rural Pennsylvania by terrorists on September 11, 2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2021756265/

Four informational panels commemorating the passengers on each of the flights during 9/11. The stories are engraved on tall metallic sheets.

 

Memorial to the brave souls of Flight 93 that crashed in Shanksville, Pennsylvania on September 11, 2001 after a terrorist attack. The plaque was donated by a private citizen named Hebert Erdmenger in 2002. | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011631500/

Memorial resembling a gravestone to honor the passengers on Flight 93. It is surrounded with flowers, small American flags and other items. The memorial appears to be near a wide open field and accompanies a larger museum.


Informal tributes posted at the first, temporary memorial site in Shanksville, Pennsylvania, to those who perished on United Flight 93, which crashed during an attempt by passengers to recapture the plane, which had been hijacked by terrorists on 9/11/01 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011633153/

Handmade wooden angels painted with the American flag design. Each is labeled with the name of a passenger from flight 93 who did not survive. Some of the angels are accompanied with photos or sentimental items.

Steel beam and rubble from the Twin Towers, displayed at the Milwaukee County War Memorial Center in Milwaukee, Wisconsin | Library of Congress | www.loc.gov/item/2016631019/

A rusted section of steel beam sits on a display. The steel beam was recovered from the Twin Towers after they fell.

 

Citizen artwork at an informal memorial to the victims who died on United flight 93 when they attempted to overpower hijackers during the terrorist attacks of 9/11/2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011634321/

Handmade wooden angels painted with the American flag design. Each is labeled with the name of a passenger from flight 93 who did not survive. Some of the angels are accompanied with photos or sentimental items.

 

South Bend, Indiana's, 9/11 Memorial, erected by South Bend fire department personnel in St. Patrick's Park | Library of Congress | www.loc.gov/item/2016631954/

Two rusted steel beams like those from the Twin Tower rubble rise and each branch off to create four total branches. In the center, a white flag flies that reads "9/11 Remember New York City Washington DC Pennsylvania" with the outline of the Pentagon in the background
 

A piece of steel from the World Trade Center, destroyed by a terrorist attack on Sept. 11, 2001 in New York City. It is displayed as a memorial at the Texas State Cemetery in Austin, Texas| Library of Congress | www.loc.gov/pictures/collection/highsm/item/2014632438/

A piece of mangled and rusted steel from the World Trade center stands and a wall of granite encircles it. Upon entering the small space with the beam, from left to right the granite wall gets increasingly taller. Informational panels and memorial notes are placed at the entrance and along the wall.

 

Memorial gate, where people from all over the world have left momentos to honor the victims of the September 11, 2001 terrorist hijacking of Flight 93. Shanksville, Pennsylvania| Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011631553/

Chain link fence/gate that has been adorned with memorial material for Flight 93 and 9/11 generally. Small American flags line the top and larger flags are pinned up throughout alongside caps, firefighter jackets, clothing, photos, and other mementos.

 

Part of an informal memorial to the victims of United Flight 93, which crashed in a nearby field after passengers fought with hijackers who had taken the plane and directed it to Washington during the terrorist attacks of 9/11/2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011633798/

Handmade wooden angels painted with the American flag design. Each is labeled with the name of a passenger from flight 93 who did not survive. Some of the angels are accompanied with photos or sentimental items.

 

Part of an informal memorial to the victims of United Flight 93, which crashed in a nearby field after passengers fought with hijackers who had taken the plane and directed it to Washington during the terrorist attacks of 9/11/2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2011633961/

A closer view of memorial gate in Shanksville that shows the firefighter jacket, a number of caps, several firefighter helmets, American flags, and more that have been placed on the fence.

 

Portland, Maine's, modest memorial to those lost in the terrorist attacks on the United States on 9/11/2001, at Fort Allen Park at the busy harbor on Casco Bay in Maine's largest city | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2017882500/

Black stone memorial resembling a large headstone that reads "If but one life be saved and one soul be comforted... all gave some some gave all and some still give. In honor and memory of all those who lost their lives in the rescue efforts of September, 11, 2001." The stone is painted to look like an American flag is draped over the top.

 

A rusted steel beam recovered from New York City's fallen World Trade Center that fell during infamous terrorist attacks in 2001 stands at this "9/11" memorial in Gila Bend, Arizona. | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2018663482/

A rusted section of steel beam sits on a display. The steel beam was recovered from the Twin Towers after they fell.

 

Calatrava's Oculus, a 335-foot-long, spiky-skylighted transportation hub attached to the One World Trade Center memorial in downtown Manhattan (borough) in New York City. The structure, designed by Spanish architect Santiago Calatrava, opened on the 16th anniversary of the terrorist attack that brought down the World Trade Center's "Twin Towers" on what has become known simply as "9/11" - September 11, 2001| Library of Congress | www.loc.gov/pictures/collection/highsm/item/2018699939/

Walls extend upwards and meet to make a pointed ceiling. Light filters through the skylights. The ceilings are very high and the whole building is white.

Interior view of the World Trade Center Memorial and Museum in downtown Manhattan (borough) in New York City, built on the site of the terrorist attack that brought down the World Trade Center's "Twin Towers" on what has become known simply as "9/11" - September 11, 2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2018699980/

View from inside the World Trade Center Memorial and Museum in New York City. Two rusted steel beams several stories tall stand by the window.

 

 

Interior view of the World Trade Center Memorial and Museum in downtown Manhattan (borough) in New York City, built on the site of the terrorist attack that brought down the World Trade Center's "Twin Towers" on what has become known simply as "9/11" - September 11, 2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2018699981/

Tall column spanning the height of the building. The column contains written text and photographs from the top to the bottom

Memorial photograph wall of people killed at the World Trade Center Memorial and Museum in downtown Manhattan (borough) in New York City, built on the site of the terrorist attack that brought down the World Trade Center's "Twin Towers" on what has become known simply as "9/11" - September 11, 2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2018700059/

Seven rows of head shots on a wall in a room. The photographs continue far down the wall out of the frame

Angel memorial near the Shanksville, Pa., crash site of United Airlines Flight 93, which was highjacked in the September 11th terrorist attacks | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2002717287/

Ten angels erected on wooden posts in a field in Shanksville. Five angels in the back row and five in the front. The angels' dresses are made to look like the American flag.

Wreath memorial, Shanksville, Pa., decorated with photographs of the victims of United Airlines Flight 93, which was highjacked in the September 11th terrorist attacks | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2002717288/

Wreath containing photographs, American flags, flowers, and crosses held up by a stand close to the ground. Shanksville, PA written across the bottom

Sculptor Sassona Norton's 9/11 Memorial outside the Montgomery County Courthouse in Norristown, Pennsylvania The memorial honors those who died in the events of September 11, 2001, when terrorists attacked New York's World Trade Center, the Pentagon in Washington, and an airliner flying over Pennsylvania The memorial is cast in bronze and features a set of hands that hold a 16-foot piece of twisted steel from the wreckage of the Trade Center| Library of Congress | www.loc.gov/pictures/collection/highsm/item/2019689991/

Sculpture of two hands holding another item

 

A "9/11" memorial at Indiana University of Pennsylvania in the town of the same name, to those killed in three locations in terrorist attacks on the United States on September 11, 2001 | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2019691118/

Sculpture of two hands holding another item in a green field with brick buildings in the background

The 93-foot "Tower of Voices" at the Flight 93 National Memorial near Shanksville, Pennsylvania | Library of Congress | www.loc.gov/pictures/collection/highsm/item/2019690759/
 

Grey obelisk in a field with trees

9/11 Memorial at the Pentagon, Pentagon City, Virginia | Library of Congress | www.loc.gov/item/2010630812/

Grey and Green sculpture in Pentagon City

Memorial at the Pentagon - Poster | Library of Congress | www.loc.gov/item/afc911000188/

Cardboard sign on a stone wall reading America we Need to Stand Together.

Memorial at the Pentagon-Marine Flag | Library of Congress | Library of Congress | www.loc.gov/item/afc911000187/

Red flag with notes, flowers, and photographs resting on top. Flag reads United States Marine Corps

 

Memorial at the Pentagon - Flag 2 | Library of Congress | www.loc.gov/item/afc911000189/

Sign of an American flag reading God Bless America covered in signatures

 

Memorial to Matthew Diaz, a victim of the September 11th terrorist attack on the World Trade Center, New York, N.Y. | Library of Congress | www.loc.gov/item/2002717256/

Open Shoebox with text on the top containing the bible verse Mark 9:2 v 3

 

Memorial for the victims of the September 11th terrorist attack on the World Trade Center, New York City; with candles, flowers, mementos, and photo of the twin towers | Library of Congress | www.loc.gov/item/2002717255/

Candles, stuffed animals, photographs, and flowers gathered together to memorialize 9-11 victims

General Tips for Teaching Controversial Subjects

  • Center activities on primary sources. Primary sources are tangible evidence that allow students to engage directly with history. These primary sources in particular were preserved and digitized by the Library of Congress because they were deemed important to the history of the United States.
  • Discussion and analysis of these sources can be wide ranging, but within each class those discussions can always be turned back to the source itself.
  • The sources are also, by definition, only pieces of a puzzle. They bring us closer to understanding the past but there is always room for doubt and uncertainty.  
  • Questions, Observations, and Reflections should come from students. These are primarily student-directed learning activities. It is the instructor's role to create a space for inquiry and empower students to drive the inquiry.
  • It may help to remind students at the outset that it is normal for different individuals to come to different conclusions, even when we are looking at the same sources. Further, it would be strange if we all agreed completely on our interpretations. This can normalize the strong reactions that can come up and enables educators to discuss the goal of historical research, which is to hopefully go beyond the realm of individual  perspective to access a fuller understanding of the past that takes multiple perspectives into account.
  • Teaching historical topics that involve violence and other trauma can be traumatic for some students as well. Providing students with previews of what content will be covered and space to process their emotions can be helpful. The following video series from the University of Minnesota contains further tips for teaching potentially traumatic topics: https://extension.umn.edu/trauma-and-healing/historical-trauma-and-cultural-healing.


 

Housing and Houselessness: A Guide for Pre-Service Teachers

Image
Article Body

What is it?

Housing disparity is still a challenge many people, including students, face today. This guide provides historical context and primary sources so that students can better understand housing issues in the present-day U.S. 

Key points:

  • This activity will take one 90-minute period or two 45-minute periods. It is appropriate for a high school U.S. history classroom, but the sources can also inform a government class looking at the policy issue of housing.
  • Students will analyze, interpret, and evaluate primary sources related to housing. 
  • Students will gain a better understanding of the defining characteristics of housing and the historical actors and policies that determine these factors 
  • Guiding Question: How has housing been provided for people in the U.S. and how has that changed over time? 

Introduction

The McKinney-Vento Homeless Assistance Act, initially enacted in 1987 but reauthorized in 2015, ensures that youth facing homelessness can still access quality education and provides resources and assistance for students facing homelessness to succeed in their education. While there is a consensus that education is a fundamental right, housing is still an issue under debate. The purpose of this lesson is to indicate that the concept of housing as a basic right has changed over time. Students should take away that access to housing has not been solely based on individual actions or motives. It is based on various people, laws, ideas, and institutions.

This lesson aims to provide students with an understanding of the defining characteristics of housing and the historical actors and policies that determine these factors. The students should begin formulating the lesson's introduction about the foundations of a home. Have students think about what made those individuals’ houses homes. Another critical objective that teachers should have students think about is the interrelatedness of housing and houselessness. As the lesson will illustrate, housing development is usually coupled with the displacement of groups of people. This should prompt students to think about what happens to individuals when they are removed from places. To explore this interdependency of housing and houselessness, it is best to look at housing reform, which was emphasized during the New Deal. Educators should briefly reference the Great Depression and economic crisis to provide students with a starting point on how housing reform and public housing shifted into the present. The New Deal era demonstrates that concerns surrounding housing and the response to those concerns are displayed through policy and legislation. The reaction to those policies and legislation is through activism and lobbying. By the end of the lesson, students should be able to comprehend this cycle of development and reform, along with its various actors. 

Background/Context

While housing has been an issue throughout history, the first federal action to address housing came as a response to the Great Depression in the 1930s. The Great Depression brought about a massive housing crisis and high unemployment rates across the United States. Progressive reformers, as a response, initiated housing reform. The U.S. Housing Act of 1937 provided government funding to build regulated public housing, creating affordable living arrangements for low-income citizens. These new housing structures had racial segregation embedded in their design and coupled with urban renewal initiatives, the deterioration of public housing initiatives would begin after World War II. The Great Migration brought many African Americans to urban areas in the Northeast, West, and Midwest, searching for new opportunities. Due to the increasing number of African Americans in the urban centers and changes in legislation such as Brown v. Board in 1954 and the soon-to-come Civil Rights Act of 1964, housing authorities could no longer preserve the separatist vision of their progressive architects. Policymakers and white residents began to use de facto methods to maintain segregation. Leaving public housing areas in droves as a response, creating a need for more suburban neighborhoods designed to maintain segregation. Additionally, federal subsidies could no longer support the costs of maintaining these public housing buildings. As a result of tenant rent adjustments, housing authorities could no longer sustain quality conditions for tenants, and these buildings often became neglected. 

The 1970s and 1980s ushered in significant changes to housing policy in the United States. Concerns about private versus public funding for public housing and a resurgence in attention to homelessness created new policies that shifted American perspectives across racial and class lines. In the 1970s, urban renewal initiatives and policies such as the Housing and Community Development Act of 1974 shifted funding for affordable housing from federal responsibility to corporate opportunity. This act established Section 8 housing, which provided housing vouchers that allowed low-income individuals to get government subsidies to live in privately owned properties. However, because of this new shift, many public housing buildings were neglected, and many African Americans and other minority groups, like Latino communities, were still residing in them.  In the late 1970s and 1980s, there was an effort to move these residents out of public housing and into new privately owned neighborhoods. The 1986 Low-Income Housing Tax Credit (LIHTC) incentivized private developers to build new housing developments regulated by the state but relieved the federal government from fiscal responsibility. These initiatives, while alleviating the responsibility of the state and federal governments, did not lessen the ongoing poverty issues. By the 1990s, the HOPE VI program was created by Congress to demolish abandoned and neglected public housing and create new “mixed-income” housing developments. 

Throughout these efforts, the demolishing of housing and the creation of new neighborhoods always come with the displacement of people. These efforts not only created housing opportunities but also created homelessness. During the 1960s and 1970s, there were areas of placeless people, commonly known as “skid row.” These areas were filled with liquor stores, poorly managed hotels, crime, and disorder. During the 1950s and 1960s, homelessness and these areas were mainly populated by males, but as policy changed over time, there was a rise in women and children facing homelessness in the 1970s and 1980s. In 1987, the United States Interagency Council on Homelessness was created to respond to these changes in homelessness. Continuing these efforts in the 1990s and early 2000s, advocacy increased in combatting homelessness. Many non-profit organizations were forming to relieve issues concerning homelessness and federal policy, such as the Homeless Emergency Assistance Transition to Housing Act, enacted in 2009, to provide funding for homelessness prevention and re-housing. Place and placeness are interdependent. Examining housing and homelessness in the history of the United States involves examining policies, the individuals who create them, and the individuals who are affected by them. 

Activity

Bell Ringer  

To begin the lesson, students should consider the foundational elements of what constitutes a home. Using a textbook, a selection of reference materials, or even an internet search have students find examples of different homes throughout history; think of Indigenous housing structures, homes of the settlers-colonists during the Westward expansion, or the elaborate houses built by the elite class during the Gilded Age. Students should be able to express commonalities and indicators of defining “home” by the end of the discussion. 

Educators should allow students to consider whether housing structures are defined by their permanence and sustainability. Have students name the factors that could have led to temporary housing during earlier periods in U.S. history, such as migrating due to low food sources or natural disasters like fires or floods. There could also have been a lack of safety. Educators should guide students to determine that these first livable structures were built out of a necessity to survive, sheltering individuals and providing protection from elements that would compromise safety. Their permanence was yet to be determined. 

Homes began to form when people had the proper devices to ensure their structure could shield them from primary threats and cultivate sustenance. Examples are the ability to farm and raise animals. Most importantly, there was no longer a need to uproot quickly. Have students name a few activities individuals can do when they no longer must worry about these threats. Ask students what some ways these individuals could manage these threats are. 

Another significant development in creating permanent housing was property rights and land claims. People began to obtain documentation, such as deeds and titles, contracts, and leases, to represent their residences legally. Due to this, housing is now codified, but the right to housing is still in question. Federal and state governments create policies on how these laws can be enforced. Prompt students to consider the difference between a right to housing versus a right to shelter. 

After this brief discussion, this activity will allow students to begin rationalizing their definitions of what constitutes a home.  

To clarify the exercise, offer definitions for home. Here are a few definitions:  

Example: 

A home is a permanent structure used for habitation, procured through legal processes. 

Oxford Dictionary 

House 

  • (noun) A building for human habitation, typically and historically one that is the ordinary place of residence. 

Home 

  • (noun/adj.) A dwelling place is a person’s house or abode, the fixed residence of a family or household, and the seat of domestic life and interests. 

There are many definitions of house and home. Michael Allen Fox’s chapter “The Many Faces of Home” in Home: A Very Short Introduction suggests that the definition of home depends on linguistics, region, and cultural norms. Fox concludes that the definition of home is flexible and dependent on circumstance. Educators that would like additional information on how to define home should reference Fox’s chapter. 

For additional resources on defining home, Habitat for Humanity’s “What Does Home Mean to You” voices the definition of home through various perspectives. This resource can be used as a preliminary source for educators to tie in themes from the discussion.  

 

Step One 

First, ask the class: What do you think defines a home? 

Step Two 

As an entire class or in small groups, use the images below in the Primary Sources section and ask students what characteristics define these types of houses. These images can be printed and put on a board or provided to students. The images can also be projected on the board, or if students have their own digital devices (i.e., laptops, tablets, desktop computers), provide them the links and have them pull the images up on their devices. Students can work individually or in groups according to the teacher's preference. 

Educators can arrange these images in any order; however, they should refrain from telling the students what category they would be placed in. 

Step Three 

Create a list on a whiteboard or have students in groups write down characteristics for each image they think creates a home. For example, in Image #1, students can identify that there are curtains and other items displaying that people reside in the residence. 

Conclusion

During the activity, students have become the decision-makers on defining what constitutes a home. This is a common theme throughout the lesson: who defines housing, and who decides who gets to have housing? Historically, actors have been policymakers, activists, and legal apparatuses. 

Housing and homelessness are determined by permanence, which is determined by legislation. Legislation establishes ownership and protects residents, enforcing codes and policies to ensure the structure is livable. The policies determine housing rights. Throughout the lesson, students should continue to inquire about how these rights change over time. 

Ask students: Who decides what constitutes a home?  

Primary Sources: Housing Examples

  1. Typical Housing in Greenbelt, Maryland- https://www.loc.gov/item/2018699737/ 

Outdoor view of two houses side by side. The house on the left is blue, and the house on the right is white. Both houses have flat roofs, two stories, and five windows. Grass and trees border the houses.

Annotation: These houses should be categorized as homes. Students should be able to identify residency in both homes by examining them. A satellite dish, curtains, and other identifiers provide proof of occupancy. The individual in this home is either the owner or renter, and the structure has gone through a legal process to become a permanent structure. Housing communities in the Greenbelt District were developed during the New Deal Era in 1935 under the United States Resettlement Administration. This administration was designed to resettle farmers and migrant workers affected by the Dust Bowl.  

 

  1. One of Many Small Ponds Surrounded By Housing Developments in Gilbert, Arizona, a Southern Suburb of Phoenix, Arizona- https://www.loc.gov/pictures/item/2018702325/ 

A large pond takes up most of the photo, and it is lined with palm trees, which are reflected in the pond. Toward the back of the photo are houses overlooking the pond.

Annotation: The homes in this picture are recently built. This picture was taken in 2018. Students should recognize that these are permanent structures and think about what these homes do to the environment and homes of other organisms. This picture shows a pond and clear signs of human manipulation of this environment. Teachers should guide students to conclude that homes that are this way permanently displace other living things and their habitats while creating new ones for others. 

 

  1. Housing Development Around a Private Lake in the Northern Reaches of Indianapolis, Indiana-   https://www.loc.gov/pictures/item/2016631680/ 

Outside aerial view of a private lake and the housing development that surrounds it. The sky is clear, and an interstate sits in front of the private community.

Annotation: This image is an aerial view of housing development. Have students notice the exclusiveness of this property. It is essential to identify this lake as private. Some indicators show that there are very few entry points into this neighborhood. This is designed for the safety of the community. Students should reference the previous discussion that safety and community building are critical to creating permanence. Also, the concept of privatizing property, such as the lake, relates to the debate on property rights. This lesson will discuss the conversations between policymakers and citizens on whether housing initiatives should depend on government subsidies or become a private corporate venture. Students should begin to acknowledge the differences and outcomes between the two.  

 

  1. Abandoned Public-Housing Units in the Liberty City Neighborhood of Miami, Florida- https://www.loc.gov/resource/highsm.62362/ 

One full housing unit is in view, which is light blue, two stories, and has twelve windows and two doors. Two other housing units are partially visible, and a paved concrete path leads to the units. A telephone pole stands in front of the unit.

Annotation: The housing units in this image were a government-subsidized public housing project built in the 1930s. The housing units, while no longer in use, are the physical representation of the changes in housing reform. These units were once heavily populated during the early stages of housing reform. However, they are vacant over time due to many policy changes.

 

Primary Source Analysis Activity: Housing Policy 

To analyze these sources, divide students into groups and create a station for each primary source, a total of four stations that students will rotate. Students should spend 10 to 15 minutes at each station examining the sources, answering associated questions, and recording them on paper. Each group should have one document to share their answers at the end of this activity. The questions are designed to have students not only think about the material from a historical perspective but also prompt students to think about historical actors involved in creating housing policy changes and homeless assistance reforms. These sources are in chronological order to aid students in analyzing how housing changes over time. During this activity, ensure that students contemplate the relationship of each source and whether it adds to the continuity or change in housing policies and public sentiments. At the end of the activity, reassemble the class and discuss each group’s answers. 

A computer or tablet will be needed for this activity. 

Step One 

To begin this activity, additional information should be provided to frame the required con, specifically with Sources #3 and #4, due to the nature of the sources. As the entire class, educators should review each source, provide background information, and review the specific questions on each source.


Step Two 

Divide students into groups, set a timer for 10 minutes, and begin the timer at the start of each rotation. Each station should have instructions for the students, including how to use the source and the associated questions. Students should write a 3-5 sentence answer for each station’s question. 

Step Three

After all student groups have completed the activity, the class should reconvene, review each question, and have students share their answers. Educators should revisit the information provided at the start of the activity as needed. 

 

Station One 

Educators should print out the Library of Congress’s Public Improvement map and use a computer or tablet to display Mapping Segregation DC’s “Restricted Housing and Racial Change, 1940-1970” map for students to interact. 

Source #1 

Program objectives diagram 1: 1967-1985 public improvement program priorities (partial accounting) : [District of Columbia]. - https://www.loc.gov/resource/g3851g.ct010988/?r=-0.279,0.116,1.856,0.957,0 

Map of Washington, DC. Shaded areas correspond to urban renewal projects

This city-planning map displays urban renewal plans in Washington, D.C., created in 1967 to illustrate development plans from 1967-1985. This map shows where new schools will be built, transit systems, parks, and other infrastructure for public improvement. Have students pay attention to where these activities are located. In tandem with this source, have students examine Mapping Segregation DC’s, Restricted Housing and Racial Change, 1940-1970 map, and have students identify who lives in the neighborhoods that will be affected. Choose the layers of the map that coordinate with the time of this development plan. ‘

Questions 

  1. What does “public improvement” mean according to this map? 
  2. What places are being added to the neighborhood? 
  3. What neighborhoods and residents are being affected based on both maps? 

 

Station Two

Educators can print out this source or display it digitally. 

Source #2

The Housing Struggle in Crisis, National Tenant Organization Poster, 1973- https://www.loc.gov/item/2016649888/ 

Poster featuring a crumbling building. The text reads The Housing Struggle in Crisis. The 1973 National Tenants Organization, National convention Aug. 30 thru Sept. 3 Pick-Congress Hotel Chicago, IL

This source is a poster for the National Tenant Organization’s National Convention in 1973, held in Chicago, Illinois. The poster shows an apartment building being demolished. The National Tenant Organization was formed in 1969 to help with tenants' rights issues. The National Tenants Organization vs. HUD (U.S. Department of Housing and Urban Development) determined that HUD’s restriction in deductions to secondary wage earners resulted in overcharging those tenants. The courts determined that this was a violation and that HUD must carry out the deductions. Students examining this source should contemplate the types and levels of advocacy during housing reform. 

Questions 

  1. How does this poster depict issues surrounding housing during the 1970s? 

 

Station 3 

Educators should print or display digitally the first page of this source and highlight the excerpt or print out the excerpt of the source placed below. 

Source #3

U.S. Reports: Hills, Secretary of Housing and Urban Development v. Gautreaux et al., 425 U.S. 284 (1976). - https://www.loc.gov/item/usrep425284/ 
 

Hills vs. Gautreaux was a defining moment in housing reform. This case shows that racial discrimination remained active after the 1964 Civil Rights Act. It prompted housing authorities to create new non-discriminatory housing programs, including Section 8 and integrating Black and White residents. Students should use the excerpt below, and educators should prompt a discussion about the magnitude of why the integration of residence was essential to Americans. This case is twelve years after the Civil Rights Act and in Chicago, which is often not associated with racism as in the American South. Students should identify that racism was nationwide and that the Civil Rights Act, a federal law, did not solve the problem of segregation. While segregation was now illegal, de facto segregation was still prevalent. 

Excerpt: 

“Respondents, Negro tenants in or applicants for public housing in Chicago, brought separate class actions against the Chicago Housing Authority (CHA) and the Department of Housing and Urban Development (HUD), alleging that CHA had deliberately selected family public housing sites in Chicago to ‘avoid the placement of Negro families in white neighborhoods’ in violation of federal statutes and the Fourteenth Amendment, and that HUD had assisted in that policy by providing financial assistance and other support for CHA's discriminatory housing projects. The District Court on the basis of the evidence entered summary judgment against CHA, which was ordered to take remedial action. The court then granted a motion to dismiss the HUD action, which meanwhile had been held in abeyance. The Court of Appeals reversed, having found that HUD had committed constitutional and statutory violations by sanctioning and assisting CHA's discriminatory program.”

Questions

  1. What does this case say about race in public housing during the 1970s? 
     

Station 4 

This station should center on the preservation of communities. Educators should be permanently present at this station to guide conversations and answer questions. 

Source #4

Bulletin board at Johnson Houses, E. 115th St. at Lexington Ave., Harlem, 1989 digital file from original- https://www.loc.gov/resource/vrg.07713/ 

Bulletin board under an analog clock with various posters, pamphlets, and photographs pinned to it.

This is a bulletin board in a public housing project in Harlem, NY. It is filled with advertisements about drug prevention and bulletins that encourage Black success. There is also a sign in Spanish. This primary source shows what some public housing communities faced during this time in these housing projects. This source also shows the dichotomy of the needs of Black and Brown community members. It shows the upliftment and success of the Black and Brown communities while protecting their communities from crime. 

During the 1980s, many members of the public believed minority communities were responsible for crime and poor living conditions. The most crucial portion of this source is that it shows an effort of community members to preserve their communities so that they won’t be subjected to urban renewal initiatives. It is also essential for students to note that there wasn’t much improvement in housing between the 1960s and 1980s. Have students identify why that is. 

Questions 

  1. How do the posters on this bulletin board speak to the preservation of public housing in the 1980s? 

 

Wrap Up 

To conclude this lesson, have students reflect on the difficulty of decision-making and consider who determines housing and houselessness. 

Revisit the question in the Bellringer exercise and discuss how answers may have changed or have stayed consistent. 

Question: What defines housing? Who decides these defining attributes? 

General Tips for Teaching Controversial Subjects

  • Center activities on primary sources. Primary sources are tangible evidence that allow students to engage directly with history. These primary sources in particular were preserved and digitized by the Library of Congress because they were deemed important to the history of the United States.
  • Discussion and analysis of these sources can be wide ranging, but within each class those discussions can always be turned back to the source itself.
  • The sources are also, by definition, only pieces of a puzzle. They bring us closer to understanding the past but there is always room for doubt and uncertainty.  
  • Questions, Observations, and Reflections should come from students. These are primarily student-directed learning activities. It is the instructor's role to create a space for inquiry and empower students to drive the inquiry.
  • It may help to remind students at the outset that it is normal for different individuals to come to different conclusions, even when we are looking at the same sources. Further, it would be strange if we all agreed completely on our interpretations. This can normalize the strong reactions that can come up and enables educators to discuss the goal of historical research, which is to hopefully go beyond the realm of individual  perspective to access a fuller understanding of the past that takes multiple perspectives into account.
  • Teaching historical topics that involve violence and other trauma can be traumatic for some students as well. Providing students with previews of what content will be covered and space to process their emotions can be helpful. The following video series from the University of Minnesota contains further tips for teaching potentially traumatic topics: https://extension.umn.edu/trauma-and-healing/historical-trauma-and-cultural-healing.

 

For more information

 

 

Bibliography

Eide, Stephen. Homelessness in America: The History and Tragedy of an Intractable Social Problem. London: Rowman and Littlefield Publishing, 2022. 

Fox, Michael Allen, 'The many faces of home', Home: A Very Short Introduction, Very Short Introductions (Oxford, 2016; online edn, Oxford Academic, 15 Dec. 2016), https://doi-org.mutex.gmu.edu/10.1093/actrade/9780198747239.003.0001,

Hunt, D. Bradford. "Public Housing in Urban America." Oxford Research Encyclopedia of American History. 20 Dec. 2018; Accessed 11 Jul. 2024. https://oxfordre.com/americanhistory/view/10.1093/acrefore/9780199329175.001.0001/acrefore-9780199329175-e-61.

U.S. Department of Housing and Urban Development Timeline 

History of Education and Indigenous Americans: A Guide for Pre-Service Teachers

Image
Article Body

What is it?
Education and learning cannot be neutral. What we decide is important for young people to know necessarily reflects our values. This guide takes a look at two topics in history education of Indigenous people in the United States. First, the Federal Indian Boarding Schools which were a deliberate attempt to separate indigenous people from their communities and their cultures. The second topic is the emergence of the American Indian Movement and specifically that movement’s efforts to defend Indigenous culture and also establish schools, called “survival schools” to teach Indigenous young people about their history and culture.

Guiding questions

What is the purpose of education?
What history should be taught in schools?

 

Background - History of Boarding Schools 1880-1930


As the United States settlers expanded into the American West between 1865 and 1890, the federal government increasingly confined Native peoples who lived there to reservations and denied the ability to continue their livelihood through hunting and farming. In addition to this effort to separate Native Americans from their land, the government also acted to separate Native Americans from their history and culture. Indian Boarding schools were central to this effort. Beginning in the 1880s, Native children were sent to these schools typically located hundreds of miles from their parents and community with the expressed purpose of assimilating them into what the government considered to be U.S.-American culture. In order to coerce Native communities into sending their children to boarding schools, the U.S. government made basic aid such as food and supplies contingent on the reservation’s children going off to school. At these schools, the children were forced to cut their hair and take English-sounding names. Children who were caught using their given names or speaking a Native language were harshly punished. While the curriculum at each school was different, the schools tended to emphasize training in manual labor rather than academics. History, when it was taught, centered on white U.S-Americans. The fact that Native young people were separated from their elders and community meant that they did not have the same access to stories and oral traditions that they would have had they remained with their families.

Primary Source Activity:
Show students the following video (~8min) from PBS News Hour on Indian Boarding schools: https://youtu.be/gRNcCCgnauI.
When the video is over, ask the class how the boarding schools acted to separate Native children from their history and culture.

 

Examining Sources:
Direct the students to the following collection of primary sources related to Indian Boarding Schools. Have students choose a source and determine if it contains evidence of how Native children were separated from their history and culture:
 
https://www.loc.gov/classroom-materials/native-american-boarding-schools/

Along with these sources, have students consider the announcement by Secretary of the Interior Deb Haaland of the Federal Indian Boarding School Initiative:
https://www.doi.gov/priorities/strengthening-indian-country/federal-indian-boarding-school-initiative


Question when examining these sources:

  • In what way are Native people advocating for a reconsideration of history of a different perspective of the past?

 

The American Indian Movement 1961-

From the very beginning, many Native people criticized the boarding school program and opposed the effort to assimilate Native people into U.S. culture. (See guide on Charles Eastman, Zitkála-Šá, and the Society of American Indians for more on early opposition). By the 1920s, these schools were the subject of increased scrutiny for their teaching practices, living conditions , and lack of quality medical care that led to over 500 students' deaths over the years and most were eventually closed. Beginning in the 1960s, a new movement called the American Indian Movement (AIM) began organizing for Native rights including the right for Native people to practice their culture and to emphasize history from a Native American perspective.

Timeline:

1961 - Activists Clyde Warrior (Ponca) and Mel Thom (Walker River Paiute) among others form the National Indian Youth Council. A group that would grow to 15,000 members and was one of the first Native activist groups to use direct action protest.

1968 - American Indian Movement formed in Minneapolis, Minnesota around the issue of police treatment of Native Americans.

1972 - AIM members founded two schools in Minnesota, the Little Red School House in St. Paul and Heart of the Earth Survival School in Minneapolis; Beginning in October, the Trail of Broken Treaties march ends with an occupation of Bureau of Indian Affairs headquarters in Washington, DC. AIM protestors demand that 110 million acres of land be restored to Native Americans.

1973 - At the request of Lakota elders, AIM participated in a protest against corruption within the Bureau of Indian Affairs and Tribal Council, which led to the famed 71-day occupation of Wounded Knee, South Dakota. Federal law enforcement killed two protestors and wounded 24 more.


1978 -  The Longest Walk a march on Washington that began in Alcatraz Island, California and ended on the National Mall. 30,000 individuals eventually join the march. As part of the protest, a tipi was set up and maintained on the grounds of the White House.The protest called attention to legislation that would have broken Indian treaties and threatened water rights. The legislation was defeated. Two AIM leaders, Dennis Banks and Russell Means, were indicted on charges related to the occupation, but prosecutor misconduct led to the charges being dismissed.

 

Primary Source Activity:
Show students this brief video about Clyde Bellecourt (Nee-gon-we-way-we-dun) and the American Indian Movement.
https://www.youtube.com/watch?v=LLh3gw0kVhQ

An excellent alternative film, if your school can access it, is the 2020 documentary, Warrior Women, about Native American women activists in the American Indian Movement. https://www.warriorwomenfilm.com/synopsis

 

Examining Primary sources
Have students choose a primary source from the links below. As they examine or listen to the source, ask them to pay attention to how the American Indian Movement advocated for Native American culture and history. For more background on AIM, teachers may can consult this history of the movement: http://www.aimovement.org/ggc/history.html

Russell Means Radio Interview (1992)
https://americanarchive.org/primary_source_sets/american-indian-movement/2-224-257d81km


Interview of Vernon Bellecourt, AIM Leader (1973)
https://americanarchive.org/primary_source_sets/american-indian-movement/3-28-wh2d795w2v

“Survival Schools,” WGBH Journal, 1978
https://americanarchive.org/primary_source_sets/american-indian-movement/9-15-8279d3bf

“Wounded Knee,” Sunday Forum, 1973
(Pine Ridge Reservation Residents Discuss AIM)
https://americanarchive.org/primary_source_sets/american-indian-movement/6-15-78gf28x2


“Support the American Indian Movement” | Library of Congress
https://www.loc.gov/item/2016648080/

[Tipi with sign "American Indian Movement" on the grounds of the Washington Monument, Washington, D.C., during the "Longest walk"] | Library of Congress
https://www.loc.gov/item/2011646498/

“Prevent a 2nd massacre at Wounded Knee : show your solidarity with the Indian nations” Library of Congress
https://www.loc.gov/item/2016648079/

Protesters at Columbus landing, San Francisco, California | Library of Congress
https://www.loc.gov/item/afc1989022_kl_c104/

An American Indian Movement Wounded Knee button, 1990.
https://dp.la/primary-source-sets/the-american-indian-movement-1968-1978/sources/1338

Flag of the American Indian Movement (AIM). Image by Wikimedia Commons user Tripodero,
https://commons.wikimedia.org/wiki/File:Flag_of_the_American_Indian_Movement_V2.svg

“What we did in the 1960s and early 1970s was raise the consciousness of white America that this government has a responsibility to Indian people. That there are treaties; that textbooks in every school in America have a responsibility to tell the truth. An awareness reached across America that if Native American people had to resort to arms at Wounded Knee, there must really be something wrong. And Americans realized that native people are still here, that they have a moral standing, a legal standing. From that, our own people began to sense the pride."
AIM Leader Dennis Banks, from a 1996 interview

Wrap up
Pose the following question for students:

  • What can be done today to ensure that Native culture is defended and history will be learned? This can be an end-of-class discussion or written on an exit ticket to be handed in when students leave.

Extension idea
Have students examine the resources below to learn about what’s being done to defend Native culture and spread the understanding of Native history both in the U.S. and around the world. Students could develop a project on how the education system in their state could be changed to incorporate the culture and history of Native people.


Additional resources

About Native Knowledge 360° | Native Knowledge 360° - Interactive Teaching Resources
https://americanindian.si.edu/nk360/about/native-knowledge-360

OPINION: We must support the teachers who will be in charge of expanding Native history lessons
https://hechingerreport.org/opinion-we-must-support-the-teachers-who-will-be-in-charge-of-expanding-native-history-lessons/


From United Nations Declaration on the Rights of Indigenous Peoples
https://www.un.org/development/desa/indigenouspeoples/wp-content/uploads/sites/19/2018/11/UNDRIP_E_web.pdf

Article 14
1. Indigenous peoples have the right to establishand control their educational systems and institutions providing education in their own languages, in a manner appropriate to their cultural methods of teaching and learning.

2. Indigenous individuals, particularly children,have the right to all levels and forms of education of the State without discrimination.

3. States shall, in conjunction with indigenous peoples, take effective measures, in order for indigenous individuals, particularly children, including those living outside their communities, to have access, when possible, to an education in their
own culture and provided in their own language.

 

General Tips for Teaching Controversial Subjects

  • Center activities on primary sources. Primary sources are tangible evidence that allow students to engage directly with history. These primary sources in particular were preserved and digitized by the Library of Congress because they were deemed important to the history of the United States.
  • Discussion and analysis of these sources can be wide ranging, but within each class those discussions can always be turned back to the source itself.
  • The sources are also, by definition, only pieces of a puzzle. They bring us closer to understanding the past but there is always room for doubt and uncertainty.  
  • Questions, Observations, and Reflections should come from students. These are primarily student-directed learning activities. It is the instructor's role to create a space for inquiry and empower students to drive the inquiry.
  • It may help to remind students at the outset that it is normal for different individuals to come to different conclusions, even when we are looking at the same sources. Further, it would be strange if we all agreed completely on our interpretations. This can normalize the strong reactions that can come up and enables educators to discuss the goal of historical research, which is to hopefully go beyond the realm of individual  perspective to access a fuller understanding of the past that takes multiple perspectives into account.
  • Teaching historical topics that involve violence and other trauma can be traumatic for some students as well. Providing students with previews of what content will be covered and space to process their emotions can be helpful. The following video series from the University of Minnesota contains further tips for teaching potentially traumatic topics: https://extension.umn.edu/trauma-and-healing/historical-trauma-and-cultural-healing.

 

Statistics in Schools

Image
Annotation

This website makes U.S Census data accessible to K-12 social studies students through 20 classroom activities. Divided by grade-level, these activities trace change over time in the United States using statistics. Activities address civil rights, continental expansion, the treatment of Native Americans, immigration, and other topics related to demographic change.

With schools placing a greater emphasis on the STEM fields, these activities are helpful for social studies teachers who are trying to make cross-curricular connections. Each activity requires students to analyze data to draw conclusions, clearly demonstrating how teachers can use non-textual primary sources to encourage historical thinking in the classroom.

These activities are also very clear about which standards (Common Core and UCLA National Standards for History), skills, and level of Bloom’s Taxonomy they address. However, it would be helpful if it were possible to search activities based on at least one of these categories, rather than by grade range only. Nevertheless, a well-designed website with well-written activities for thinking historically with diverse types of sources.

Visiting the George Mason Memorial

Video Overview

How can you encourage teachers to view monuments and memorials as primary and secondary sources, ripe for analysis? Historians Christopher Hamner and Michael O'Malley introduced Teaching American History (TAH) grant project teachers to the George Mason Memorial in Washington, DC.

Video Clip Name
georgemasonmem.mov
Video Clip Title
George Mason Memorial
Video Clip Duration
1:16
Transcript Text

Christopher Hamner: We had, I thought, the beginning of a very good conversation there with the teachers about choices. It could have been a different pose, it could have been different books. The quotes had obviously been selected very carefully that flank his statue. Michael O’Malley: You can problematize it really easily, you know, and it's so situated in this specific politics, so I thought that worked well. Christopher Hamner: And just kind of getting them open to this idea of monuments as texts, as sources, as something that you can ask questions about and you can approach it not just—this is not just or even foremost a monument to George Mason, the 18th-century Virginia thinker, but also to the moment in time in which the statue and the monument was designed, commissioned, erected, and opened. I thought that was also a great place to start because it kind of jolted them out of the tourist mode and into— Michael O’Malley: Into the inquirer mode. Cause you’re not at the—there’s the thing everybody is looking at, Jefferson. Instead you’re looking at this odd guy on this bench. So I would probably use that again. I thought that worked pretty well.

A Close Look at the World War II Memorial

Video Overview

Historian Christopher Hamner introduces educators to the World War II Memorial in Washington, DC. He places the memorial in context: How does the story of its construction contrast with that of the Vietnam Veterans Memorial? Who was the World War II Memorial built for? What was its design intended to convey?

Video Clip Name
wwmem1.mov
wwmem2.mov
wwmem3.mov
Video Clip Title
The Vietnam Memorial
The World War II Memorial in Contrast
Audience and Symbolism
Video Clip Duration
6:39
5:34
5:55
Transcript Text

Christopher Hamner: We're standing right in front of the World War II Memorial; how many of you have visited it before? Okay, great. I want to talk a little bit about why it's here and what it looks like, and then give you some time to explore a little bit. But I don't think you can really understand why the memorial looks the way that it does without knowing a little bit about a totally different memorial—the Vietnam War Memorial. So how many of you have been to the Vietnam War Memorial? Okay, great, just about everybody. What have your experiences been? Teacher 1: Very somber. Christopher Hamner: Okay, somber, absolutely. Teacher 2: Dark. Christopher Hamner: Yeah, no, it's somber, it's dark. Teacher 3: Emotional because it has the little book with the names and relatives. Christopher Hamner: Yeah, I mean draws you in, it can be incredibly emotional because it has become a destination point for a lot of the people who served in the Vietnam conflict, people leave things there, they'll take rubbings of people they knew—it's interactive in a way that not many memorials are. It has its own really interesting story; the story of the Vietnam Memorial goes back to the mid-'70s. It was a project started by a veteran of the Vietnam conflict who saw the movie Deer Hunter, which took him back to his own experiences fighting in the war. He said he stayed up all night and that the next morning he told his wife that he was going to dedicate himself to raising money for a memorial to the people that he had served with in Vietnam. The monument that you think of as the Vietnam Memorial, which is the wall—that V-shaped wall that sort of starts low and rises to a peak of I think 6 or 7 feet and has the names inscribed on it—is actually only one of three Vietnam Memorials that are in the same place. And in 2012, we know this as one of the most moving monuments, a place where people will come from across the country to connect with it. It was incredibly controversial at first, and that's a part of the story that we often tune out. But it has a backstory. As they raised money they began to solicit designs for the memorial. And I talked to you guys this morning when we were at the Grant Memorial, and we've talked a lot of times about all sorts of historical sources, that things are made, they don't just appear, and they're designed by a person or a committee who wants to get an idea out there. The Vietnam Memorial is a little unusual in that they opened a design contest nationally. And somewhat atypically they did the jury review blind. Architecture—architects and designers could put forth a plan for what the memorial might look like, and then they submitted it. They all went out to a big hanger like at Dulles Airport. But all the information about who had designed it and who they were and what their background was was all stripped off, so that the judges were only looking at the idea itself. And the design that you know of as "The Design" was one of the last two dozen and then one of the last nine and then the last three and it was ultimately the one that was selected. The selection and the unveiling of the design—before it was even built—went off like a bombshell. One of the groups that was most opposed to it was Vietnam War veterans. They were opposed to a number of things. One was the design of it. It is a somber memorial, it is black, it is anti-heroic, I think, in some ways. Did anybody see as we were walking over here on Constitution, happen to look over at the statue of the gold arm holding up a sword with flames? Okay, so what was that? Anybody catch it? Teacher 4: St. Michael or something wasn't it? Teacher 5: World War I, was it Second Division? Christopher Hamner: It was a monument to the Second Infantry Division and its losses in the First World War. You saw the arm holding up the flaming sword and then a list of all the battles that the Second Division fought in. That's much more of a kind of typical, classic war memorial. You put up a leader, or you put up something—a lion or an eagle or wreathes or something that has classical overtones and celebrates the heroism—and that is not what the Vietnam Memorial is. It was designed very specifically. The designer said that it was designed to get people to interact with it; it has the names of all of the people that were killed during the decade or so of the conflict. How are they organized? Teacher 6: The middle is the earliest and then it goes out to the side. Christopher Hamner: They’re organized chronologically in the order that the people died. So you cannot go and just alphabetically find the person that you want to find. That design forces you to look at a lot more of it than you would if you could just go right to the person you were looking for. You have to look over all of the names, or a lot more of the names, and it forces you to engage with it. What's the finish like, can anybody remember? Multiple Teachers: It's reflective. Christopher Hamner: The finish of the black marble is highly reflective. So as you're looking at the names you can also see your own face reflected in it. That's by design too. None of this was done accidentally. It encourages you to put yourself in the middle of these people and to think about the sacrifice and to think about it in very personal terms. The other thing that became a big issue with the design was the identity of the designer itself. Her name was Maya Lin. She was a 20-year-old Yale architecture student—so she was very young to win such a prestigious national competition—she was female, and she was Asian. None of those things sat particularly well with a vocal group of Vietnam veterans who felt that everything about the memorial was wrong—the location of it, the tone of it, the somberness of it. You can absolutely see where they're coming from. If you look around at most war memorials and you see that they celebrate heroism and glory and sacrifice, you might think this is not how I want my time, my conflict, to be remembered. This isn't what I want people thinking about. That was a really legitimate point, but it opens up this whole question of: Who is the memorial for?

Christopher Hamner: So despite the fact that the Second World War was fought after—or before the Vietnam War by 25 years or so, the World War II Memorial was actually started 15 years after the Vietnam Memorial. To my eye, a big part of what the World War II Memorial is about is not being controversial. That they did not want to open a similar can of worms about how are we going to celebrate this, how are we going to commemorate it, who is it for? It bends over backwards and goes to great lengths not to be controversial. And in a way kind of just dilutes it to a point where it doesn't say anything controversial, but I also don't know that it says all that much. People have pointed out that it's very classically derived. Curiously it actually looks like a lot of the memorials that the German architect Albert Speer built in Berlin during the Second World War as part of the Nazi government. Which is weird, because it's a memorial that looks a little bit like the architecture of the country that it's built to celebrate the defeat of. But you notice it's got 50-some plinths and they each have wreaths. Has anybody who's seen this before noticed how the plinths are organized? Teacher 1: By state, that's all I know. Christopher Hamner: By state, so every state and then some of the U.S. protectorates, Guam, the Virgin Islands. When you’re standing you can take a little bit closer look, there's Wyoming, Washington, South Dakota, Nevada, Kansas, Minnesota. That's interesting as a historian in that the states really had nothing to do with the way the war was fought. In the Civil War that was more true, people went off with the people from their home state, from their home town. But the Second World War deliberately didn't do that. They mixed people from Iowa and Florida and Alabama and Massachusetts in the same units. So it's not like the states went forward to fight. And it's not like the state governments had much of a role in the Second World War. The Second World War was very much the federal government's achievement. So to organized the wreathed tributes, which are the big outer ring, why do you do that? Teacher 2: It could be honoring the dead from each state. Christopher Hamner: It could be. I'll buy that. Why not do it by the different military units that fought, you know, the First Division, the Second Division, the Fourth Division. Teacher 3: It could be just underscoring that it's the United States, as opposed to— Christopher Hamner: And the circle, I think, does that and pulls it together. Teacher 4: It sounds like they designed by committee. Christopher Hamner: Yes, which is exactly what this was. The committee was formed in the mid-1990s, there was a real push by members of Congress who were World War II veterans themselves, and who said—quite reasonably—that this generation is not going to be around forever; we need to celebrate and commemorate their sacrifice and their achievement while they're still here to appreciate it. Then the design went through a series of committee decisions, which the Vietnam Memorial didn't, you know the Vietnam Memorial is one person's vision. Partly the decisions here reflect a desire to make sure that there's just nothing controversial about it. If you put it in by state and there's really nothing to—that could possibly be controversial about that—because everybody came from a state or a protectorate—but at the same time it doesn't really say much about the war. It just sort of recognizes the fact that there were four dozen entities that are there. Then you've got the big arches—one represents the European Theatre, one represents the Pacific Theatre, the two big fountains, it's like the freedom palisade. But everything is, I think, kind of homogenized in a way to make sure that it's not too controversial. There's not much in there that would get somebody saying this is an inaccurate way to portray my experience. Teacher 5: The order of the states, is it like— Christopher Hamner: I have no idea, I have not been able to figure that out! Teacher 5: Well I was wondering is it the same thing like on the Lincoln Memorial. Teacher 6: No, there is an order and it's in the brochure. Teacher 7: It says they alternate to the right and left of the field of stars based on when they entered the Union. Delaware was the first state. Christopher Hamner: So it is the order that they entered, but it goes back and forth… Teacher 6: That's bizarre. Christopher Hamner: That's just weird. For those of you who were with us this summer when we talked about the Enola Gay at the Smithsonian. That was 1995, the big brouhaha about how are you going to display the plane that dropped the atomic bomb on Hiroshima. The Air and Space Museum is right over there. And remember, that was a hugely controversial issue, they never wound up mounting the exhibit, several people who had backed it lost their jobs. That's in the recent memory of the people who are putting this together. Who I think wanted to make a memorial that could be the center where people could gather, something that was inoffensive to veterans, and to the families of veterans. But as a result I just don't think there's all that much there.

Christopher Hamner: Make your way around the outside and then the inside. On the inside there are reliefs that portray different facets of going to war—from the bombing offensive over Europe to the home front. Interestingly, everything is covered. Again, I think the goal was to be really inclusive and to try to make sure that everyone's war experience was represented in some way. There are two Easter eggs. There's a little surprising piece of graffiti—if you look for it you can find it—that is the one thing that breaks the very somber, classical architecture, you've got wreathes, you've got eagles, you've got very somber-looking white marble plinths. There's two pieces of graffiti that are hard to find, but that are much more about—are they in the brochure? That's cheating—but they're much more reflective of the soldiers' experience. Then the other thing to check once you've gotten down into the lower level is the field of gold stars, which is an interesting—[it] kind of borrows a little bit from the Vietnam Wall. There were about 56,000 deaths in Vietnam; there were more than 400,000 deaths in the Second World War. So it's obviously not possible to put every name on the World War II Memorial. So what they did instead, as you can see from here, it's sort of directly behind me, there's a fountain with a gold star for every 500 deaths. So each star represents 500 people who lost their lives fighting the Second World War. To me it has a really interesting effect. When I'm here I often hang out by the fountain to listen to tourist responses. One of the ones I hear the most is my first response, which is, "That's not as many stars as I thought." 400,000 is a huge amount of loss of life and sacrifice, and each one represents 500 families who are missing a son or a father or a brother. But for some reason the number 500 divides it in and it doesn't seem like as much as I would have thought, which I think is exactly the opposite of the intention they wanted to have. I don't know exactly how they made that judgment, but you might want to walk down and see what response you get to that. As a historian I've always thought it's just weird to have it organized by the states. It's very interesting to me now when I come back and visit and I'll watch people interacting with it, especially World War II veterans make a beeline right for their home state and there will often be World War II veterans standing around acting as interpreters and they'll be wearing their uniforms and they'll often ask if you'd like to hear a little from them. And they go right for their home states too, so on some level it's worked a lot. It's just to me it just doesn’t resonate because that's one category that didn't organize the war in any way. It would be like a monument that said, this part of the monument is for guys from 5'0'' to 5'3'' and this part is from 5'3'' to 5'6''—it doesn't really say much. The other question to be asking yourself is who is this for? It was expedited in Congress and the fundraising and the construction with the thought that it was very important to have something memorializing the sacrifice of the veterans' generation while some of them were still alive. That's not always the reason we commemorate things, memorials go up for different reasons. The Vietnam Memorial is a really good example because there's a memorial that at first the most vocal opponents were Vietnam veterans themselves who said we do not want that, that does not represent us. And in the 1980s, they said, well, it's not just about you. It's about the whole country's experience in Vietnam and the way it affected everyone besides just the people who fought. You can think about which parts of this are for servicemen and -women, which parts are for their families, which parts are for just regular Americans, what part of it is teaching—which is a useful tool that monuments do—and which part is just commemoration or celebration. But the most interesting way to look at this is in conjunction with the Vietnam Memorial and the Korean Memorial, which is another interesting outlier. Those of you that have seen that, it's like a large field of slightly larger than life figures, but the real tone there is realism. It is not a sort of idealized version of the war which you often see, especially with Civil War monuments when you're driving around DC—you'll see the guy on horseback and he's got the gleaming gold braid and the horse is rearing back and they look larger than life. The Korean War these guys are slogging across a field, they're in their winter gear and they look tired. You can see the weight hanging in their shoulders, they're humping pieces of gear, some of them have mortar tubes and machine guns slung across their shoulders, and you can see the fatigue in their faces, you can see the exhaustion in their bodies. That's a really different kind of portrayal. There isn't that level of realism here, there isn't that level of representation and I don't think they're trying to have that here. So different memorials that are all talking about the same basic thing—which is what does this country do when it goes to war?—still have really different designs. You can learn a lot about where the country was at the time the memorial was being designed and built by taking a close look at what it looks like and thinking about how it might have looked different.

A Close Look at the FDR Memorial

Video Overview

Historian Christopher Hamner introduces educators to the original Franklin D. Roosevelt Memorial in Washington, DC—a simple engraved block of marble. Hamner asks how this memorial, dedicated in 1965, contrasts with the 1997 memorial on the Tidal Basin. What different purposes do the two memorials serve?

Video Clip Name
fdr1.mov
fdr2.mov
Video Clip Title
Comparing FDR Memorials
Different Purposes
Video Clip Duration
4:51
3:00
Transcript Text

Christopher Hamner: Somebody who's been to the FDR Memorial describe that one.

Teacher 1: An experience.

Christopher Hamner: Okay. What does it look like? How big is it.

Teacher 1: It's huge.

Teacher 2: It's larger than life.

Teacher 3: It's the different acts or time periods in his life.

Christopher Hamner: So how much—it covers a fairly large spread of ground. It covers different phases of his life. The centerpiece is. . . ?

Teacher 4: Him in his wheelchair.

Christopher Hamner: Yeah, exactly. He's in his wheelchair, I think he's got his dog Fala—which is always a crossword puzzle answer—F A L A, if that comes up. Why is this here if we have a perfectly good memorial over by the Tidal Basin?

Teacher 5: The money? They had extra money.

Teacher 6: This one was earlier.

Christopher Hamner: Yeah, this one's first. That's a good question, but this one is actually first. And this is the one that FDR suggested during his lifetime. He had been elected president four times; it seems more likely than not that he might someday get a memorial. When asked what would be an appropriate way to commemorate his life as a public servant, I believe he was in the Oval Office, and he said a block of marble the size of this desktop with my name and my birth date and placed at the National Archives. He thought that—which I think is very understated, he picked the location, he picked the design, and that's exactly what you've got. The FDR Memorial at the Tidal Basin is totally different—in so much as he told us exactly what he wanted, it kind of flies in the face of his wishes and his explicit instructions.

There's a further twist there and if you remember back to the second week when Michael O'Malley came in and talked about political theater. The centerpiece of the memorial at the Tidal Basin is FDR in his wheelchair. For a president who went to such enormous lengths over the course of his entire political career to never be photographed in his wheelchair. Remember Professor O'Malley talking about how he would set up rails so he could appear to walk to the podium, so that he could carry himself to the podium, he had a car outfitted with hand controls. This is not just someone who did not make a big deal about the fact that he was in a wheelchair; this is someone who went to great lengths to disguise that fact.

Christopher Hamner: That’s a great point to talk about: Who is this memorial for? Is it for the person; is it for the generation for whom he was such a central figure? There's a whole generation of Americans and he guided them through the Depression and the Second World War, is the memorial for them? Is it for us, for contemporary generations who are trying to place him in a historical context? Those are really useful questions and they're transportable. You can ask these questions about any monument in any place.

Christopher Hamner: Why do we do that?

Teacher 5: We've got to teach now. The other memorial is supposed to be a teaching memorial. This I think was probably done fairly close after his death—

Christopher Hamner: I would imagine.

Teacher 5: It's not designed to teach.

Teacher 7: I know! There's a little marker right there that explains. It was put in by his friends of his to commemorate the 20th anniversary of his death in 1965.

Christopher Hamner: Is that the right thing to do? To go…when somebody says this is how I want to be commemorated and you go and say yeah, alright, we're going to do something different.

Teacher 7: It depends on who it's for. If you're doing it for that person, yes. The other memorial is not for him.

Christopher Hamner: So who is it for?

Teacher 8: Everybody else.

Christopher Hamner: Yeah, that could be a glib but accurate answer.

Teacher 5: But it's for people who didn't experience New Deal programs. At this point—I had the reality check that I am now wholly in a totally different generation than my students this year. Their great-grandparents fought in World War II versus my grandparents. And that their grandfathers fought in Vietnam whereas my father fought in Vietnam. So you've got so many people that are so far removed at this point that this isn't going to teach them about who Franklin Roosevelt was.

Christopher Hamner: Is that what a memorial is supposed to do?

Teacher 5: That's I think what the goal of the other memorial is.

Christopher Hamner: This is where you get into the sort of interesting, undefined territory of what do we want to use this space for?

Teacher 1: There's a contrast. I think that FDR was rather shortsighted when he said I want to be remembered this way. Because I do believe that there is a teaching technique, the teacher in me comes out, but those are memories. If I wasn't an American, if I was not a history teacher, if I was just walking down the road, this just looks like a gigantic tombstone for some schmoe. Therefore, there is no memory being projected and I think that you have to honor him. I love that idea—that "I was a simple man"—but I think he was being shortsighted because we will not remember him without knowing the great things that came with him.

Christopher Hamner: I think part of the power of this is exactly how understated it is. Particularly in a city where there's Logan Circle, there are huge statues, 15-foot-tall statues, of Civil War figures that people have totally forgotten. Here is someone whose place in 20th-century history is immense and there is a kind of disconnect between the immensity of his contributions and the really plain nature of this. To that extent I think it does have some power because there's so many statues around here that are so overly grandiose and kind of hit you in the face with the importance of what they're celebrating and you think, not that important, not that significant in the long run. Whereas this, if anything I think Roosevelt's reputation has been burnished by historians over the years and this is incredibly plain and understated.

Teacher 2: How would we not remember him? That's the other component of it.

Teacher 1: Time. Time kills it.

Christopher Hamner: I think about the Martin Luther King Memorial. He talked during his life a lot about how he was a part of something, that he was not the Civil Rights Movement, but that he was a part of a larger wave. I think that that was an important statement in part because it indicates his humility but also because it underlines the rightness of the Civil Rights Movement. It wasn't one person saying okay, now the country's going in this direction but a large segment of the country saying this injustice has to be corrected. I'm not sure how comfortable King would have been to be singled out with a statue of him covered with his quotes.

On the other hand, to not do something is sometimes sending as powerful a message as to do something. To have the National Mall, which celebrates Lincoln and Washington and Grant and a lot of white elite political figures, and to not have part of the Civil Rights Movement and the African American leaders who helped push it through, that's a conspicuous absence. To not put anything is kind of an interesting—that makes an interesting comment, too.

Smithsonian American Art Museum: Close Observation

Video Overview

What can you learn from a source using just sharp eyes and an inquisitive mind? Suzannah Niepold of the Smithsonian American Art Museum guides teachers through close observation of four works of art, including Mike Wilkins's Preamble, Richard Norris Brooke's A Dog Swap, Allan Rohan Crite's School's Out, and Kerry James Marshall's SOB, SOB.

Video Clip Name
americanart1.mov
americanart2.mov
americanart3.mov
americanart4.mov
Video Clip Title
Mike Wilkins's "Preamble" (1987)
Richard Norris Brooke's "A Dog Swap" (1881)
Allan Rohan Crite's "School's Out" (1936)
Kerry James Marshall's "SOB, SOB" (2003)
Video Clip Duration
6:24
6:20
6:50
6:27
Transcript Text

Suzannah Niepold: Just having lived in this country, you have all the background knowledge, all the tools you need, to analyze this and have some understanding of maybe what the artist is trying to say. It's a good starting point. I want you to use a really basic looking tool called the "Observation/Interpretation Chart," has anyone done anything like this before? Okay, yeah, it's pretty familiar. The goal is just to separate what you see from what you think it means. But it's more challenging for kids than you might think. Hopefully it will give them the tools they need to write a good historical argument, because you're essentially coming up with all your evidence, and then using that evidence to make an argument. So let's just start. Our goal is just to make a long list of observations based on this piece. What is it that you see here? Multiple Speakers: License plates. Suzannah Niepold: License plates. Okay, that's a— Speaker 1: State names. Speaker 2: Does spelling count? Speaker 3: Not for the HSA. Speaker 4: Somebody said state names. Speaker 5: ABC—yeah, alphabetical— Suzannah Niepold: Alphabetical order. The plates are in alphabetical order by. . .? Multiple Speakers: State. Speaker 2: Or district. Suzannah Niepold: There was some stuff over here I missed. Speaker 4: Common colors—white, blue, yellow, green. Speaker 5: It's "We the people of the. . . ." Suzannah Niepold: Ah, so it spells something out on the license plates. Speaker 1: It's the Preamble! Suzannah Niepold: The Preamble of the Constitution. Speaker 5: It's like each license plate has a state theme. Suzannah Niepold: How does it have a state theme? Speaker 5: On some of it. Like Alabama, "Heart of Dixie." Not all of them. Suzannah Niepold: Okay, so some of them have text— Suzannah Niepold: What else do you see on individual license plates? Speaker 6: A year. Speaker 5: Yeah, the year. And the artwork behind, depending on if it's just the plain—some are just two colors, some have three colors, some have like a picture behind it. Speaker 7: It's on the seat of a car, right? That somebody flattened out. Suzannah Niepold: Ah, so looking at the background reminds you of a seat of a car. Speaker 7: Like at a rest stop, or that you'd see in a diner or a drive-in or something. Suzannah Niepold: What do you see that makes you think diner or drive-in? What is it about the— Speaker 4: The metal on the outside of the cushiony seat. Speaker 5: And the color coordination. Suzannah Niepold: So the materials in the background make you think of the diner/drive-in or car seat. Speaker 8: How about six, five, six, six, five, six, five—in terms of how many license plates are in each row. Suzannah Niepold: So there's a pattern, there's not always the same number of license plates in a row, but it does alternate sort of sixes and fives. Speaker 2: Some have natural features on them while others are political statements. Suzannah Niepold: So the types of things chosen by the state, some are natural features and some are political. Speaker 5: It looks like some of them actually have—like Alabama has a tag on when they had to renew it and some don't, like if you look at Colorado, there's no dates on Colorado. Alabama's actually—it depends. And the number one color of the license plates—the background—tends to be white. The dominant color. Suzannah Niepold: That's good. A couple of people are noticing the dates on them, some of them have them, some of them don't, there's a bit of a range. Speaker 10: On most of the individual plates the words don't make sense by themselves. A couple do, like Hawaii is "none" and South Dakota is "this," but for the most part if you just look at one plate it doesn't really make much sense, it's just a couple of letters or numbers. Suzannah Niepold: So, looked at individually it's rare that a single license plate will have a word on it that makes sense. Is there anything else design-wise that is common to the license plates? Speaker 2: They're rectangles. Suzannah Niepold: So all the same shape. Speaker 3: They're bolted in with four bolts. Suzannah Niepold: Bolted in with four bolts, and those bolts are in the same location, right? Speaker 7: Deal with mass production for cars. Suzannah Niepold: There's evidence that these were mass-produced instead of custom made. Alright, are we ready to start moving into this column? Thinking about all of this as evidence, what do we think the artist is trying to say? Why did he put these license plates together to spell out the Preamble? And what does that tell us about our country? Speaker 2: Because all of them together is what shows us what our country is made of and really is the foundation of the nation, that we can't really go back to the Civil War era—we're not divided, we have to be all together. Suzannah Niepold: It's putting them all together is, how did you say, the spirit of the country? Speaker 2: Spirit of the country, basically what makes us make sense. Suzannah Niepold: So we are indivisible, we've come out of the Civil War and we're still part of the Union. Now what—: Speaker 4: It's obviously the shift to car culture, and that, you know, we are a nation of highways that are interconnected and the car is the way we get to places, we move from the cities to the suburbs, we move from Route 66. It's become—we're a nation of cars and highways. Suzannah Niepold: So his choice to use license plates is not random? Multiple Speakers: Right. Suzannah Niepold: He's really using that material to make another point about how we're a car culture. And that's another connection, right? As you mentioned, the highways connect all the states. Speaker 5: I also think it brings out the individual characteristics and history of each state, but yet we're all, as everyone has said, connected and that's what makes us strong. Yet, we each have flavor and things that are unique that make each state special. Suzannah Niepold: Great, so everyone had the theme or the slogan that you noticed, the symbols, whether they're natural environment or political symbols. The "flavor" is a great way to put it, but as he said, we're all indivisible; we're all part of the Union. I think maybe that pattern emphasizes that as well.

Suzannah Niepold: What's going on in this picture? Speaker 1: Relaxing after a hard day of work. Suzannah Niepold: What do you see that makes you say that? Speaker 1: You see both of the gentlemen sitting there who are sort of resting, as well as this younger gentleman over here. The little girl looks like she's kind of tired too. Speaker 2: The boots. Hanging. Suzannah Niepold: There are boots hanging here, okay. Speaker 3: He's got like work clothes on, and they look undone. Suzannah Niepold: Okay, so these look like his work clothes, how can you tell? Speaker 4: There are holes in them. Dirty shoes. Speaker 5: He's smoking a pipe. And the gun resting on the knee of the older gentleman. So maybe they were hunting? Speaker 6: They may be calloused, his hands [have] different coloration. So just outdoor work. Suzannah Niepold: So signs that they spend their time working outdoors. We noticed this man is smoking a pipe, this man is holding a gun. The pipe might add to the sense that they're relaxing after a hard day, and the gun might be an indication that they've been out hunting. Speaker 5: The black one looks like a hunting dog, the yellow one doesn't. Speaker 7: And there's another little one over underneath that the boy's playing with. Suzannah Niepold: This is one that's a little bit harder to see, especially if you're looking at this in reproduction, but there's a little tiny dog over here and then the two in the front. What makes this one look more like a hunting dog than the other two? Speaker 8: It looks like a Labrador. Suzannah Niepold: So it’s a breed we associate with hunting. Speaker 5: The yellow one looks like a herding dog. Suzannah Niepold: The title—which some of you might have noticed, we're not doing as much to cover it up this time—it's called A Dog Swap. What does that tell us about the picture? Speaker 7: So he's saying goodbye to his dog. Speaker 3: Or he's thinking about whether to go through with this or not. 'Cause he looks very pensive and the other guy looks like he's waiting for him to make up his mind. Speaker 8: He certainly has his gun there to make sure that he's— [laughter] Suzannah Niepold: You did something when you said waiting, you went forward a little bit, and I think that this man is leaning forward, which indicates that maybe he's waiting for an answer. As you said, this man is looking more pensive, more thoughtful. Speaker 1: Maybe that's why the little girl is sad? Maybe that's going to be her pet they're giving away. Speaker 5: Look at that little puppy, don't give him away! Speaker 1: They're going to give the black dog away because you can see he's kinda like comforting him, like don’t worry you'll be okay. Speaker 3: I think the little boy is interesting because he's kind of like fading into the background. Speaker 7: He's looking away. Suzannah Niepold: He's looking away, he's faded into the background a little bit. Why do you think the artist might have done that? Speaker 9: Maybe he's attached to the dog. Suzannah Niepold: Oh, he's attached to the dog. So why is he facing away? Speaker 9: It's his dog. Suzannah Niepold: Now what else is the little boy doing? Speaker 7: Playing with the other— Speaker 10: Focusing on a new dog. Suzannah Niepold: Yes, he's playing with this one. Speaker 10: Out with the— Speaker 9: Somebody's already said, we're getting a new dog. Suzannah Niepold: So he's coping with it by turning away, playing with the little puppy. Why do you think the choice of dog is important to this family? Speaker 7: It looks like they're in a field—so maybe, if the other dog is, like she said, a herding dog then it would be more working for them, for their livelihood, I guess. Speaker 10: Maybe this is a stretch, is that a fishing net? Suzannah Niepold: So they're using the land, they've got a fishing net. Speaker 8: You can see fencing in the background. Speaker 9: You've got your cabbage and collards up front. Speaker 7: One would assume that makes it a community kind of situation where people are helping each other; perhaps they are dependent on each other. Hunter-man brings meat, and this family farms. Suzannah Niepold: Okay, so maybe it's a community exchange. Speaker 3: Some kind of sharecropping. Suzannah Niepold: What else can you tell about their daily life and the condition of their home? Speaker 1: A dirt entryway. Speaker 7: You can tell in terms of relationships, Mom's in the doorway kind of hovering in the back with what looks to be the older daughter. So the women are kind of back away from the decision making of this or in the home, so to speak. Suzannah Niepold: So the decisions are being made by the men, the women are a bit farther away. Speaker 7: Yeah, because even the boy is outside. Suzannah Niepold: Someone mentioned sharecropping, this painting is from 1881, the artist is from Warrington, VA, so not too far away. So if this is painted after the Civil War, a little bit even after Reconstruction, what do we know about the lives of these people? Speaker 8: They're very, very tough. Suzannah Niepold: Tough how? Speaker 8: They're having to make their own way in a segregated society where nobody's looking out for them. And sharecropping—very tough, very tough occupation. Suzannah Niepold: Tough life. As you noticed in the beginning, probably working outside, working the land, getting food however they can—whether it's growing things, fishing, hunting. What are maybe some of the advantages though? Multiple Speakers: Free; self-sufficient; freedom Suzannah Niepold: Self-sufficiency, freedom. Speaker 9: Autonomy. Suzannah Niepold: Autonomy. Speaker 7: You have the ability to build relationships, remember we were talking about the community. Before you could be sold off and not have a family and not be a part of a family. Speaker 3: And they're trading property that they have now, which before they would not have been able to. Suzannah Niepold: So they have property. So the dogs maybe represent that. Someone mentioned family; I think that's very important that you have a family group together.

Suzannah Niepold: This is a work that I find really interesting because even though it's really an everyday scene there's a lot of maybe kind of misconceptions that feed our interpretation of this work. So I'm interested to see what you can make of it. What's going on in this picture? Speaker 1: There are no men. Suzannah Niepold: There are no men, so it's all women. And what else? Speaker 2: These little girls are fighting. Suzannah Niepold: How can you tell that they're fighting? Speaker 2: Because the one girl is yelling at her, wearing red, and the little girl in blue has her hands at her hips and is like nyah-nyah-nyah-nyah. So, you can tell they're fighting. Suzannah Niepold: So the artist gives us some really clear body language. The girl in the red top sort of leaning forward, mouth wide open, the other girls have kind of squinchy faces. Speaker 3: It seems like school, like parents dropping their kids off or picking their kids up or something. Speaker 4: The moms don't look real happy. Suzannah Niepold: So there's not any sort of bright smiles on any of the women's faces. How about the scene as a whole, what do you think the mood of the whole picture is? Speaker 1: Well, could it be Sunday? Speaker 6: Yeah, I'm thinking it could be Sunday. Because the mother has a flower on her lapel. It could be Sunday. Suzannah Niepold: Without looking at the title, which is going to give it away, how can we tell if it’s a school-related thing, as you first thought, or a Sunday, like church perhaps. Speaker 6: There's no religious imagery in it. Speaker 3: A couple of them have books, but the books are different colors, and they don't say Bible. There's nothing that looks churchy, there are no crosses. Speaker 1: There's nobody wearing hats, that's churchy. Speaker 5: None of them are wearing hats. Speaker 2: Not all of them. Speaker 3: There's one woman in a hat. Speaker 7: Is that a graduation hat? Suzannah Niepold: You know, that's one of the misconceptions again because it has that kind of flat top. But if you look at it closely it's not a mortarboard, it’s a fancy hat. Speaker 7: They're all wearing dresses. Speaker 8: I was thinking '50s. Speaker 5: Girls didn't wear pants back then. Speaker 6: If it's Sunday, where are there husbands and sons and brothers? Speaker 5: It could be a Women's Day; I've gone to Women's Day events before. So it could be Women's Day. Suzannah Niepold: Someone mentioned there are no churches in the background, can you identify any types of buildings in the background? Speaker 5: I don't know—it looks like a school. Suzannah Niepold: But which part looks like a school and how can you tell? Speaker 7: The left. Speaker 5: But a lot of churches are in schools. I went to church in a storefront, so—back then, I don't see a storefront, but I used to go to church here in Maryland in a school. I think it's probably a school or a church event. So it doesn't necessarily have to be "school" because people don't always go—in urban settings, people don't always have access to a church building. They do church in different buildings. Speaker 2: I think their skirts are too short for church. Speaker 9: That's what I was thinking, that one girl kneeling— Suzannah Niepold: Some of the evidence I hear for school is that this fence was built maybe to control people, to keep them in, so maybe the playground is inside the fence. As you said, there's no men, it's all women and female children. The clothing will throw your students off, they're not used to an everyday scene where everyone is in dresses or everyone is dressed up. What else is going on, what else can you find? Speaker 4: It reminds me of Baltimore with the red brick and the stoops and the Federalist architecture. Speaker 6: The obvious thing to me is that there's black and white children and that right central there's an African American woman holding the hand of an African American child and what appears to be a white child has her arm wrapped around that woman. Speaker 3: It seems the African American women are the ones caring for the kids. And maybe the mom's coming to get her? Speaker 5: But they're not wearing maid uniforms. Suzannah Niepold: So the adults, unless I'm getting this wrong, are all African American—or the ones that I can see. Speaker 2: No. Speaker 4: She's raising her hand. Suzannah Niepold: But there are children, there are Caucasian children. Speaker 5: Well, wouldn't the Caucasian children be with their nannies? Speaker 9: That's what I was wondering, are they nannies? Suzannah Niepold: Are they nannies, or what other roles could they be filling? If it's a school scene— Multiple Speakers: Teachers. Suzannah Niepold: If this is a school, what do we know about the school based on the people that we see. Speaker 5: All girls. Speaker 6: It's mixed. Suzannah Niepold: It's mixed, it's not segregated by race, just by gender. Speaker 5: I don't know, African American people are all different colors, so when I see someone who's lighter I don't assume they're white. Suzannah Niepold: That's true, sometimes you can get into dangerous— Speaker 5: I'm not saying they are or aren't at this point, I'm not saying that. Suzannah Niepold: You're right, so we can leave it as an open question mark. But there are certainly children with—just literally white, not even peach-colored. Speaker 6: Right, because that girl with her hand up stands out to me in the back. She's like waving; I can't tell what she's doing. Speaker 7: It's almost designed to draw your attention. Suzannah Niepold: The title is School's Out, so whoever said end of the daym whoever said school, they're borne out by the title. It's 1936. What part of the country would we imagine this to be? You said it looks a little like Baltimore. Speaker 10: Gotta be in the North. Suzannah Niepold: Okay, why does it have to be in the North? Speaker 10: Because of the integrated school. Suzannah Niepold: And why does it have to be a big city? How can we tell that about the image? Speaker 4: Because of the Federalist architecture. Speaker 6: And that's a lot of people. You wouldn't have that many children of that age in a small town school. Suzannah Niepold: This artist—one of the reasons that we always put the birth and the death dates and locations of the artist is to try and give you a sense of where the scene might be and what their background knowledge is. Allan Rohan Crite spent most of his life in Boston. So we think, based on an interview with him, that this is a South Boston school in 1936. If you look at the history of segregation in the schools—because he is an African American artist, this is an African American show—is that the schools were desegregated in the 19th century, but the neighborhoods weren't. So because the schools were just organized by neighborhood they were still vastly majority African American school or white school. So here you see maybe a few who either are light-skinned or are white, but certainly the majority are African American.

Suzannah Niepold: So again, just take a minute to observe the detail before we talk about it. What's going on in this artwork? Speaker 1: It's looking kind of at a study of Africa, of African culture. Suzannah Niepold: What do you see that makes you say that? Speaker 1: The books that I can see from here are about—you've got Africa and Asia, The Soul of Africa, the book there Africa Since 1413. Suzannah Niepold: So the book titles are turning into a bit of a clue about the artist's intention or message for the entire work. And something that really pops out to you is Africa. Speaker 2: Americans in particular like W.E.B Du Bois and the language that of course then was used, so you certainly see like the African American experience. Suzannah Niepold: It's an African American experience but tied back to Africa, which is appropriate since we are in the American Art Museum. Speaker 1: Then you have some odd ones that seem out of place, like Pushkin. Speaker 3: And some of covers seem more worn than others. Suzannah Niepold: Some of the books are maybe more worn, more well read than others. Are there any in particular that look more worn? Speaker 3: The Du Bois book. Suzannah Niepold: Because the title is wearing off a little bit. Speaker 4: She has then N and the A Encyclopedias of Knowledge, Culture, and I don't know what that word is on the bottom shelf. Suzannah Niepold: Yeah, it doesn’t always give you the title. So there's a repeated theme in the encyclopedias, that the volumes on the shelf refer to the N words or the A words. Speaker 1: Well the n-word is right there. Suzannah Niepold: Yes. And that is an issue, obviously, if you're using this in schools, and if you want to talk about that we certainly can. I use it only on a kind of case-by-case basis depending on the teacher and the class in school. But this can be kind of a major point of discussion with kids, the language that's used in the text. What more can you find? Speaker 5: I think I'm in debate on "sob," if it's really "sob" or if it's son of a— Suzannah Niepold: So there are these words here that could be read as "sob" or could be read as "S.O.B." Again, with prior approval from the teacher I have taught that acronym to about 300 8th-graders at this point. Doing well! What else do you notice about the words, how are they painted? What are they? Speaker 4: Her thoughts. Suzannah Niepold: Her thoughts. Where do we recognize that as thoughts from? Where do we get that? Multiple Speakers: Comics. Suzannah Niepold: Cartoons, comic books, so that's one kind of influence on this artwork. What more can you find? Speaker 6: She seems to be looking out somewhere. We see this window here, I don't know if she's looking at someone or out the window. Suzannah Niepold: How can you tell where she's looking? Speaker 6: Well, I mean just from the way her face is turned, her eyes are directed someplace other than— Suzannah Niepold: Everything—her face and her eyes are directed up here and directed away from the books. Speaker 7: I don't think it's her house. Suzannah Niepold: Okay, tell me what do you see that makes you say that? Speaker 7: I just look at how she's dressed, she's got on heeled shoes, she might—from where I'm thinking—just be visiting and all of a sudden inspecting somebody else's library. And then she just starts pulling off these books, and then she turns and maybe she just has a question or a strong feeling. Suzannah Niepold: Ah, strong feeling. Well, we see her thoughts. Speaker 4: So she may be listening to someone and thinking. And then she's also sitting on the floor, you're right, she's dressed up, but she's sitting on the floor. Speaker 3: What about those two books on the second shelf? The Slavery of Freedom and Black Women and White America almost as like questioning of the future, what's been lost? Speaker 8: I see bookshelves like this every ay at the office because you're always trying to figure out who the occupant is based on what they're reading. One of the things that kind of connects the books for me is this idea that Africa is interesting and significant as long as it's impacting white people. Africa becomes interesting when we start exporting slaves, Slavery to Freedomm you know it's the ownership of African Americans that makes it important. It's not interesting in and of itself, but only in its implications. Which would make me say either "sob" or "S.O.B." Suzannah Niepold: Yes. That's interesting, first of all because by looking at a bookshelf we can tell a lot about the identity of the owner of the bookshelf, who has arranged or even curated that collection of books. And also that so many of these are focused on Africa after European contact and the impact on this country. All of these books, I don't know if you've ever read any of them, but they are all real. We did end up featuring this in one of our programs I work on with 8th-grade students because the teacher, when selecting works with me, came up and said my parents had the same bookshelf. Not literally the same bookshelf, this very kind of fragile—maybe it's meaningful that the artist put this one spindly leg out there so that the whole history is going to just crash down. But she really related to this and she wanted to kind of bring some ideas together in her classroom and she was comfortable bringing out some of the more uncomfortable history, which, depending on your class and your group and how well you know them, you may not be. So this is one of the more challenging works, but the result, the product we got, we had students write about this work, were in the end deeply meaningful and they found real relevance to their own histories here. So we found it worth it in that situation.