My Piece of History

Teaser

Even the recent past was very different from the present. Students analyze photos from the 1960s and 1970s to identify differences between then and now.

lesson_image
Description

Students analyze two pictures from the mid to late 20th century—a recreation room, and a set of wedding gifts—and use objects in the picture to identify differences between the past and the present.

Article Body

This lesson uses everyday objects from the past to facilitate the development of two foundational historical thinking skills for young students:

  1. understanding that people of the past lived differently than we do today and;
  2. that history consists of stories constructed from artifacts left from the past.

The lesson begins with the teacher introducing an object from his or her own past that is unfamiliar to students, and a discussion of what that object’s purpose might have been. Then, students observe photographs of everyday items from the 1960s and 1970s to identify both familiar and unfamiliar objects.

Activities 2 and 3 focus on students acting as “historical detectives,” as they generate hypotheses for the purposes of unfamiliar objects in the pictures, and then brainstorm methods for verifying these hypotheses—including interviewing older family members for additional information. Finally, students construct their own historical narratives about an object by creating a museum label for that object. In activity 4, students repeat the process using an object found in their own home.

This lesson walks students through the steps of historical inquiry and introduces them to key historical concepts (historical context and evidence) in an engaging and age-appropriate way.

Topic
Daily life; popular culture and leisure
Time Estimate
2-3 Class Sessions
flexibility_scale
4
Rubric_Content_Accurate_Scholarship

Yes

Rubric_Content_Historical_Background

Yes
Several other museum exhibits from the mid to late 20th century are available here, and may be useful for augmenting the lesson as well as providing background for teachers.

Rubric_Content_Read_Write

Yes
While no reading of text is required, students write during the interview process, as well as in the final activity, creating museum labels.

Rubric_Analytical_Construct_Interpretations

Yes
This is the central feature of the lesson.

Rubric_Analytical_Close_Reading_Sourcing

No
While no reading is required, close analysis of the photographs and attention to time period is necessary.

Rubric_Scaffolding_Appropriate

Yes

Rubric_Scaffolding_Supports_Historical_Thinking

Yes
Discussion questions are provided to help students analyze unfamiliar objects, as well as a chart for students to organize information gained from interviewing older family members about “mystery objects.”

Rubric_Structure_Assessment

No
While no specific assessment or criteria is provided, the final activity allows students to engage in the inquiry process independently, and may be used to assess student understanding.

Rubric_Structure_Realistic

Yes

Rubric_Structure_Learning_Goals

Yes

World War II Memorial

Video Overview

What do the elements of the World War II Memorial in Washington, DC, symbolize? Is the design effective? Who was the memorial built for? Christopher Hamner and Michael O'Malley try to answer these questions by contrasting the memorial with the Vietnam Veterans Memorial.

Video Clip Name
warmemorial2.mov
Video Clip Title
World War II Memorial
Transcript Text

Christopher Hamner: You can’t really understand the World War II Monument, where it is and why it looks the way it looks, without understanding the Vietnam Memorial and the story of getting it built. The design competition for the Vietnam Veterans Memorial was open to everybody. It eventually got more than 1,400 submissions. They were handled anonymously so that the judging panels saw only the design and a numbered code and they went on 1,400 down to 300 down to 30 down to the winner who was very surprising when it was revealed. It was a 21-year-old architecture student at Yale named Maya Lin.

Michael O’Malley: Problematic is so many ways.

Christopher Hamner:: Youth, ethnicity, gender. And it was the design that’s very close to what we now see on the Mall. One of the reasons that I suspect the World War II Monument looks the way that it looks, which is much more traditional, heroic, sort of celebratory. It seems to privilege sort of consensus and unity above everything else. [It] has to do with the desire to avoid that kind of controversy. One of the things that we pointed out was the fact that the ring of stones that sort of marks the outer boundary that are adorned with wreaths are dedicated to the states.

Michael O’Malley: Which makes no sense. The state-iness was not part of the World War II experience.

Christopher Hamner: Of all the ways you could possibly cut up World War II—

Michael O’Malley: It’s not like all the guys from Delaware were in one unit. They got drafted, they went down to some camp in the South and then they went back. I mean their was no state-iness attached to it.

Christopher Hamner: It’s a national effort to the extent that people identify with some smaller segment, it’s usually by branch or then by division. There are other ways that you could group it, but the one that makes the least sense is the states. It’s incredibly traditional, it’s white, there are wreaths, there’s a gold star at one end for every 500 combat deaths.

Michael O’Malley: So they want to have some element of what the Vietnam War Memorial does so well, which is individualizing. Really made graphic the extent of the loss. They want to have some element of that—

Christopher Hamner: But they don’t particularize it quite as effectively and that some of the teachers that we toured with said that that element of it had sort of fallen flat, that it did not—

Michael O’Malley: You actually came away thinking less people died in World War II than in Vietnam.

Christopher Hamner: I found as I walked around I spent probably half my time trying to figure out what the organizational strategy was. They were not in alphabetical order, they were not in the order the states joined the Union, they’re not grouped together. I mean I couldn’t tell. It didn’t look to me like it was sort of by population or the sort of number of soldiers from that state who perished over the course of the war and I started to suspect that it was just random.

Michael O’Malley: I mean the Vietnam Memorial takes a few elements and loads them with meaning. This thing takes a lot of elements and bleeds the meaning out of them.

Christopher Hamner: We also talked about the Korean War Memorial, which is a sort of interesting combination, right? That it’s particularized and personalized and that it’s slightly larger-than-life-size figures of soldiers that are in ponchos. They’re spread out and kind of making their way across a field but they’re not heroic in the way that soldiers a century ago would have been portrayed. You can feel the weight of the gear that they carry.

Michael O’Malley: And that wants to put you in the midst of it, I mean you walk through them. You’re right in the middle of that, so, where as in the World War II Memorial you’re in the middle of kind of nothing, you’re in the middle of some kind of empty abstraction.

Christopher Hamner: It has become more participatory at least during the daytime than it had been before because there are so many World War II veterans who are designated, who are kind of milling around the areas and who will engage with visitors and pose for photographs and talk about their experience so there is a sort of participatory dimension to it. But as Mike pointed out, these guys won’t be around forever, that cannot last.

Michael O’Malley: That’s an element of this thing that we got to in the discussion. There were some great questions, like who was this thing for? And there was really a sense that this was for veterans. Like this is here to make veterans feel good. It’s not about the nation remembering something. It’s a gift to veterans. I have nothing against giving gifts to veterans, but is that the purpose of a memorial? That’s a worthwhile question. And when the veterans are gone, what do you have? You have a gift for a person who is no longer around. It’s an odd construction of memorialization.

IWitness

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What is it?

IWitness is a free resource developed by the USC Shoah Foundation Institute to help students develop a deeper understanding of 20th-century history alongside digital and media literacies. It houses approximately 1,000 Holocaust survivor and witness testimonies and allows students to construct multimedia projects using the testimonies. Users need only an Internet connection; all of the tools—including an online video editor—are self-contained on the server and are compatible with both Macs and PCs.

Getting Started

In order to start using IWitness, click here and select “register.” Once registered, you will be able to create classes and generate access codes students can use to register.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects.

Even prior to registering, the IWitness home page features a rotating group of curated clips. These short clips run less than five minutes and draw learners into compelling stories. Linked from the home page, the Browse All Topics page provides more clips from a breadth of topics to anyone visiting the site. Registered users are able to search among more than 1,000 full-length testimonies, then save clips from the testimonies for use in projects. Testimonies have been indexed to the minute with keywords. If, for example, students search for “music,” they will get a list of clips where the interviewee discusses music, and they can go right to the exact minute in which music is discussed in a testimony. Users also can narrow search results in various ways.

Once signed in, you should go to your “Dashboard” to get started exploring IWitness. From here you will notice videos located on the left side under “Connections.” The Connections videos will help you address important topics with your students: ethical editing of video clips, effective searching, and defining terms like “archive” and “testimony.” There is an Educators page designed to orient teachers to the site and highlight available resources. There is also a resource tab on the top of the screen with links to reliable information. For students and teachers alike, IWitness offers a Tool Kit, which can fly out from the right side of the screen. The Tool Kit provides users with quick access to their assigned activities, as well as to an encyclopedia, glossary, and note-taking tool.

IWitness has numerous activities you can assign to your students. More than 200 activities are available in several languages and cover an array of subjects from the Holocaust and genocide to cinema and media & digital literacy. Different types of activities present information in diverse formats and can be filtered for different age or subject levels. “Information Quest”, for example, focuses on a single survivor or witness of the Holocaust. Students listen carefully for information in testimony clips and then reflect on their learning by using, among other things, a world cloud tool. As an educator, you are also able to build your own activities for your students in IWitness with the “Activity Builder”. The additional resources offered on the “Resources” page provide bibliographies, glossaries, and timelines that may be useful when assigning activities for students to build or complete.

Examples
IWitness allows students to learn about . . . the 20th century while creating meaningful projects and making connections with their own lives.

Teachers are using IWitness as a way to integrate 21st-century literacies into a range of subjects, including social studies, language arts, media studies, psychology, and more. One history teacher built an IWitness activity so his students could compare and contrast the Hollywood portrayal of the Sobibor Uprising in film with how survivors of the event remember and describe it. Through his IWitness activity “Escape From Sobibor: Hollywood and Memory,” his students were able to use critical thinking as they watched testimony and compared it to the film, then select clips of that testimony to construct a more historical depiction of daily life in the concentration camp.

You can also use IWitness to help teach online etiquette and respectful dialogue skills. Within IWitness, students finish their activities by viewing and commenting on their classmates’ projects. This is a great way to spark conversation that can continue in IWitness through social-media-style commenting tools. Teachers are able to mediate conversations and communicate with students within the application. IWitness also provides reminders to students about good digital citizenship when communicating with their peers within the site. IWitness allows students to learn about important events in the 20th century while creating meaningful projects and making connections with their own lives.

For more information

Want to learn more about IWitness? See Teachinghistory.org's Website Review for more information.

Looking for more resources on the Holocaust? Teachinghistory.org has gathered website reviews, lesson plans, teaching strategies, and more on the Days of Remembrance of the Victims of the Holocaust spotlight page.

Sakura: Cherry Blossoms as Living Symbols of Friendship

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Annotation

In 1912, Japan presented Washington, DC, with 3,000 cherry trees as a gift. This Library of Congress exhibit uses primary sources to explore the history of the trees, the National Cherry Blossom Festival that grew up around them, and Japan/U.S. relations.

Primary sources are divided up by four themes. "Art and Documentation" includes three sources: a letter from Tokyo mayor Yei Theodora Ozaki to First Lady Helen Taft on the gift of the trees, a memo on artwork acquired by botanist Walter Tennyson Swingle in Japan, and a photograph of Swingle and Seisaku Funatsu, one of the group of Japanese experts who cultivated the trees gifted to the U.S.

In "A Special Gift to Washington from the City of Tokyo," visitors can view Swingle's collection of 11 Japanese watercolors depicting different types of cherry trees.

"Cherry Blossoms in Japanese Cultural History" collects 15 pieces of Japanese artwork depicting traditional hanami (flower viewing), as well as two pieces of Western artwork showing Japanese influence. Also included in this section are 12 stereographs of Japan during cherry blossom time, created between 1904 and 1908 for Western audiences.

"Enduring Symbols of Friendship" includes nine sources exploring the place of the cherry trees in Japan/U.S. relations. A 1938 Japanese magazine cover, notes for a 1934 speech by Japanese ambassador Hiroshi Satou, and a photo of children from the Japanese Embassy at the Tidal Basin show pre-World War II peace. Two political cartoons show how quickly the trees became a symbol of DC, and a photograph shows U.S. cherry blossom viewers during World War II. The section also features three photographs from a 2011 photography contest associated with the National Cherry Blossom Festival.

Visitors can also click on "Exhibition Items" to view all 55 primary sources, sortable alphabetically or by theme.

Some sources lack annotations, and existing annotations are sparse. However, this is a unique collection of sources that could be used as jumping-off points for exploring cultural exchange, international relations over time, and DC history.

White House Historical Association

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Annotation

The White House Historical Association works "to enhance the understanding, appreciation and enjoyment of the White House." The website has a number of useful educational resources if you know where to look.

Start with the Themes and Media page that gathers educational resources from the entire website into thematic categories from African American history to protests. Within each collection, you'll find relevant selections from the website's pool of 10 text timelines, more than 15 online exhibits and tours, and more than 20 lesson plans labeled by grade level. One exhibit covers the political symbolism of, and national reaction to, First Lady Lou Hoover's invitation of Jessie DePriest, wife of the first African American elected to Congress in the 20th century, to tea.

The History page gathers the majority of these resources in one location. From information on artwork in the White House to milestones in White House staff history to White House pets, there's plenty to discover.

Most of the content in the Classroom section overlaps with that in History. However, here you can access all available lesson plans, sorted by grade level (K–3, 4–8, 9–12), as well as more than 10 primary sources. Finally, this is the place to go for more information on touring the White House or reserving a program for your DC Metro-area classroom.

Memoirs v. Tapes: President Nixon and the December Bombings

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Annotation

Memoirs v. Tapes consists primarily of a web-published essay on the Nixon White House Tapes from between October 1972 and February 1973. These tapes were released from the Nixon Library as recently as 2008 through 2010, making them quite new to the public. As a text-heavy resource, and in consideration of the complexity of the questions the content raises, it is likely best used with high school students.

The essay is divided into seven sections and an accompanying appendix. The key issue under discussion is the position of Nixon and Kissinger on the 1972 Christmas bombing of North Vietnam. Nixon's memoirs state that he only reluctantly agreed to Kissinger's eagerness to bomb North Vietnam. In contrast, Kissinger notes that while he was pro-bombing, Nixon generally agreed with him, rather than only coming to the decision at a point of supposed necessity. Most sections of the website are accompanied by audio clips of the actual decision-making conversations; maps; documents such as letters, address drafts, and cables; and video clips.

The Nixon Presidential Library and Museum recognizes that the audio clips can be difficult to understand. As a result, they have prepared a short list of tips to help listeners get the most from the sources. In addition, each audio clip has an accompanying log link. The log lists, in bullet form, the topics of conversation covered in the clip.

The conclusion offers a set of five questions to consider after having perused the site and its resources. The questions, such as "What role did the convening of a new Congress play in December 1972 decisions about ending the war?," are, as noted previously, likely most appropriate for high school classrooms. However, it is possible that they may also be of use in middle school, depending on the engagement and ability levels of students.

Finally, the appendix offers suggested readings, as well as additional documents, audio and video clips, and photographs which may be of interest.