Comanche Nation and "Manifest Destiny": A Guide for Pre-Service Teachers

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What is it?

“Manifest Destiny” — the idea that the U.S.-Americans had a religious certainty that would settle the breadth of the North American continent from coast to coast — has become a kind of shorthand for explaining the expansion of the United States. This notion has also been reinforced by many U.S. History textbooks. The reality, as is often the case with history, is quite a bit more complicated. This guide provides resources to help teachers support students as they consider Manifest Destiny more critically. Not only did territorial expansion have many causes and motivations, it was not destined in any sense.

Key Points

  • The activities outlined here 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 to critically analyze the term "Manifest Destiny" and learn more about the history of Comanche people in the American Southwest. 


Manifest Destiny in Textbooks


Many U.S. history textbooks frame the territorial expansion of the United States before the Civil War using the idea of “Manifest Destiny.” For example, in McGraw Hill’s United States History and Geography Unit 7 that covers 1820-1848 is titled “Manifest Destiny.” The unit also presents the expansion of the United States as more or less inevitable rather than a result of specific choices made by people in the past, thereby reinforcing rather than critiquing the premise of Manifest Destiny. When Native Americans are mentioned in the unit, they tend to be portrayed as an obstacle to this process. Teachers can encourage students to question the idea of Manifest Destiny and to reconsider how this narrative is being framed by their textbook by engaging with sources and historical scholarship that presents a more complex picture.

In the Classroom


Warm Up - Reframing Manifest Destiny

To encourage students to question the way the textbook frames the territorial expansion of the United States as Manifest Destiny provide the two images linked below for student to compare:

Image one: https://www.loc.gov/item/97507547/

Image two: https://iltf.org/get-involved/

The first image, the 1872 painting American Progress by John Gast, will likely already be familiar to students as it is used in many textbooks often in the same chapter that deals with “Manifest Destiny”. The second image is from the web page of a Native land rights advocacy organization the Indian Land Tenure Foundation. Titled “Reversing Manifest Destiny” it explains the mission of the organization while also commenting on Gast’s painting and the concept of Manifest Destiny. While students examine these images have them consider the following questions:

  • What similarities do you notice between the two images?
  • What differences do you notice?
  • What story do you think each image is trying to tell?
  • Why do you think the Indian Land Tenure Foundation decided to use an image based on Gast’s painting?

Comanche Nation in the Southwest

To better understand this period in American history, students can explore the history of Indigenous people who were already living in the West at the time “Manifest Destiny” was first introduced. In 1845, when columnist John O’Sullivan coined “Manifest Destiny,” a large part of the West was controlled by the politically and economically formidable Comanche, which actively thwarted expansion efforts on multiple fronts. One historian, Pekka Hämäläinen, even goes as far as calling the Comanches an “empire”. Hämäläinen writes, “For a century, roughly from 1750 to 1850, the Comanches were the dominant people in the Southwest, and they manipulated and exploited the colonial outposts in New Mexico, Texas, Louisiana, and northern Mexico to increase their safety, prosperity, and power.”

It is important to note that not all historians agree with Hämäläinen’s argument and reject the idea that Comanches or any other Indian groups constituted an “empire” at this time. Indigenous historians including Ned Blackhawk and Jameson Sweet and scholar Delphine Red Shirt argue that using the term “empire” distorts Indigenous history and culture and does not properly account for the effects of U.S. colonialism on Indigenous communities. Sweet wrote specifically that “Forcing the ‘empire’ label onto the Comanche was inaccurate and misguided”.

So whether there was a Comanche Empire is a topic of debate among historians, but the consensus among historians is that the Comanche were a formidable power in the American Southwest. This is not the impression that readers would get from U.S. history textbooks, however. In the McGraw Hill textbook, a small section deals with Native Americans and then only focuses on the Northern Plains. Meanwhile in three other sections titled “The Hispanic Southwest,” “Independence for Texas,” and “The War With Mexico,” the Comanches are mentioned only in passing and only in the context of attacks on white settlements. In both these instances, the Comanches are mentioned along with the Apache, so no independent treatment is provided for students about this group that shaped the Southwest for over a century.

Source Activities

Source Activity 1: Comanche Strategy

The Comanches mastered a divide and conquer style of politics and consistently played their rivals against each other. After warring on and off with the Spanish colony of New Mexico in the 1770s and 1780s, for example, the western Comanche leader, Ecueracapa, signed a peace treaty with the military governor of New Mexico, Juan Batista de Anza in 1786. As part of the treaty, the Comanche joined forces with Spain to attack their mutual rivals the Apaches in New Mexico. The results of one such battle are depicted in the source below.

Primary Source #1
[Comanche pictograph map of the Battle of Sierra Blanca, 1787]. | Library of Congress
https://www.loc.gov/item/2014590059/

It is important for historians of Indigenous people to use sources created by the Indigenous people themselves whenever possible. This map is one such source. The map was drawn after the battle by a Comanche participant and then it was sent to Governor Anza as the official record of the altercation. The key below the map, the letters A-G with Spanish text, was added by Spanish officials to interpret the map. Together they relate how many Comanche warriors were involved in the battle, how many on each side were killed, and how many people and horses were captured. Anza certified the document himself — signing and dating the document July 30, 1787 on the bottom.

The source is also significant for being a rare example of a source created by a Comanche from this period that has survived to the present day.

When using this map to students teachers can ask them to consider what this source created by Comanche people can tell us about the Comanche. Remind students to keep in mind that the source provides only the information that this group of Comanches wanted the government of Mexico to know.


Questions for students to consider:

  • Why do you think the Comanches recorded this information and sent it to the governor of Mexico?
  • How might the Comanches stand to benefit from the result of this battle?
  • This map was created in 1787, one year before the U.S. Constitution was ratified and over 50 years before “Manifest Destiny” was first used. In what ways does this source make us reconsider what was happening in the American West at this time?

Source activity 2: Geography

By the 1840s, Comanchería, as the territory the Comanches controlled was called, stretched from Sante Fe in the West to San Antonio in the East. In the North, it stretched to approximately the Arkansas river in the North and in the South to the Pecos river. While powerful, the Comanche also remained “hidden” in a sense. The Comanches allowed and even sometimes encouraged settlements in their territory, but then also gained economically from those territories through raids and trade. Thus maps of the period tended to downplay the range of territory that the Comanche controlled.

Primary Source #2:
A new map of Texas, Oregon and California. 1846 https://www.loc.gov/item/00561203/.

For students to gain a better understanding of the geography of the Comanche influence in the Southwest, have them analyze this map. So that the students can zoom in on parts of the map this activity would work best on a computer - either as a whole class with the map projected on a screen or individually or in pairs with personal laptops or tablets.

First, draw their attention to the area shaded green and labeled “Texas” in the bottom part of the map. Zoom in or have students zoom in and examine this area closely. The Comanche controlled region at the time the map was made extended roughly to the following:
Eastern border - Warrenton on the Red River
Western border - Santa Fe in the West
Northern border - Arkansas River
Southern Border - Pecos River

Key questions:

  • What evidence is on the map that the Comanches lived in this region?
  • Would they conclude from that map that the Comanches controlled the territory? Why or why not?
  • Students could additionally find the same area on a map in the textbook from this chapter - Are the Comanches are mentioned at all?

Source Activity 3: Trade Network and Economic Power
The Comanche’s power in the Southwest was fueled by a vast trade network that connected various American markets. This trade network featured a supply chain that provided horses and mules to the growing Euro-American settlements in Missouri, Arkansans, Illinois, Kentucky, and Tennessee. In addition to livestock, the Comanche traded bison hides from animals they hunted on the prairie which were highly sought after by buyers in cities on the east coast of the United States. In addition to these exports, the Comanche imported goods from all over the continent. Staples like maize from New Mexico, molasses from New Orleans, and coffee and wheat flour from the United States. Blankets were imported from Navajo country and metal goods such as kettles, pans, and knives came from eastern U.S. cities. Vast supplies of weapons too entered Comancheria in the form of lead, powder, and muskets which further bolstered the Comanches ability to conduct raids into Mexico and Texas.

A key part of this trading network and a key part of the Comanches success overall was the ability to acquire and trade horses. To give students a sense of how horses fit into the culture of the Comanche and other Southern Plains groups have them examine this collection of sources from the Smithsonian’s National Museum of the American Indian https://americanindian.si.edu/exhibitions/horsenation/trading.html

Questions to consider about these sources:
Choose one of the sources in the NMAI gallery to examine in detail

  • What purpose did the object serve?
  • What details do you notice?
  • What evidence is there that this object took a long time to create?
  • What evidence is there that this object took expertise to create?
  • What do these sources tell us about how the Comanches along with the Pueblo, Navajo, Apache, Ute, and Shoshone valued horses?

In discussing this vast Comanche trading network with students, teachers could return to the 1846 map (Primary Source #2) or any other map from their textbook and see if they can locate  Bent’s Fort. On the 1846 map it is obscured by shading but it can be found on the Arkansas River on the northern edge of Comanchería. Bent’s Fort was a U.S. military fort but it also served as a trade hub for the trade goods listed above coming into and flowing out of Comanchería. Students could then find locations like New Orleans, New Mexico, Navajo country to appreciate the reach and extent of this trade.

Along with examining the map and considering the trade that centered at Bent’s Fort, Students could also examine a drawing of the fort itself:
Drawing of Bent’s Fort, 1859 https://www.loc.gov/item/2004661632/

Land Theft and Extermination of the American Bison
The United States did eventually expand into Comanchería, but this expansion could not be called Manifest Destiny. Instead it was a drawn out process that met with fierce resistance from the Comanche and relied on the purposeful extermination of almost an entire species of animal. After the end of the Civil War in 1865, the U.S. government turned its attention to settling the west and devoted increased military resources to accomplish this goal. To open up the land for settlers, the U.S. planned to designate tracts of land as reservations for Native Americans to live on. Another goal of this policy was to assimilate Native Americans into white-U.S. culture and to end the practices associated with hunting and religious practices.

One group of reservations would be for Indians of the northern plains, the Lakota, Northern Cheyenne, Northern Arapahoes and Crows, and would be located in the Black Hills of the Dakota Territory. Another group of reservations would be for the Indians of the Southwest and southern plains, including the Comanches, Kiowas, Naishans, Southern Cheyenne, and Southern Arapahoes, and would be located in what is today western Oklahoma.

In 1867, the Medicine Lodge Treaty officially created the southern reservations. The Comanches and several allied groups agreed to the terms but had their own interpretation of what those terms meant. The treaty also granted bison hunting rights to the Comanche in the region south of the Arkansas River. These hunting grounds extended beyond the reservation tract and to the Comanches thinking that meant that this land had not been ceded. Comanche made use of the reservation but only seasonally — raiding and hunting in the spring, summer, and fall and then returning to the reservation in the winter. Thus while the U.S. government sought to end the way of life of the Comanche and other southern plains Native people, the Comanches instead incorporated the reservation into their seasonal migration. With bison to hunt the Comanche did not need the support of the U.S. government that the reservation represented.

Unable to control the Comanches using military force, the U.S. government’s response was to eliminate their means of support: the bison. Beginning in 1868, under the direction of Gen. William Tecumseh Sherman and his subordinate Gen. Philip Sheridan, the U.S. Army actively engaged in the mass killing of bison and encouraged private hunters by organizing hunting excursions and even supplying firearms when requested
.  
Primary Source #4
Sherman to Sheridan, 10 May 1868, The Papers of Philip H . Sheridan, microfilm reel no. 17, Manuscript Division, Library of Congress, Washington, DC (hereafter Sheridan Papers)
https://www.loc.gov/resource/mss39768.017_0007_0246/?sp=4
https://www.loc.gov/resource/mss39768.017_0007_0246/?sp=5
https://www.loc.gov/resource/mss39768.017_0007_0246/?sp=6

Handwritten letter excerpted above

Handwritten letter excerpted above.

Handwritten letter excerpted above.

Handwritten letter excerpted above.

By some estimates, this campaign resulted in the killing of 31 million American bison between 1868 and 1881. Some were harvested for their valuable hides or meat, but many were just left to rot. The purpose was to deny the resource to the Native people. Thus deprived of their primary source of food and their most valuable trade good, the Comanche were unable to mount as formidable a military force as they had in the pre-Civil War period. As historian David D. Smits argues: “In the end, the frontier army’s well-calculated policy of destroying the buffalo in order to conquer the Plains Indians proved more effective than any other weapon in its arsenal.” Under the charismatic leadership of Quanah Parker, however, the Comanches continued to hold out against efforts by the U.S. Army to confine them to the reservation. Not until September 28, 1874 with the Battle of Palo Duro Canyon, part of what was known as the Red River Wars, were the Comanche forces defeated.

Born in 1845 to a Comanche leader (Peta Nocona) and an Anglo American mother (Cynthia Ann Parker), Quanah Parker was not only an effective and resourceful military leader but was also representative of the Comanche’s flexible understanding of race and tendency to incorporate captives into their society.

Primary Source #5

[Quanah Parker, Comanche Indian Chief, full-length portrait, standing, facing front, holding feathers, in front of tepee] | Library of Congress
https://www.loc.gov/item/89714963/

Questions to ask about this source:

  • Why do you think Quanah Parker chose to present herself in traditional Native clothing.
  • What might have been his reasons for this choice?

Comanche Nation Today

Despite the efforts of the U.S. government to undermine the Comanches, the Comanche Nation still exists today with approximately 17,000 enrolled tribal members. The Comanche Nation Constitution ratified in 1966, declares that the mission of the Comanche Nation is to:
“1. To define, establish and safe guard the rights, powers and privileges of the tribe and its members.
 2. To improve the economic, moral, educational and health status of its members and to cooperate with and seek the assistance of the United States in carrying out mutual programs to accomplish these purposes by all possible means.  
3. To promote in other ways the common well-being of the tribe and its membership.

The headquarters for the Comanche Nation is located in southwestern Oklahoma in a town called Lawton. In 2007, the Comanche National Museum and Cultural Center opened in Lawton. https://www.comanchemuseum.com/index.html

Manifest Destiny - Additional Approaches

Other sources to explore

An important source for understanding the history of Indigenous people are the collected stories passed down from ancestors. A Comanche man, Francis Joseph Attocknie, collected the stories of his grandfather and great grandmother passed their ancestor, Ten Bears, who was a Yamparika Comanche leader who lived from 1790 to 1872. Attocknie compiled these stories in the book The Life of Ten Bears: Comanche Historical Narratives. Attocknie writes of these collected stories:


The greatest and most reliable source of Comanche history was the enjoyable, time-passing evening sessions of storytelling by wise, ancient, and loving grandfathers and grandmothers. Those story sessions entertained as well as taught. Sometimes there would be more than one person holding the session; a visiting ancient one might collaborate or add bits here and there, or just audibly agree to the account as it unwound and held spellbound its listeners, both young and adult. Repetition never bored the enthralled listeners. In fact, the young, especially, often asked for repeats of favorite accounts of certain events or stories. These stories, too, often had musical tones as the storyteller interspersed the accounts with an appropriate song that had a place in the telling of an account.

Other lessons

“How Did Six Different Native Nations Try to Avoid Removal?” National Museum of the American Indian
An excellent lesson plan about the strategies that six American Indian nations tried to avoid removal from the Smithsonian’s National Museum of the American Indian. Afterwards students select a case study and closely examine the sources that tell a story of removal.
https://americanindian.si.edu/nk360/removal#titlePage

The Stanford History Education Group (SHEG) has put together a great activity with primary sources that demonstrates the multiple motivations behind expansion as well as sources from those at the time who opposed this expansion. https://sheg.stanford.edu/history-lessons/manifest-destiny

Other approaches

In addition to incorporating an activity on the Comanches, there are a number of other ways teachers can help students understand the complexity behind Manifest Destiny and territorial expansion.  Students can, for example, consider the writings of John L. O’Sullivan, the columnist who coined the term Manifest Destiny, in their historical context. O’Sullivan was an enthusiastic advocate of westward expansion, and used Manifest Destiny in a column advocating for the United States to annex the then independent republic of Texas in 1845. The very fact that O’Sullivan was trying to make the case for annexation implies strongly that not everyone agreed with his position. Clearly not everyone in the United States at the time felt that the United States had a moral obligation to expand. O’Sullivan himself gives more than one rationale for expanding, noting that a U.S. that spread across the continent would engender the “immense utility to the commerce of the world” which hints that there were also economic reasons to support expansion.

Teachers might introduce a unit on Manifest Destiny by playing this brief audio clip (~5 minutes), a group of historians explain what Manifest Destiny means and how they approach the topic with students. https://www.r2studios.org/show/consolation-prize/season-2-trailer-what-is-manifest-destiny/  
The terminology might be difficult for some students, but even if not used in the classroom the clip is helpful for teachers looking for a brief but scholarly perspective on Manifest Destiny.

Teachers could also have students search Manifest Destiny on Google Books Ngram Viewer <https://books.google.com/ngrams/>. This search engine charts the frequencies of any word or phrase using a yearly count found in printed sources that have been digitized by Google. The graph shows that the term was used increasingly in the 1840s through the 1850s. Teachers could ask students why they think that was the case. It seems to suggest that rather than describing that the Manifest Destiny served as a justification after the expansion occurred.  https://books.google.com/ngrams/graph?content=manifest+destiny&year_start=1800&year_end=2019&corpus=en-2019&smoothing=3

 

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.

 

 

 

 

 

 

Rethinking "Westward Expansion": A Guide for Preservice Teachers

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What is it?


“Westward expansion” is a topic covered in many U.S. history textbooks and one that appears in most every state's social studies standards. At the same time, most states also mandate that students be taught to consider history from multiple perspectives or points of view. But what does it mean to consider multiple perspectives about westward expansion? What would it mean to consider the point of view of Native Americans who were the most directly affected by the process called western expansion? A change of perspective might reveal a great deal. As historian Daniel Richter notes in his book, Facing East From Indian Country, “if we shift our perspective to try to view the past in a way that faces east from Indian country, history takes on a very different appearance.” Historian Roxanne Dunbar-Ortiz makes a similar point in her 2015 An Indigenous Peoples' History of the United States, “Writing US history from an Indigenous peoples' perspective requires rethinking the consensual national narrative. That narrative is wrong or deficient, not in its facts, dates, or details but rather in its essence. Inherent in the myth we've been taught is an embrace of settler colonialism and genocide.” This guide provides teachers with resources to analyze Library of Congress primary sources so that students can account for Indigenous perspectives that “faced east” in their analysis of westward expansion, colonialism, and land rights.

Key points:

  • The activity outlined here 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 about Native peoples responses to the settlement of the western U.S. and gain new perspectives to better understand "Westward Expansion".

Approach to Topic

Even the term “westward expansion” assumes a facing-west point of view rather than a perspective of someone already living in the west. While U.S. history textbooks now include more topics related to Native people, these topics are typically presented as a subset of a larger story about westward expansion. For example, in McGraw Hill’s United States History and Geography, the chapter on westward expansion, “Settling the West,” contains a section titled “Native Americans”, but it comes after two other sections: “Miners and Ranchers” covering the California gold rush and cattle ranching in the west, and “Farming the Plains” which deals with white settlers seeking farmland in the west. Framing and organizing the topic this way presents Native people as obstacles or complications to the westward movement of settlers. This framing also implies that westward expansion was more or less inevitable rather than a series of deliberate choices, an idea often closely linked with the concept of “manifest destiny” as a divinely-ordained establishment of the United States.

The textbook narrative obscures the fact that the taking of Native people’s land was an intentional project backed by the U.S. federal government. Instead of emphasizing the deliberate dispossession of Native land, students usually read about a series of general breakdowns in relations between two groups, settlers and Native people. For example, the 1867 Indian Peace Commission is presented under a subheading of “Doomed Plan for Peace” while the 1887 Dawes Act is presented as a largely positive plan to help Native Americans that simply “failed to achieve its goals.” In other places the purposeful destruction of Native resources is described in the passive voice, such as “The buffalo were rapidly disappearing.” In response to these textbook depictions, teachers can encourage students to analyze how these topics are framed in their textbooks and think about how they might look from another point of view.

To teach students to consider the multiple perspectives on westward expansion, it is also important for teachers to think critically about their own relationship to place and support their students in doing the same. The history of “westward expansion” involved a series of events where Native people were displaced, removed from their land, and coerced into signing disadvantageous treaties many of which were later broken by federal, state, or territorial governments. As scholars Eve Tuck and K. Wayne Yang have written:

In order for the settlers to make a place their home, they must destroy and disappear the Indigenous peoples that live there. Indigenous peoples are those who have creation stories, not colonization stories, about how we/they came to be in a particular place - indeed how we/they came to be a place . . . For the settlers, Indigenous peoples are in the way and, in the destruction of Indigenous peoples, Indigenous communities, and over time and through law and policy, Indigenous peoples’ claims to land under settler regimes, land is recast as property and as a resource. Indigenous peoples must be erased, must be made into ghosts.

In teaching this topic to students, it is therefore necessary to not make Native people into the “ghosts” that Tuck and Yang reference and to understand that Native people did not disappear, indeed they refused to, despite the repeated efforts of governments and settlers.

One challenge to including the perspective of Native people at this time is that colonial record-keeping disproportionately documented the perspectives of white men in positions of social authority this is part of the same disappearing process described by Tuck and Yang. Though the sources are sometimes more difficult to locate, resources do exist to help teachers actively include the perspectives of Native people and share it with students. Many Native people throughout the past and up to the present day have continued to assert their points of view in spaces visible to the wider U.S. public. Their voices are sometimes visible within colonial sources, including through a process of reading against the grain. Indigenous people have vigorously defended against settler land theft and continue to invest in their cultural, governmental, artistic, linguistic, and social systems today, despite centuries of colonial disruptions.

This guide will focus on two examples of Indigenous people who advocated for Indigenous rights in the early 1900s: Zitkala-Ša (also known as Gertrude Simmons Bonnin)  and Charles Eastman (also known as Ohiyesa). Both were important figures in the Society of American Indians, an organization established by Native intellectuals from across the country in 1911. The members of the SAI, in scholar Philip J. Deloria’s words, “worked actively to preserve elements of Native cultures and societies from destruction.” Through their words and actions teachers can locate an alternative to the westward expansion point of view and make a different history more apparent.

Description

Zitkála-Šá
Zitkála-Šá (pronounced Zeet-KA-la-sha) was Yankton Dakota, born on the Yankton Indian Reservation in South Dakota in 1876. Like many thousands of Native children at the time was also forced to attend a boarding school far away from her home. At eight years old, Zitkála-Šá left Yankton and her family to attend the Indiana Manual Labor Institute in Wabash, Indiana over 700 miles away. At the institute she was given the name Gertrude Simmons (later Gertrude Simmons Bonnin) which she also used at various points in her life. Zitkála-Šá would attend the boarding school for three years and there learned to play violin and piano. She returned to Yankton, and then went back to the institute three years later. Upon graduation, she took a position as a music teacher at the school. Zitkála-Šá/Gertrude Simmons became an expert at navigating two cultures. Some scholars have seen Zitkála-Šá as a person who assimilated into white-U.S. culture, but more recently scholars have emphasized how she used these cultural skills to support and defend Native people and culture. As historian Tadeusz Lewandowski writes in his biography of Zitkála-Šá, she “fought the dispossession of Indians with every tool of white society she had mastered.”

In her life, Zitkála-Šá rose to prominence as a musician, writer, and political advocate. An accomplished violinist, she performed at the White House for President William McKinley in 1900 and as a soloist at the Paris Exposition that same year. A prolific writer, Zitkála-Šá’s presented depictions of American Indians that emphasized family and community in books such as American Indian Stories and presented her own experiences in personal essays for Harper’s Monthly and The Atlantic Monthly.

In perhaps her most famous work, The Sun Dance, Zitkála-Šá translated the sacred, ceremonial dances performed by various Native groups across the Americas - dances that had been declared illegal by the federal government - into an opera. Working with composer William F. Hanson, Zitkála-Šá used her training in western music and her knowledge of Native culture to demonstrate the beauty of these dances in a form that would draw the attention of the larger U.S. public.

For more background on how The Sun Dance opera came to be written by Zitkála-Šá and Hanson have students listen to an excerpt from this interview with Zitkála-Šá P. Jane Hafen from the podcast Unsung History https://www.unsunghistorypodcast.com/zitkala-sa/. The excerpt on The Sun Dance is from 21:16 to 25:53. 

Questions to ask about this source: In what ways was The Sun Dance a product of western culture and in what ways was it a product of Native American culture? How does it demonstrate Zitkála-Šá’s understanding of two cultural worlds?

Zitkála-Šá also used her cultural expertise to lobby the government directly on policies that affected Indigenous people and in particular advocated for the government to protect Native people and culture.

Primary Source #1
“She is Watching Congress,” Evening Public Ledger, February 22, 1921 https://chroniclingamerica.loc.gov/lccn/sn83045211/1921-02-22/ed-1/seq-20/

Primary Source #2
“Sioux Princess Closely Watches Indian Welfare,” The Richmond Palladium and Sun-Telegram, February 26, 1921 https://chroniclingamerica.loc.gov/lccn/sn86058226/1921-02-26/ed-1/seq-15/


Questions to ask about these primary sources:

  • Although white reporters regularly used stereotypical and condescending terms to refer to Zitkála-Šá (i.e. describing her as a “Sioux princess” who was “watching Congress”), she chose to present herself in traditional Native clothing. What might have been her reasons for this choice?
  • How might this decision have fit with her goals to influence Congress on Native issues?
  • Compare these photos to a photo of Zitkála-Šá in western clothing: https://www.nps.gov/people/zitkala-sa.htm
  • Why might she choose one form of dress over another depending on the situation?
  • How might her choice of clothing affected how audiences viewed her?
  • How might her choice of clothing made it more likely for white audiences to listen to her?

Along with other members of the Society of American Indians, Zitkála-Šá advocated for Native Americans to receive the full benefits of United States citizenship including the right to vote. Scholar K. Tsianina Lomawaima argues that the Society for American Indians saw citizenship as a tool to defend Native people from dispossession and protect their land. The Dawes Act, also known as the General Allotment Act of 1887, converted Indigenous territories from collective management and converted that territory to private, transferrable land deeds for individual land tracts based on western land ownership. As a result of the Dawes Act, Indigenous people lost 90 million acres of land in less than fifty years.

Under the Dawes Act, Native people whom the US government did not see as “competent” had their land (called an “allotment”) held by the US government. Though Native people were already citizens of their Native nations and did not necessarily want US citizenship, Zitkála-Šá saw U.S. citizenship as one possible form of protection against land loss. She not only advocated for citizenship for Native Americans but also for women to receive the right to vote. In this source from 1918, Zitkála-Šá addressed the National American Women's Suffrage Association and tied together the causes of the women’s vote and the vote for Native Americans:

Primary Source #3:
Maryland Suffrage News, June 15, 1918
https://chroniclingamerica.loc.gov/lccn/sn89060379/1918-06-15/ed-1/seq-5/

Question to ask about this primary source:

  • Why might Zitkála-Šá have decided to speak to the National American Women's Suffrage Association?
  • What were her goals? [For more resources on Native American women advocating for womens’ suffrage, see the guide on Native Women and Suffrage]

In 1924, partially as a result of the lobbying of Zitkála-Šá and the Society of American Indians, the Indian Citizenship Act was passed. This concluded the process of making all Native people born in the United States citizens. Although it is important to note that states could restrict the Native people’s right to vote and states such as Utah and New Mexico did just that. Zitkála-Šá continued to speak out on Native issues to both national and local groups. For example, in 1928 in Bismarck, North Dakota she gave a talk on the history of Native people and the current Native issues to the Rotarians, a community-based organization.

Primary Source #4:
“Rotarians Hear Famous Woman at Weekly Meeting,” The Bismarck Tribune, June 14, 1928. https://chroniclingamerica.loc.gov/lccn/sn85042243/1928-06-14/ed-1/seq-7/


Questions to ask about this primary source:

  • According to the newspaper article, what did Zitkála-Šá tell the Rotations about the history of Native people?
  • Why do you think the article addresses Indigenous participation in the World War?
  • What did she say about the current situation faced by Native people?
  • Why do you think she chose to emphasize these issues?

Charles Eastman
 As was the case with Zitkála-Šá, Charles Eastman’s upbringing involved direct experience with white society, his Dakota nation, and a variety intertribal communities. He too developed skills to move within and between these social spaces. Born in 1858 near Redwood Falls, Minnesota to a Dakota woman named Winona who died in childbirth, he was given the name “Hakadah.” He fled with his family to Canada following the U.S.-Dakota War of 1862. As an older child, he was given the name Ohiyesa (pronounced oh-he-yes-suh and meaning “the winner”) after a victory in a lacrosse match. When he was 15, his father — who had been estranged from the family — returned and demanded that Ohiyesa live with him in Dakota Territory near present day Sioux Falls, South Dakota. Ohiyesa’s father had converted to Christianity and taken the name “Jacob Eastman”. His father changed Ohiyesa’s name to “Charles Alexander Eastman” and enrolled him in white schools. Similar to Zitkála-Šá, Eastman grieved about the separation from the culture he was born into while, at the same time, he also excelled in his new environment. After secondary school, he attended college at Beloit College and then Dartmouth, and eventually earned his degree in medicine from Boston Medical School in 1890.


Eastman sought to use his training to help Native people so shortly after earning his degree, he accepted a position on the Pine Ridge Reservation in South Dakota. On December 29, 1890, only a few weeks after Eastman’s arrival, 500 soldiers of the United States 7th Cavalry confronted a band of 350 Miniconjou Lakota Indians that included women and children and fired on the unarmed group killing more than 150 people. It is important to emphasize that this incident, which would become known as the Wounded Knee Massacre was not an isolated incident but part of a pattern where U.S. military forces, often commanded by officers with little to no knowledge of Native people and irrationally paranoid about their safety fired on defenseless Native groups that included unarmed men, women, and children with deadly results. Soldiers and travelers took souvenirs and graphic photographs document the carnage. At Pine Ridge, Eastman helped treat the few who survived. For more on the Wounded Knee Massacre read this entry from the Encyclopedia of the Great Plains: http://plainshumanities.unl.edu/encyclopedia/doc/egp.war.056

In addition to his career as a physician, Eastman wrote about Native American people and culture in a way that both defied the stereotypes prevalent among whites at the time and also countered the prevailing notion that Native Americans were a disappearing people and culture. In this account, Eastman related a visit to the Objibwe of Northern Minnesota.

Primary Source #5:

As I approached the island next morning. I saw a pretty procession of birch-bark canoes converging upon it. This was evidently a gathering of the clans whose highway is the blue water, and the graceful canoe their sole means of transportation. Invariably the man sits in the bow of the light craft, his wife at the stern, and the children by pairs between so low that only the tops of their black heads are visible. All the household effects are carried, except the dogs, who are obliged to run along the shore and swim the narrows from island to island.

The whole family, even little children, paddle the canoe, and such skill, confidence and safety I have never seen elsewhere. "When the wind rises and the water is so rough that no one can be found willing to venture out in launch or row boat, these people may be seen skimming the big waves like aquatic birds. Along the shore I saw women here and there, setting their gillnets for the wily pike and bass. Most of them do this as an every-day duty. In camp, some were making nets, others working upon their birchen cones, preparing the bark and the cedar bindings, or soaking the strappings and boiling pitch to glue the seams.

Majigabo's immediate village was the meeting-place, and there was the "sacred ground" where they initiate new members into their lodge, consecrate some of the children, celebrate old rites, and commemorate the departed. There were feasts galore of the delicious wild rice, venison, dried moose meat, bear steaks, and sturgeon. Maple sugar packed in small birchen boxes called "mococks" was plentiful and of the finest flavor. Here is one chief just beyond sight of the smoke of the locomotive, in the heart of a wilderness already penetrated by the whistle of the saw-mill, who still preserves many of the ancient usages of his forefathers.

 Charles Eastman, “My Canoe Trip Among the Northern Ojibwe Indians of Minnesota The Oglala light. [volume], May 01, 1911. https://chroniclingamerica.loc.gov/lccn/2017270500/1911-05-01/ed-1/seq-13/

Questions to ask about this primary source:

  • What year did Eastman write this account? 
  • In what ways does the account reveal the persistence of Indigenous intellectual traditions and technologies despite colonial pressures to assimilate? 
  • How does this reshape the narrative about westward expansion present in your textbook?
  • In what ways did Eastman emphasize family, community, and land relations in his description? Why do you think he did that?

In the Classroom
The primary sources above can be incorporated into a unit that also covers westward expansion. Teachers can use this opportunity to have students reflect on how the term “westward expansion” only considers some perspective while leaving others out — namely the perspectives of those in the “west” who are “facing east”.

In the classroom, students can be prompted to reflect on these east-facing perspectives:

  • In a 5 minute think-pair-share activity, students can think of their own response, talk it through with a partner, and then “share out”.
  • Then students can be asked how they could learn about the missing points of view - what kind of evidence or sources might provide these perspectives? Again students can come up with ideas in another 5 minute think-pair-share activity.
  • The class can then transition into analyzing the primary sources included in this guide.  Communicate to students that this is one way to consider multiple points of view. Referencing their list of other points of view to consider and what evidence might be used, teachers can and should acknowledge that not all points of view are being considered nor will they be able to analyze and consider all of the evidence, but the sources they will examine do provide a valuable perspective that is not present in most textbooks.
  • Put the students in groups of 3-4 and give them a selection of 2-3 sources.
  • As the students examine the sources, prompt them with the guiding questions included above with each primary source.  For more scaffolding, teachers may have students fill out primary source analysis sheets for one or more of the sources: https://www.loc.gov/programs/teachers/getting-started-with-primary-sources/guides/
  • After examining the sources, ask the students to discuss in their groups: What issues related to Native people were Charles Eastman and Zitkála-Šá most concerned with?  What perspective do these sources provide on westward expansion? How does the term “westward expansion” hide other perspectives, namely the struggle of Indigenous people over their homelands and livelihood? What would an east facing version of this story look like?

Extension/enrichment ideas: Students could research further into the history of the Society of American Indians or any of its prominent members such as Rev. Sherman Coolidge, Arthur C. Parker, Angel DeCora, Francis LaFlesche, or Marie Bottineau Baldwin. Using this research students could then develop a multimedia digital project that presents a “facing east” history of westward expansion. As part of this project students should reflect on what they would want to communicate about this point of view, to show that “westward expansion” was not inevitable and to show how Native people persisted and refused to simply disappear. Primary sources like those above and others from the Library of Congress could be featured in a website or slide presentation. As part of the project, students might also research the history of their own communities and the Native people who lived there in the past and live there in the present.

Teaching history inevitably means teaching about topics that generate strong reactions from a wide range of people. While not every reaction can be anticipated, the following tips can provide a strong basis for a rationale for your learning activities:

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

Additional Readings/Viewings

Sabzalian, Leilani. Indigenous Children’s Survivance in Public Schools.
“Stories I Didn’t Know,” Rita Davern and Melody Gilbert dir. https://www.storiesididntknow.com/
Christine Sleeter, Critical Family History, https://www.christinesleeter.org/critical-family-history
Zitkala-Ša, “Why I am a Pagan,” The Atlantic, 1902. https://www.theatlantic.com/magazine/archive/1902/12/why-i-am-a-pagan/637906/
“Zitkala-Ša”, Nation of Writers Podcast, Interview with scholar P. Jane Hafen,
 https://americanwritersmuseum.org/podcast/episode-13-zitkala-sa/
“Zitkala-Ša”, Unsung History Podcast, Interview with scholar P. Jane Hafen
https://www.unsunghistorypodcast.com/zitkala-sa/
On the history of the Dawes Act: Indian Land Tenure Foundation, https://iltf.org/land-issues/history/
Ohiyesa: The Soul of an Indian dir. Std Beane https://visionmakermedia.org/ohiyesa/
Documentary made by Eastman’s descendents
Kiera Vigil, Indigenous Intellectuals: Sovereignty, Citizenship, and the American Imagination, 1880-1930, Cambridge University Press, 2018
Dr. Vigil discusses her book on the podcast here: https://newbooksnetwork.com/kiara-m-vigil-indigenous-intellectuals-sovereignty-citizenship-and-the-american-imagination-1880-1930-cambridge-up-2018

 

Mormons and Westward Expansion: A Guide for Pre-Service Teachers

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Article Body

What is it?

The founding of the Church of Jesus Christ of Latter-day Saints (whose followers are often referred to as Mormons) is a significant event in U.S. history. The publication of the Book of Mormon in 1830 led to the formation of what became the Church of Jesus Christ of Latter-day Saints and the eventual creation of a Mormon settlement in the American West. It represents both the founding of a religion that as of 2020 counted over 16 million adherents worldwide and an important episode in the westward expansion of the country. By looking closer at this history, students can better understand the religious movements that grew out of the Second Great Awakening as well. One crucial dimension of the birth of the Mormon Church is the role of place. Early Mormons moved multiple times to find a favorable location to grow the church before establishing a community far from any other white settlement. This settlement of the west would eventually lead to the creation of the state of Utah in 1896 only after the church formally abandoned the practice of polygamy. In the activity below, students will build a digital story map that incorporates primary sources from the Library of Congress related to the history of Mormonism. Note: Tutorials for teachers on how to use digital mapping platforms are linked below.

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 about the origins of Mormonism, an important religious movement in antebellum America. 
  • Students will learn about the westward migration of Mormons to present-day Utah, a key event in the westward expansion of Americans.  

  

Approaching the Topic

In this activity, students will engage with a variety of primary sources to create an interactive digital map. Students should pay particular attention to the time and place in which each source represents in order to place it on their map. It will be useful for students to have some background information on the Second Great Awakening. Resources on this topic can be found in this exhibit from the Library of Congress.  Teachers may also decide to place this activity in the context of westward expansion. Resources here from the Library of Congress are helpful for providing this context. Also a review of these topics in a standard history textbook would also be sufficient for this activity. The guide will also contain tips for teaching about religion generally to help teachers engage students with what can be a challenging topic to teach. 

 

Description

This activity facilitates students’ engagement with primary sources as they explore the early history of the Mormon church in the United States. Students will examine sources carefully, note details, particularly the time and place associated with the source. Note that several of the sources were created several decades after the event they depict. Students should take this into account as they interpret the source. Students work together to create an interactive digital map using three or four of the sources to communicate how movement and place shaped the history of this religion.

 

Teacher Preparation

Make the primary sources below available to students either through links, if using electronic devices, or by printing them out. According to your students’ needs, for text sources you may need to guide students to the relevant excerpts or share the excerpts separately. These excerpts are included below. 

The story map students create in this activity can be done on a variety of platforms including StoryMapJS or Google My Maps. An overview of StoryMapJS can be found here. An overview of Google My Maps can be found here. A helpful tutorial for using StoryMapsJS with students created by the Gilder Lerhman Institute can be found here: https://www.gilderlehrman.org/sites/default/files/inline-pdfs/storymapjs_tutorial.pdf. A tutorial for Google My Maps can be found here: https://jessicaotis.com/tutorials/google-maps/

Teachers will want to familiarize themselves with whatever platform they choose to use. In creating a digital map, students will learn how place and location affect history and how to communicate that history succinctly but accurately in an interactive digital presentation.  

Differentiation note: Depending on students reading abilities, teachers may want to consider accommodations for engaging with the primary sources below. Excerpts from text sources have been included along with annotations to highlight the most relevant passages. Teachers may also elect to read excerpts out loud to students or to assign smaller chunks of texts for students to examine in small groups. 

 

Primary sources

The Book of Mormon 

https://www.loc.gov/item/77352721/

Annotation: The Book of Mormon was published by Joseph Smith in March of 1830 in Palmyra, New York and is a central religious text of the Latter Day Saint movement. Palmyra is in western New York, an area known in the early 1800s as the “Burned-over district” due to the intensity of religious revivals in the region which were a major part of the Second Great Awakening. In addition to the establishment of the Mormon Church by Smith, religious groups such as the Millerites and the Oneida Colony were founded in this region and other groups like the Shakers and the Ebenezer Society were active as well. 

For Latter-Day Saints, the Book of Mormon represents a new revelation something the text itself makes the case for new holy texts and new revelations:
“Thou fool, that shall say: A Bible, we have got a Bible, and we need no more Bible. Have ye obtained a Bible save it were by the Jews? Know ye not that there are more nations than one? Know ye not that I, the Lord your God, have created all men, and that I remember those who are upon the isles of the sea; and that I rule in the heavens above and in the earth beneath; and I bring forth my dword unto the children of men, yea, even upon all the nations of the earth?”

Book of Mormon 2 Nephi 29:6-7

O my father

https://www.loc.gov/item/jukebox-67865/

An important hymn for the Latter-Day Saints, “O my father” was written by Eliza Snow in 1845. The hymn introduces some innovative elements of Mormon theology, such as the notion of a "Mother in Heaven" and the belief in an individual’s spiritual pre-existence prior to being born as seen in the following lyrics:

O my Father, thou that dwellest

In the high and glorious place,

When shall I regain thy presence

And again behold thy face?

In thy holy habitation,

Did my spirit once reside?

In my first primeval childhood

Was I nurtured near thy side?

Snow was also one of Joseph Smith’s plural wives. Smith’s advocacy of men having more than one wife, a practice known as polygamy, was controversial at the time within the church. The church’s practice of polygamy also made the church more controversial to many non-Mormons.

The Mormon Temple at Kirtland, Ohio - (59 x 79 feet), cost $70,000, dedicated March 27, 1836. | Library of Congress

https://www.loc.gov/item/2018651591/

Annotation:
In 1831, Joseph Smith moved the church headquarters to Kirtland, Ohio and there decreed that a temple should be built. The structure was large for its time, one of the larger buildings in northern Ohio. Smith received a revelation to, in his words, "Establish a house, even a house of prayer, a house of fasting, a house of faith, a house of learning, a house of glory, a house of order, a house of God." The architecture of the Kirtland Temple is a mixture of Federal and Gothic style. 

Joseph Smith's original temple, Nauvoo, Ills. - digital file from original print | Library of Congress

https://www.loc.gov/resource/pga.03332/

AnnotationAfter the church in Ohio collapsed due to a financial crisis and dissensions, in 1838, Smith and the body of the church moved to Missouri. However, they were persecuted and the Latter Day Saints fled to Illinois. In Nauvoo, Illinois another temple was constructed this one larger than the previous temple in Kirtland. At 128 feet long by 88 feet wide and a total height of 165 feet the second temple 60 percent larger than the first reflecting both the growing membership and power of the Morman Church. Note that the Nauvoo Temple was considerably more ornate than the Kirtland Temple and the architecture is a departure as well being in the Greek Revival style. 

Martyrdom of Joseph and Hiram Smith in Carthage jail, June 27th, 1844 / G.W. Fasel pinxit ; on stone by C.G. Crehen ; print. by Nagel & Weingaertner, N.Y. | Library of Congress

https://www.loc.gov/item/96508302/

Annotation: In Nauvoo, more conflicts arose between members of the Mormon Church and non-members in the community. The one issue that caused the most controversy was the Mormon practice of polygamy — a practice where one man could have more than one wife. The practice was allowed by Smith while viewed as immoral under most other Protestant religions. Members of Smith's own church broke with him over this issue as well. In Nauvoo in 1844, a local newspaper denounced Mormons and Smith for polygamy and in response the Nauvoo City Council, controlled by Mormons loyal to Smith, ordered the newspapers printing press to be destroyed. Smith in turn was charged with inciting a riot. Smith and his brother Hyram surrendered and were taken to the jail in Carthage, Illinois, but the jail was attacked by an  anti-Mormon mob and Smith and his brother were killed. The death made Smith into a martyr as far as the Mormon Church was concerned — a person within a religious faith who was killed because of their faith. The violence also convinced many Mormons that they needed a new home far away from settlements that might object to their religious practices. 

Bird's eye view of Salt Lake City, Utah Territory 1870. | Library of Congress

https://www.loc.gov/item/75696611/

Annotation: The Mormon Church split into factions after the death of Joseph Smith, but one group under the leadership of Brigham Young left Nauvoo to journey across the continent and settle in what the Mormons called Deseret, in present day Salt Lake City, Utah. Here is a birds eye view map of Salt Lake City in 1870, 22 years after the settler arrived. The Mormon Temple built here was larger and more ornate than the one in Nauvoo and it’s very prominent on the map. Even though the Mormon Movement under Young had gone to great lengths to put distance between themselves and settlements of non-Mormons, the controversy surrounding the practice of polygamy still resulted in conflict. The state of Utah would not be granted statehood until 1896 - over 50 years after the arrival of Mormons in the territory and only after the Mormon Church officially renounced the practice of polygamy.  

 

In the Classroom

Warm up (5 minutes)

When teaching the history of religion it is important to communicate to students that they are learning about religion to better understand people who lived in the past. Thus the goal is not to judge the validity of those beliefs or to accept or reject them.

To warm up, introduce the following source for the class: Route of the Mormon pioneers from Nauvoo to Great Salt Lake, Feb'y 1846-July 1847. https://www.loc.gov/item/gm69002272. If students have their own tablets or laptops encourage them to explore the map, zoom in, and ask what details they notice. Prompt questions might include:

  • What does this map depict? 
  • Where does the journey begin and end? 
  • What details are given about the journey?
  • Why do you think these settlers moved west? For the same reasons as other settlers or does this move seem different? 
  • Why might it have been important for this map maker to note where the pioneers stopped each day and how long each day’s journey was?

The purpose of this warm-up is two-fold. First to model primary source analysis for students by working through the source as a class. Students should be encouraged to slow down their thinking, notice details, and reflect on what those details might mean. Second, to get students thinking about how the migration of Mormons to Salt Lake City is central to the history of the religion as evidenced by the fact that this map documents every stop and every mile of every day of the journey.  

Step One: (30 minutes)

Introduce the sources to students. The annotations included with the links above can be used to help frame the sources for students. Each source relates to the early history of the Mormon Church beginning with the founding of the Church and publication of the Book of Mormon by Joseph Smith in upstate New York, then to the Mormon relocation to Nauvoo, Illinois, and finally to the migration to present day Salt Lake City, Utah. 

After introducing the sources, inform students that their goal will be to create a digital interactive map using these sources to explore the history of the early Mormon Church. Examples of these kinds of maps can be found here:
https://storymap.knightlab.com/#examples

Pass out the sources (or provide students with links) giving each student one of the sources to start. They can either jot these down as notes or if more scaffolding is needed, you may have them complete a primary source analysis sheet for their source. Have students read/examine 3 sources total. 

Step Two (40 minutes)

Note: If done over two periods this step can be started on day one and completed on day 2. 

To create their digital maps, students may work in small groups or individually. To create the map they should choose 3-4 sources and place them on the map using the search feature of the platform. For each slide or pin in the map, students should attach the source and write a 1-2 sentence description based on their analysis of the source. The goal of the digital interactive map is to communicate the history of the Mormon Church and how movement and place shaped that history. 

Step Three (20 minutes)

Virtual gallery walk. Create a google doc for students to post their links and share it with the class. Have students take the time to examine their classmates’ maps. Alternatively, teachers could set up technology stations in the classroom with different student maps on each and have students do a physical gallery walk. 

 

General Tips for Teaching Controversial Subjects

Teaching history inevitably means teaching about topics that generate strong reactions from a wide range of people. While not every reaction can be anticipated, the following tips can provide a strong basis for a rationale for your learning activities:
 

  • 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. 
  • Linking to state or national standards can provide support and justification for classroom activities such as these. Westward expansion is explicitly mentioned in many state standards for example. The activities in this guide also link to NCSS Themes including Theme 1: Culture ("How do various aspects of culture such as belief systems, religious faith, or political ideals, influence other parts of a culture such as its institutions or literature, music, and art?")  and Theme 3: People, Places, and Environments ("study the causes, patterns and effects of human settlement and migration") 








 

Statistics in Schools

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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.

Touring Monticello

Video Overview

Jacqueline Langholtz, manager of school and group programs at Monticello, shows teachers around Thomas Jefferson's home. From the surrounding grounds to the internal architecture to slavery on the estate to Jefferson's library and inventions, they delve into the property's history.

Video Clip Name
monticellotour1.mov
monticellotour2.mov
monticellotour3.mov
monticellotour4.mov
Video Clip Title
Monticello from the Outside
Introducing the Interior
Jefferson's Rooms
Serving Jefferson
Video Clip Duration
4:45
6:55
5:59
9:55
Transcript Text

Jacqueline Langholtz: Jefferson is a local boy. He grows up, he's born at Shadwell, which is really just as the base of this mountain, and you can picture him and friends, good friend Debney Carr, jogging up this mountain, coming up here to play, and fantasizing about living here one day. And if you saw the map that Elizabeth Chew referenced in the gallery there, it shows Monticello, the smaller mountain, and behind it is Mount Alto, and you'll see that on the west side of the house.

Jefferson being a man of the Enlightenment, he's also very interested in nature and bringing nature in, specifically to his house. So he brings in light, he brings in color. Help me get my bearings. Which direction are we facing? Anyone want to be the Boy Scout for the day?

Teacher 1: Sun rises in the east.

Jacqueline Langholtz: Sun rises in the east, yeah, so this is the East Walk, right here, that's what we call it. Jefferson doesn't have a back and a front, he has two fronts. This is the East Front of the house, the West Front of the house is where we will emerge after the tour, and it's where you'll see the more iconic side of Monticello.

So this went really well the other day, I had a visitor from New York and I asked her how many floors the house had, and she gave me the perfect answer, the one I wanted for. What is your answer as you glance at this. How many floors, how many stories? What'd I hear back there? You said four, anyone have a different number? Three. Well, just if you're doing a quick glance, you're not making a careful study, you just glance up at the house. You thought it was only two? One and a half back here. Great. My friend who was visiting for the very first time said, I didn't realize it was only just one story. So now if you're looking, can you understand how someone might think it was just one story?

Okay. That's what Jefferson was really hoping for, that it appears to be one grand floor, and some of the rooms on the first floor will take up two stories, but he's actually tucked a second story in. So above the windows with the shutters, do you see smaller square windows? If you're in the second floor of the house, where family and guest rooms were, to open those windows you actually open them, they're down on the floor, like that. But it's meant to be enjoyed from the outside, to give that appearance of one grand story.

Also if you look very carefully, under the roofline, there are skylights. That's the third floor, there, and that's where the dormer room is. But a lot of the house is meant to be enjoyed aesthetically from the outside and to give a certain impression, actually to make you think of buildings that you might have seen in Europe. And what kind of a building does it make you think of? Rather than a palace. It's not traditional Georgian architecture, it's got me thinking of a very different time and place. The columns. Okay, zeroing in on that. So what does that make you think of? Yeah, ancient Greece and Rome. Exactly right.

Jefferson called it his essay in architecture, meaning he was constantly revising it. He said he delighted in putting up and pulling down. So there's a Monticello One and then when Jefferson is Minister to France, and he travels through France, he comes home with so many ideas that he does such a drastic remodeling that we call this Monticello Two.

Alright, anyone want to read this for us? It does keep moving, doesn't it? We'll take a best guess. Generally coming from the north, right? Varying a little bit northeast and northwest. Jefferson would have recorded this, if you were down in the galleries and you took a look at that log for the weather. 1780s, I think, 1780s or '90s date, I forget which. It said the temperature was about 20 degrees colder than it is today, but it also had a description of cloudy. So we have a similar day. As Dr. Chew described in the galleries, Jefferson took standard weather recordings at the same time each day for the same time for over 40 years. One at dawn, which means you're up at dawn, right? So, we'll talk more about Jefferson's daily routine and how very different it is from mine in his bedchamber. But one at dawn and one at about four o'clock. So getting those standard readings there.

You see another Jefferson device here in front of us. What else do you see on the house?

Teacher 2: The clock?

Jacqueline Langholtz: The clock. And don't be shy, big loud answers, I absolutely love them. The plantation clock here has how many hands? Can you still tell them accurately with one hand?

Teacher 3: Yes.

Jacqueline Langholtz: Yeah, relatively so. I think so, too. Inside the house you'll see the exact same clock, it has two faces to it. Jefferson designs this clock, and it is installed in the house about 10 years after he designs it. The nice thing is—this side, it's called the plantation clock, we get a lot of questions about it. The students who visit Monticello are often really intrigued by the clock itself, because inside it not only tells you the time but it also tells you something else. The teachers who have been here before will certainly know. It's a calendar clock, so what else does it tell you.

Teachers: The date.

Jacqueline Langholtz: The date. Exactly right, yeah. It also has three hands inside, so it gives you precise measurements, and only someone who views themselves as a scientist, who's interested in precision and measurement would have a clock with time down to the second. You'll see a clock in almost every room of the house, and one of Jefferson's granddaughters describes him as a 'miser of his time,' that's how obsessed he is with efficiency.

Jacqueline Langholtz: We've been talking about the plantation clock. As advertised, does it have three hands? Yes. As advertised, does it also have a calendar function? Somebody find that for me. Where is that? Excellent, excellent. Okay. So let's break this down. A pendulum clock usually has what that hangs from it?

Teacher: Weights.

Jacqueline Langholtz: Counterweights, exactly. So we've got the pendulum, but the counterweights, which normally come straight down from a grandfather clock could not come straight down because they'd be in front of the door. So they attached the pulleys on the sides and the weights would descend there. What day is it today?

Teacher: Saturday.

Jacqueline Langholtz: Saturday, one of the most intriguing days to be at Monticello, because you can't see the weights. Exactly right. Days of the week are on the wall here, starting with Sunday. So if Sunday's at the top, what day of the week is the clock wound?

Teacher: Sunday.

Jacqueline Langholtz: Sunday. That's when the weights are all the way at the top. So it's wound on Sunday, and the last day in that whole cycle is Saturday. That's when you see that there was a miscalculation in Jefferson's plantation clock. He designed it before it was installed in Monticello, about 10 years prior. When he brought it to the room, it's too big for the room. So he puts the calendar function—Sunday, Monday, Tuesday, Wednesday, Thursday, Friday is on the floor, Saturday is actually in the basement, and to keep from having weights set and rest on the floor because then the clock wouldn't be able to continue, he cuts holes on both sides there, both sides of the floor, so that the weights can make their full descent, all the way into the basement. So we'll make sure that we find Saturday in the basement there.

Earlier you told me that your students often study westward expansion and the travels of Lewis and Clark and the Corps of Discovery. There's a lot in this room that has to do with that major contribution of Jefferson's. You see a map on the back wall here that shows the size of the country before the Louisiana Purchase, which does what to the size of our country? Doubles, yeah. Pretty easy to say doubles exactly. Great deal. Just about three and a half cents an acre for over 800,000 acres of land.

How is that paid for? Hm.

Teacher: Taxes.

Jacqueline Langholtz: Yeah. Well, taxpayer dollars, exactly right. So, while now, we see this as, I think, a great decision, it was actually one that was met with some mixed feelings during Jefferson's time, and some pushback on whether or not he was actually authorized to make that decision.

Also in this room, you see, in addition to New World, you see quite a lot Old World, you see Old World art here on the wall, and some European influences with French philosophers, Voltaire and Turgot here on the wall. And actually an American here. Anyone know who this man is? 'Opposed in death as they were in life,' according to Jefferson, whose bust is opposite him. Alexander—

Teacher: Hamilton.

Jacqueline Langholtz: Hamilton. Absolutely. So depending on what conversation you wanted to have with your students, you could have it be about government, you could have an Enlightenment conversation here, you could have it be about art, about science, there's just so much in the room. And certainly visitors waiting to meet the president or to shake his hand or to get an audience with him, sitting in this room would be treated to a natural history lesson of their own. It's a wonderful room for education.

This is the Edgehill portrait. Someone describe that man's expression to me.

Teachers: Grim. Glum.

Jacqueline Langholtz: Great, grim, glum. What else?

Teachers: Tired.

Jacqueline Langholtz: Tired. Yeah, absolutely. Jefferson described the presidency as a 'splendid misery and a daily loss of friends.' Do we know him for any really rousing speeches?

Teachers: No.

Jacqueline Langholtz: What—no. What do we know him for more than his presence and his gung-ho power. Ah, maybe his—okay, some of his specific contributions, things like the Louisiana Purchase. There's a very important document. And writing. Exactly right. His writing. So the Declaration of Independence hangs over here. Certainly when we are talking about the things we remember and love Jefferson for, revere him for, it's his public service and it's things like the Declaration of Independence. Written, he's the primary author on a committee of five. And he's only 33 years old when he writes it. He calls it 'an expression of the American mind.'

So what is this room used for? It's very different from the one we were just in. This is not a public room.

Teacher: It's a parlor.

Jacqueline Langholtz: Sort of like a parlor, but we're going to see a fancy parlor for guests and entertaining a little bit later. Oh, who said—I like office. What made you say that?

Teacher: It looks like one. There's a desk. There're books. There's not too much else.

Jacqueline Langholtz: Yeah. Mm-hm. Yeah. This is an office and a schoolroom. It's an office for the woman in the lower painting here. This is Martha Jefferson Randolph, Jefferson's oldest daughter. And she came to live here and essentially be mistress of the plantation for Jefferson during his retirement years. So after 1809, Jefferson can smile again, after being president, come home to retire, and his eldest daughter is mistress of the plantation. And so, think of all the work that would have had to be done, planning the menus, accommodating guests. She'll have meetings in here with the house staff. So people like Burwell Colbert, the head butler, here. Probably also with Edith Hern Fossett, the chef. Martha's doing a lot of that work organizing the goings-on and logistics of a 5,000-acre plantation that is popular, at a time when there was no Secret Service, right? So anyone who wanted to come up and knock on the window and shake the former president's hand would probably have to be greeted and dealt with. Either invited in or told, thank you, goodbye. And that's what a lot of Martha's —she writes often about working 12-hour days.

Jefferson suffers severe personal tragedy during his lifetime. So he is a family man and someone who loves his family. Is he married, actually? Here's a question, actually, back up. Is Jefferson ever married?

Teachers: Yes. Yeah.

Jacqueline Langholtz: Yes. They have six children. Martha dies in childbirth with their sixth child. Only two of those six children survive to adulthood. So Martha, Martha his eldest daughter in the portrait there is one of only two. And he buries the second daughter before he dies. So she is the only one who actually survives him. She has a large family. You can only imagine that after many years of public service, not being home, having his own children pass away, being here as a grandfather with those grandchildren is a great delight to him.

So we have great stories of him running foot races with the kids on the West Lawn and giving them dried fruit and helping them with their studies. Having books for them to—drawing straws so the person who draws the longest straw will get to read the book first, all the way down, the person who draws the shortest straw gets to read it last but then gets to keep the book. So you can just imagine him being a wonderful and supportive grandfather.

Jacqueline Langholtz: It is Jefferson's—

Teachers: Library.

Jacqueline Langholtz: Library. Exactly right. Imagine having access to your grandfather's library and it is like this, 200 years ago. Jefferson described himself as having a canine appetite for reading, which is a wonderful wonderful description. This is his third library, his retirement library. His first one actually burns while he's a student. So Jefferson studies law at William & Mary, his personal library burns at that time, he describes his sadness over that.

His second library, which he works very hard to build, he gives it away, he donates it. He is paid for. Yes, excellent, nice job, teachers, exactly right. So tell me the story there. Can anyone say why it's packed up and sent to Washington? What does it, um—

Teacher: After the British burn Washington—

Jacqueline Langholtz: That's right. So here we are, 2012, actually, 200 years ago the War of 1812, which we could be talking even more about and maybe within your grant you do. But the library is burned by the British. So Jefferson, who believes in the power of knowledge, and that—I'm going to mangle this quote, but it's 'a country that expects to stay both ignorant and free and in a state of civilization expects what never was and never will be.' So if you're going to be an active and healthy democracy with a voting population, the people who are voting have to be—

Teachers: Educated.

Jacqueline Langholtz: Educated. Educated on the issues. Exactly right. That's further evidence—Jefferson, he calls it the hobby of his old age, he starts a university.

Teachers: UVA.

Jacqueline Langholtz: UVA, exactly right. Not only does he design the buildings, so we have the academical village plan here, but he also designs the curriculum. And rather than situating the buildings around a church, what was the center of the campus?

Teacher: The lawn is.

Jacqueline Langholtz: Yes, the lawn, but it leads up to—what was that center building at the head of it.

Teachers: The library.

Jacqueline Langholtz: It would have been a—exactly, it's a library. And that with tradition, really. It should have been a chapel, if you were keeping in step with other universities of the day. So Jefferson was, you know, a large supporter, passionate about public education, sends his books to DC, 16 wagonloads. Actually the bookcases that you can see are boxes, so you can imagine that they're very easy to just take down, you put wood on top of it. Sixteen wagonloads to DC and then he writes immediately to John Adams and says, I cannot live without—

Teachers: Books.

Jacqueline Langholtz: Books, exactly right.

Jacqueline Langholtz: Jefferson read in seven languages. Can we name those?

Teachers: Latin.

Jacqueline Langholtz: Latin, excellent. So he's educated in Latin and the other classic language—Greek. Exactly right. I heard another one. French.

Teachers: Italian.

Jacqueline Langholtz: And Italian. Monticello, he studies architecture. And he'll read those Italian books.

Teachers: Spanish.

Jacqueline Langholtz: Spanish! And he uses that copy of Don Quixote to teach himself Spanish. He's en route to France, Minister to France, and he brings Don Quixote and a Spanish-English dictionary with him. So that's five. And the other two are actually so easy that it would be hard to guess. English. And then this one is Old English, which is used in the study of law. We know that he dabbles with German, but we don't put it into that fluency list. Just, yeah.

So here we are, in the bedroom and office of a man who reads and writes in seven languages and reads and writes a lot, right? Over 19,000 letters. That is the polygraph copying machine that you see on his desk there. Someone tell me how it works. We've got two pens that are connected here. Works differently than the one you saw in the gallery that pressed and made a copy, an exact copy, with the impression. How does this one work, if you

Teacher: If you're writing with one, the other one—

Jacqueline Langholtz: If you're writing with one, the other one makes an exact copy, so you keep one of those. He calls it 'the invention of his age.' Behind it we have a revolving bookstand, so Jefferson can look at five books at once. Maybe he's comparing translations. As a copious letter writer and writing to people about—while he actually even writes to a former governor of Ohio because he's heard about the mammoth cucumbers that they have in Ohio, so he writes and asks for seeds.

And then, I loved it, as we came in, one of the first things one of you said was 'efficient design' or 'efficient use of space.' To brighten it, we have one of Monticello's 13 skylights, exactly right. We have not just 90 degree angles here but pretty much bay windows that connect to that shaded porch where Jefferson would have—and getting southern exposure on that, would have lemon trees and just beautiful fragrances. And this alcove bed, what do you all think of this as efficient design? Thumbs up, thumbs down for who wants it. Yeah, I would absolutely want it. Probably easy to change the sheets. You can decide if you want to roll out of bed and be in the bedroom, or I'd probably connect it to maybe the kitchen or something, or the living room.

Teachers: It's like the desk lights that you get for the piano.

Jacqueline Langholtz: That's right, that's right. And you also have space above the bed, which can be used. We believe this was an out-of-season closet. I also happen to believe on a personal level that the grandkids must have hidden up there, because if I were hiding around and playing around in my grandparents' house, that's where I would go. We talked earlier about Jefferson's stature, he's described as having posture as straight as a gun barrel. What do you think that meant? People often tell us it looks short. People often tell us it looks short. Do you think it looks short?

Teachers: It's hard to tell.

Jacqueline Langholtz: Yes, well, who designed Monticello? Do you think he's going to make his bed too short? It's six foot three, he's six foot two and a half. Perfect fit, perfect fit.

Jacqueline Langholtz: Here's the part of the tour where I get to use an original Jefferson gadget, the same mechanisms that operated these doors 200 years ago. Thank you for gasping for breath, because it is really exciting. What's that?

Teacher: They're both going to close together.

Jacqueline Langholtz: They're going to close together.

Teacher: And all of the equipment runs...

Jacqueline Langholtz: That's right.

Teacher: That's pretty amazing.

Jacqueline Langholtz: These are Jefferson's self-operating doors, with actually two original panes of glass, too, those are the wavy ones here, have been unbroken for over 200 years. And the chain underneath it is a figure eight, so if we picture something very similar to a bicycle chain, that's what runs it, but we're very proud that it's still going. Jefferson is proud and happy to have it in the house.

You see plenty of examples of good design in this room. You see Jefferson's parquet floor. So if you look at this, speaking of hidden mechanisms and equipment, where is the hardware. Do you see any screws or nails?

Teachers: No.

Jacqueline Langholtz: How is that floor fitted together?

Teacher: It's like the furniture.

Jacqueline Langholtz: Ah, the joints! Exactly right. So this is a floor—Jefferson is inspired by floors he sees in France, he sends a drawing of how he wants it to look. This shape, the contrasting beech and cherry woods, the joints specifically that will be used, and he sends these directions to James Dinsmore. He's a free white worker who lives here at Monticello for about 10 years, helping with the construction of the house, and John Hemmings, brother to Sally Hemmings. And the two of them put this floor together. What do you think of it? Does it look nice? It looks nice.

So they are bringing Jefferson's ideas to life, right? He sends instructions and drawings and they're not traveling through France with him. They get these instructions and then they make it happen in his house. Is John Hemmings paid for his work? He's enslaved. No. What about James Dinsmore? Free white worker?

Teachers: Yes.

Jacqueline Langholtz: Yes, he's paid. And the quote is like 'he wouldn't do it again for twice the pay,' because Jefferson's designs are so intricate. Here's a man who says he delights in doing math to the sixth decimal point. Here's a man who's interested in precision, following his directions. I think it must have been a nightmare, absolutely right.

And, you know, I want to go back to talking to Adams for a moment, because Adams, there was a bust of Adams in the cabinet area. Some of you saw that, good. Adams and Jefferson have a complicated friendship throughout their life, right? Actually one student taught me the word 'frenemy,' which I thought was really funny. They become friends again later in life. And tell me about their end days. Is that a story that—tell me—

Teacher: They both die on the same day, and they say, 'Adams lives' or—

Jacqueline Langholtz: Yeah, exactly. They die on the same day, and what day is that?

Teachers: July 4th.

Jacqueline Langholtz: July 4th. And not just any July 4th.

Teacher: Fifty years after.

Jacqueline Langholtz: Fifty years to the day. You got it exactly right. So July 4th, 1826, Jefferson dies in that bedroom, on that bed, where we just were, middle of the day, and we know that Adams died on that same day in Massachusetts and his last words were something to the effect of 'Jefferson survives,' exactly right.

We have Ben Franklin in the corner. Couldn't give it up, that's right, God bless him. And here, you know, these are the three things we must talk about in this room. The three greatest men the world's ever known, according to Jefferson. Elizabeth Chew told us the names of two of them. Who's the man who looks like but is not Shakespeare? Sir Francis—

Teachers: Drake.

Jacqueline Langholtz: Bacon. Sir Francis Bacon. Father of the scientific method. In the middle, another scientist, Sir Isaac—

Teachers: Newton.

Jacqueline Langholtz: Sir Isaac Newton. And on the end, the man on the right writes about the natural rights of man, John—

Teachers: Locke.

Jacqueline Langholtz: Locke. And you see a lot of John Locke's thinking in the Declaration of Independence.

What do you all think about this bright color? What'd you say?

Teacher: It wakes you up.

Jacqueline Langholtz: It wakes you up, that's right. A nice place to have breakfast in the morning. Anyone not a fan?

Teacher: It looks expensive, too.

Jacqueline Langholtz: It looks expensive. We have reason to believe it was about four times the price of some of the other paints that could be had. So if other paints could be had, why choose this color? There's got to be a reason. What's that?

Teacher: Because you can.

Jacqueline Langholtz: Because you can. There's got to be a better reason. Ah, okay, that's right. So some of us like to believe maybe it is because you can, maybe it is because the money, but then you think intelligent design, right, and the bringing the outside in and times of the day when this would be used. He's got his personal suite and he's writing letters in that beautiful southern light. What is the north side of the house like?

Teachers: Dark.

Jacqueline Langholtz: It's dark. And it actually is cold, too, right. So this brightens up the room and gives the perception of it feeling brighter. And there's a skylight, and you get some of the western light from the West Lawn here. Again, without the dark right angles, so you get some more light. But what about warmth? You can actually close these pocket doors and in this arch, you'll also see glass. And you'll see the first storm window, I believe the first storm window in a residence in the United States. So there's good design in this room down to the wine dumb waiter. Did you see that hidden in the fireplace?

There's a great story. You saw our BFF forever hanging next to Jefferson, our French friend, the Marquis de Lafayette. So he visits Monticello in 1825, the year before Jefferson's death. Lafayette is on a victory tour, seeing old friends. The two men embrace on the East Lawn. Lafayette stays here for about a week, and Jefferson writes that after Lafayette leaves he has to restock the wine cellar. So you picture old friends talking about the days when they were forming a new nation, I'm sure they were up all night, and I love thinking about that wine dumb waiter just going up and down. 'Can we have some more?' Jefferson sees that design at a restaurant called the Café Mecanique in France and brings that back. He sees another good design in a monastery for a revolving door that you'll see when we leave this room, and that's how food actually came into this dining space. So have we seen a kitchen yet?

Teachers: No.

Jacqueline Langholtz: No. It's under the house and it's actually on the other side of the house. So it's on the south side. Food would have come all the way up under the house in the all-weather passageway, would have come up a very narrow set of stairs that you'll see, which, I am the world's worst waitress, I tried it for about a month and I'll never go back, and I can't picture food coming up those stairs. They're then put, those dishes, on a revolving service door, turned into this room, and then with minimal service needed, minimal may be one or two of the domestic house servants in this room, food is put on the buffet tables that have wheels and brought into the room. Otherwise it's mainly self-service, very little ceremony here at the house.

Here's a man who was President of the United States, he's our first Secretary of State, he's our second vice-president, he's our third president, he's Minister to France, he's Governor of Virginia, what does he want to be remembered for?

Teacher: The Declaration of Independence.

Jacqueline Langholtz: Declaration of Independence. Virginia Statue for Religious Freedom. And founding the University of Virginia. So, essentially, those are what sorts of freedoms, if you had to break those down for me? Education, religion, freedom—and personal freedom. Yeah, exactly right. So that's what he sees himself as worthy of being remembered and instrumental for, and devoting his life to, over 40 years of public service.

So that's what I try to also remember him for. And it's the reason for being here today, right? As much as it is a beautiful house and an icon, there are many beautiful houses in Virginia that you can visit, right? So this is an expression of Jefferson's thinking. It was actually called the 'curiosity of the neighborhood' during his lifetime.

Let's actually come onto the West Lawn a little bit. That way we'll talk about after his lifetime. The plantation, 135 slaves, are sold at auction after his death. And when we talk with students and visitors about slavery, Monticello is not a typical Southern plantation, right? It's not actually useful to use this as a model or common example of what slavery looked like in the American South. Can you tell me why, or why we feel that way?

Teacher: The family units.

Jacqueline Langholtz: That's why, exactly, that there are family units. Jefferson recognized marriages within the groups, and families were kept together. So we know—I mean, you heard me talk earlier about Edith Hern Fossett, the chef here. So she's the French-trained chef, she's Jefferson's chef in DC when he's president, she's here at Monticello, we have her room down by the kitchen. We know she's married to Joe Fossett of the blacksmith's shop. We know about their children, and what duties they had here. We have information about specific individuals and their families, and often multigenerational families here, over 70 Hemings family members at one point or another worked and lived at Monticello. And at Jefferson's death, when 135 were sold at auction, that breaks them apart. So that's a very tragic part of the story. Jefferson frees five slaves in his will. All of those have marketable skills. He says John Hemings is unrivaled in his skills and abilities as a joiner, and certainly these skills would have been sought after by merchants and people in Charlottesville. I mean, these are the people who have the ability to make this house, they made this house, in the blacksmith's shop, and really very skilled labor force here, but only five of them—they're given their tools and equipment and they're given their freedom, but you have sometimes husbands who are freed and wives who are not. So it's a very sad story here.

The house is sold to a local Charlottesville farmer. Essentially just the land is used, and for a number of years the house falls into disrepair. It's then purchased by Commodore Uriah Levy, a New Yorker, he made a lot of money in real estate, and then became the first Jewish naval officer in the United States. And we make a point of saying that he was Jewish, and the first Jewish naval officer, because he made a point of saving the house largely influenced and in gratitude for Jefferson's work promoting religious freedom in the United States.

Monticello: Jefferson's Experiment

Video Overview

Curator Elizabeth V. Chew introduces TAH teachers to Monticello as Thomas Jefferson's 'laboratory,' a testing ground for ideas he imported from around the world. Chew also looks at the lives of enslaved people at Monticello and how their experiences were both similar to and different from those of others enslaved throughout the Mid-Atlantic.

Video Clip Name
MontExperiment1.mov
MontExperiment2.mov
MontExperiment3.mov
MontExperiment4.mov
Video Clip Title
An Introduction to Monticello
Slavery at Monticello
Useful Knowledge at Work
Looking Closer at Slavery
Video Clip Duration
4:21
4:00
6:13
5:41
Transcript Text

Elizabeth V. Chew: This visitor center facility opened in 2009 and it has radically improved our ability both orient our visitors to just explain to them why Jefferson is important and so, why they're here, and to engage and educate.

This exhibition is really one of four that's in the building. This is the largest one, it's the one that is intended to put the house, which is the one piece of Monticello that mostly everybody sees, in the context of Monticello writ large, Monticello as a 5,000-acre working plantation.

If you look up at this light pencil drawing on the banner here, you can see the view that the young Jefferson would have seen from Shadwell, looking over across the Rivanna River, the little low mountain in the front here is Monticello. The high mountain behind Monticello is the mountain that Jefferson called Mountalto, and he bought—he bought what he could see from his mountain of that mountain in the 1770s. And so, as a boy, the little mountain just drew him and he had a dream of living there as an adult when he was a teenager. And that would have been the least practical place you could ever live. In a time when the river was a major means of transportation, where getting around was difficult at any time, where water was a constant problem and need, to live on a mountain made no sense. He really elevated ideals over being practical, over practicality.

The central section in the middle of the room here goes through and gives examples of Jefferson's just complete and total dedication to doing what he would call gathering, recording, and sharing and disseminating this idea of useful knowledge, whether it was related to science, to farming, to government, to transportation, to what you could and couldn't grow somewhere. He was interested in really every point of knowledge on the human spectrum. And nothing—there was almost nothing that was too small for his attention.

We have several really fun kind of interactive elements in the exhibition, and this one uses Jefferson's travels, both in North America and in Europe, and it shows people what, when Jefferson was traveling, what he was doing, and he said it himself, that he was gathering ideas that would be useful—'useful'—back in this country. So what we do is follow his travels—and I'm looking at southern France right here—and we talk about everywhere he went, what he was looking at.

So here we are: viticulture or wine-growing in the Burgundy region of France, or ancient architecture in Orange, France. He was also completely obsessed with the idea of people in this country growing olives. He thought that olive oil was going to be the new revolution and that the rice planters in Southern Carolina should stop growing rice and grow olive trees. And he really worked hard to convince them of that. Really, he's so interested in these little details of things that he thinks are going to help him come back here, share the ideas, and even put them to use himself.

So, this is a fun way, and, all as you all know way better than I do, young people love this kind of thing.

Elizabeth V. Chew: So I've talked about how the center is about his dedication to all this gathering and sharing and disseminating. This short wall here is dedicated to a horizontal look across the social spectrum at Monticello. Because we obviously know that Jefferson and his elite family in their 'big house,' they're the tip of the pyramid here, but obviously everything that happens that makes his household run, that makes his cash crops grow, is done by the labor of enslaved people.

So we also look across the spectrum of the enslaved community at people working in the fields versus enslaved people who work in the house or in the [?] industries, and we compare those also to hired white people. There were some hired white workers here who did things like, well, build a house, for one thing, or serve as blacksmiths or certain kinds of carpenters. They also trained enslaved people to do these kinds of jobs.

We've learned an amazing amount about the lives of enslaved people all over the plantation. So, what we know is that enslaved people owned material goods. We tend to have a notion of slavery, I think, or at least I used to, as being very fixed and abstract and this big box of awfulness and yes, it is that. But you can also come to understand it in a much more textured way where you see—we know a great deal about the names and activities and lives of the individual people who lived here in slavery and what happened to their descendants. And that combination of Jefferson's record keeping, archaeology, other kinds of written records, and then genealogy and oral history that we've been doing here for 40 years.

So we know that people who worked in the fields owned the same kinds of really fashionable tablewares that slaves who worked in the house and lived up on the mountain owned and that, in many cases, are the same kinds of things being used in the big house. Slaves had several different ways of making money. Jefferson preferred to give cash incentives to slaves rather than use harsh physical punishment, so some skilled slaves received cash money. Slaves also kept poultry yards and gardens on their own time and sold the products of those, both to the big house and sometimes in markets in towns. Slaves were paid by Jefferson for doing particularly onerous jobs like cleaning out the sewers underneath the privies, and slaves were given tips by visitors quite routinely. So with the money that people here in slavery owned, we know that they went into town on Sundays and shopped in stores. Scholars have studied shopkeepers' ledger books and found that there are records of slaves coming in and buying things.

So what we see here, I think, is examples of how enslaved people survived in a system that denied them their basic humanity. We see how people figured out ways to just get through it. And we see families over generations here whose descendants go on actually to be very involved in all kinds of work towards emancipation and later civil rights.

Elizabeth V. Chew: On the wall here behind you, we break down Monticello into four areas. We look at gardens, agriculture, plantation industries, and the house. And my interest here was making it all on the same plane. Often we tend to privilege the house over everything else. I think Jefferson saw it as being all of a piece.

So we look at how he puts what he considers to be this useful knowledge to work, in all aspects of his operations here, whether it's what he grew in the garden, his attempts to grow grapes to make wine, his intense interest in the technology of agriculture. For example, he himself invented a kind of plow moldboard. People think of him as being an inventor. He was mostly a creative adapter because of all these things he learned about, wrote down, and then later used here at Monticello. The one thing that he ever truly invented was a plow moldboard. And we have a recreation plow right here that shows this curved—it's the curvy wood part that sort of turns over the soil once it's cut by the metal blade. So he had witnessed people plowing in France that he thought were really inefficient, and he has this geometric idea for the shape of a moldboard that will do a better job with less resistance in turning over the ground. So he has this plow made here at Monticello and he writes to all of his people all over the world to tell them about it. Even though he won several awards for it, it was never really widely adopted.

The Garden Book is really a bravura demonstration of his record keeping interests. Let's see. We have a little facsimile of it right here, and it's really hard to see, but he basically—he started it as a young man still living at Shadwell. After his retirement here in 1809, he really does it every single year in earnest, where he writes down, keeps a chart where he writes down everything he plants and when, when it sprouts, how it does, and then eventually 'when it comes to table,' which means when they get to eat it in the house, and when it goes to seed. And he does this every year for over 20 years. He doesn't care if something doesn't do well, he just tries something else. His interest is really in what will grow well in this particular climate here in Albemarle County, Virginia. He wants to know what he can grow here that will be useful. So things like benne or sesame, he grows that. These hot peppers a friend in Texas sends him. There are a number of examples of things that people send him that he tries to grow. He really really really wants to grow wine grapes, but he never can. He would actually love the fact that wine is such a big deal now in Virginia.

So even though he has this amazingly gorgeous, 1,000-foot-long garden, we know for a fact that this garden was not primarily meant to furnish the table. We know that because from the beginning to the end of Jefferson's life at Monticello, we have record books kept by the women of his family, the white women of his family, recording purchases of large quantities of garden produce from slaves, and this is one of them right here. So Jefferson's garden was mostly a laboratory and an experiment. If something came to the table, that was great, but they were not relying on it. They had this very good backup plan that they had to use almost every week.

Jacqueline Langholtz: Tell me more about yourselves and what, when you woke up this morning or heard about this trip two weeks ago, you wanted to take away from it.

Teacher 1: Well, I teach fifth grade, so it's mostly U.S. geography, that's the emphasis for our course, so—

Teacher 2: Westward expansion?

Teacher 1: Yes, that's really—

Jacqueline Langholtz: Okay, so Lewis and Clark's why you're here? Great, okay.

Teacher 1: Especially the scientific discoveries and we're putting more of a science emphasis on the flora and fauna of different areas, too. So what their findings were and also what they found—yeah, I think it'll be very helpful.

Jacqueline Langholtz: Wonderful. Great.

Teacher 2: Is there information on the relationship with Jefferson or his time period with the Native Americans, because that's one of the things that we try to do as we move from region to region is that Native American element of that region.

Jacqueline Langholtz: Yeah. Yeah. So the question was the relationship that Jefferson specifically had with Virginia Indians?

Teacher 2: And his contemporaries.

Jacqueline Langholtz: And his contemporaries. Okay. Jefferson's own and only self-published book, his own book, Notes on the State of Virginia, would probably be a good resource and that's a primary resource there. That's a field that I think people are really just beginning to explore and learn more about, and I think you'll hear some different opinions about, what did that really honestly look like, and I think you'll see a lot more scholarship about that coming out, I hope so.

Teacher: Do you think that it was typical what Jefferson had here, was that a typical economy for a plantation in the South?

Elizabeth V. Chew: No. You mean the slaves—

Teacher: What you found in the—

Elizabeth V. Chew: Oh, yes, I do. Yes, I do, actually. I think Jefferson was unusual in what he said he wanted here was to use things like work incentives and not harsh punishment, that keeping families together made people more productive because they were happier. That was not typical.

Teacher: Right.

Elizabeth V. Chew: Yeah. But I think that the slaves raising gardens and chickens, perfect, totally normal. Slaves owning goods across the South, completely typical.

Teacher: Wow.

Elizabeth V. Chew: It's probably the thing that most people don't know about slavery, that is most surprising to them. That is absolutely the case. In the very very deep South, like Louisiana, and maybe even Alabama, it's less so, but in the Mid-Atlantic, the Carolinas, it's completely the way it is.

Teacher: And these are very high-quality goods that they had, then, would that have been typical as well, that they had—

Elizabeth V. Chew: It's what was available. You know, they're on the spectrum of things you could have. They're not at the very top. Jefferson has some Sevres porcelain from Paris, but he has this stuff also.

Teacher: Wow.

Elizabeth V. Chew: So it's sort of like your everyday china, as opposed to your grandmother's fancy china, but it's absolutely the same thing that any of the other

Teacher: And where would that have come from, from Europe as well?

Elizabeth V. Chew: Stores in the area. These would have still been English by this time, but they would have been available, widely available in stores in every town in the U.S.

Teacher: So, typical. Like Pfaltzgraff kind of.

Elizabeth V. Chew: Yeah, he could have gone to Charlottesville on Sundays and bought them. Merchants stayed open on Sundays so the slaves could come, actually. And they bought things like tablewares and then clothing, things like buckles and buttons and hooks for clothing that they would make themselves and fabric. Jefferson gave slaves basic food, two sets of clothing a year, blankets, and then cook pots when they got married, but people had a lot more than that, that they acquired through their own incredible ingenuity and entrepreneurship basically.

Teacher: That's interesting.

Elizabeth V. Chew: It took a lot, it took so much effort and ability to survive laboring like that.

Teacher: Is there any evidence that slaves worked with Jefferson intensely on his inventions and machinery?

Elizabeth V. Chew: Oh, yeah. That's such a good question.

Jacqueline Langholtz: What was the question?

Elizabeth V. Chew: Whether slaves worked with him. Slaves definitely made the plow. I think, he lived in this cerebral region of his brain that he never, hardly ever went out of. I think he just saw—he drew all these geometric models of how he derived it. I think he kind of felt it in the abstract and then he had slaves—made it, build it, and then try to use it. But they probably were not involved in the design decisions.

Teacher: Right. Because that would have taken a lot of skill to craft.

Elizabeth V. Chew: No kidding.

Jacqueline Langholtz: Well, I get these same feelings about what you see in the house, or even the Campeachy chairs, even the friezes. So Jefferson is—he's the one traveling, he's the one reading, and then he's saying oh, I want this in my house. And then you have John Hemmings and James Dinsmore. But John Hemmings, who has not traveled, who hasn't read about these—

Elizabeth V. Chew: Who wasn't educated.

Jacqueline Langholtz: Right, who wasn't educated, making 3D versions, bringing Jefferson's physical ideas to life. It's just incredible to me.

Teacher: Wow.

Pockets from the Past: Daily Life at Monticello

Video Overview

TAH teachers explore the contents of recreated historical pockets with the help of Jacqueline Langholtz, manager of school and group programs at Monticello. What do the contents of the pockets say about their owners? Who might those owners be? Langholtz models strategies for examining and questioning artifacts.

Video Clip Name
mysterypocket1.mov
mysterypocket2.mov
mysterypocket3.mov
Video Clip Title
Mystery Pocket Exercise: Examining the Pockets
Mystery Pocket Exercise: Seeds and Keys
Mystery Pocket Exercise: French Lessons and Salad Oil
Video Clip Duration
4:15
5:52
7:18
Transcript Text

Jacqueline Langholtz: Take a few minutes working in groups to figure out what’s in the pocket in front of them. So first, what is it? How would have it been used? And then lastly, who they think would have carried this pocket. So I am going to just give you the exact same challenge, take 10 minutes or so, talk within your group.

[Group 1:]
Teacher 1: Somebody’s a seamstress.
Teacher 2: Yes.
Teacher 1: Must do some cooking or . . .
Teacher 3: Had responsibility—
Teacher 2: Yes.
Teacher 3: —because I remember reading about that in the dependencies.
Teacher 2: Yeah, cause not everybody had the keys.
Teacher 1: No.
Teacher 3: Martha had the keys and there was one other.
Teacher 1: And there was a sewing little table in there.
Teacher 2: Also a number of geese were killed.
Teacher 1: I would think this would be like somebody who's either a supervisor or somebody that’s not the bottom person.
Teacher 2: No.
Teacher 1: This person writes so it couldn’t be a slave, right? Because they weren’t suppose to be able to write. Not that they couldn’t.
Teacher 3: Yeah, yeah.
Teacher 2: For our own eating 28 hams of bacon. Twenty-one shoulders and 27 middlings.
Teacher 1: Well, I think it’s a she based on the embroidery, on the fan.
Teacher 2: Sewing stuff.
Teacher 1: Right.

[Group 2:]
Teacher 1: I think we have it.
Jacqueline Langholtz: You got it.
Teacher 2: Yeah.
Jacqueline Langholtz: So that’s a—
Teacher 1: We think this is a slave child’s pocket.
Teacher 2: Or a child’s pocket.
Jacqueline Langholtz: What makes you say that?
Teacher 1: Well, you said they made nails.
Jacqueline Langholtz: Excellent.
Teacher 1: Marbles.
Jacqueline Langholtz: What were the marbles for?
Teacher 1: A game.
Jacqueline Langholtz: Yeah, keep going.
Teacher 2: Making extra money if, like, they made some extra nails or they were able to—
Jacqueline Langholtz: That’s right. And can I ask you would you have known that before you did your gallery tour and your house visit?
Teacher 1: No, because I had no idea they made money.
Jacqueline Langholtz: Yeah, that is a surprising fact to a lot of students and teachers to find money in the slave’s pocket
Teacher 1: And that they had china and stuff.
Jacqueline Langholtz: Yeah, so that’s a great opportunity for discussion because a lot of people will think this must be from someone else’s pocket or they’ll look at this and say ‘I thought it was a slave pocket but there's money in it,’ but you knew why there might be money in it, good for you.
Teacher 1: Fishing.
Teacher 2: We had said actually, originally, we thought this might be something that they either made like a handle or we thought is it something that shaped the, you know.
Jacqueline Langholtz: And once you know it, it’s right there in front of you but for students finding their way through this on their own, it’s a really good activity and they have a lot of fun with it. And then we get to you know dim the lights and we'll do a flint and steel show for them.
Teacher 1: I like this as a pre- and post- activity. That’s amazing.
Jacqueline Langholtz: Yeah, and photos for a lot of this are online, too. And you knew what this was?
Teacher 1: She did.
Teacher 2: Yeah, I did.
Jacqueline Langholtz: Good for you, do you have a name for it?
Teacher 1: Mouth harp?
Teacher 2: Something, yeah, it’s a mouth harp. I think it’s the mouth harp.
Jacqueline Langholtz: Yeah, so if you then had to group these items, too, or tell us what types of things you see—work, right, you see some home life, you see some entertainment, slave garden.
Teacher 1: Yeah, like this would be making a fire at home. This would be work.
Jacqueline Langholtz: And possibly spinning, this is flax.
Teacher 2: Okay.
Teacher 1: This would be play. This could be work or play.
Teacher 2: Or I was going to say, or extra food.
Jacqueline Langholtz: And there are some things that can be made and some things that are bought.
Teacher 1: Why would they carry seeds?
Jacqueline Langholtz: You tell me, I don’t know. And we don’t know that all of this was always carried.
Teacher 1: Why would they have seeds? Maybe they traded for them or something.
Jacqueline Langholtz: Well, do you remember Elizabeth Chew told us a story about the gardens—well, she said the garden's main function was not to supply all the food for the table and then she supplemented that with the story about the main house actually sometimes purchasing food from the slaves so purchasing cucumbers that they have grown or . . .
Teacher 1: So this boy maybe is going to plant some seeds to grow some food.
Teacher 2: So there are slave gardens.
Jacqueline Langholtz: Yeah, sometimes for themselves. So on a plot of land where they're able to supplement their rations, food that they're given by the house or maybe they choose to grow something that they know that the house could have a use for and they sell it back to the house.

Jacqueline Langholtz: Who thinks they know whose pockets they have? Just with a silent show of hands. I know, I know who my pocket represents. Great! Ah, wonderful.

Teacher 1: It’s a list and it’s written so we knew that person had to be educated—

Jacqueline Langholtz: Great.

Teacher 1: 'Cause even if they didn’t write it they had to read it.

Jacqueline Langholtz: And it’s a list of what kinds of things, can I ask?

Teacher 1: Ah, things they’re going to buy or—like it says kill chickens and stuff like that, you know, it would be like a grocery list.

Teacher 1: Like a grocery list, great.

Jacqueline Langholtz: Keys.

Jacqueline Langholtz: Can you hold those up so that we can all see them too? How would you describe that key set? If you said, oh, I left my keys on my desk, go and grab them. They look like . . .

Teacher 1: Like jail keys, no.

Jacqueline Langholtz: They’re big, right?

Teacher 1: They’re big, they’re bulky, they’re heavy. Must be somebody important 'cause not everybody had keys.

Jacqueline Langholtz: Great deduction, yes. And what’s that door like probably?

Teacher 1: Heavy.

Jacqueline Langholtz: It’s not a dainty little door, right. Great, what else is in your pocket?

Teacher 1: We had a fan and then an embroidered bag, so that led us to believe it was probably a female's bag.

Jacqueline Langholtz: Excellent. And that is a pocket that’s worn on the outside, tied around your waist, great. How about the big reveal? Whose do you think it is?

Teacher 2: Well, we thought it was Martha, Jefferson’s daughter.

Jacqueline Langholtz: Round of applause. Excellent. Yay. So, so why it, why is it Martha Jefferson Randolph’s pocket?

Teacher 2: Well, we knew based on what we had seen in the dependencies about the keys and the importance of controlling stores . . .

Jacqueline Langholtz: Great.

Teacher 2: And the list, keeping that. And then it was kind of also interesting, lots of sewing items.

Jacqueline Langholtz: Yep. You have spices in there, I heard you talking about the vanilla, you have a sewing kit—and carrying the keys, you’re right, even that phrase is responsibility in the house. So if I’m carrying the keys to the storehouse, I’m responsible for what’s inside there, and she would sometimes pass the keys over to a domestic house servant or a slave who needed to get in to retrieve something or she would get it for them. And this was apparently an exercise that each one of the granddaughters had to do for about a week and they write and complain about it because it’s such a pain that people are constantly coming and finding you and interrupting you because they need access to something in the storehouse. And it reminds me of when I was in high school or junior high and they made me carry around a fake baby for a while. I don’t know if that’s still done in schools but it was to teach that this is—being an adult is a lot of responsibility.

Teacher 3: Well, one of the things I knew 'cause I knew somebody that actually had one of these and could play it. It’s a mouth harp. So you can put it in your mouth and when you put it in between your lips and you go like this then you can change, like, and it makes a twangy kind of sound like—yeah, like a real twangy kind of sound so we thought that that would probably be some sort of recreational something that would be in this pocket.

Teacher 4: And then there's nails, and I remember somewhere we heard that they make nails in the—that the children make nails, so—

Jacqueline Langholtz: Yes, in the what though? You were about to tell us where?

Teacher 4: In the, I forget, the place where they make nails.

Teacher 3: The forgery.

Jacqueline Langholtz: Yeah, that's the forge, the blacksmith shop, great.

Teacher 4: And then fishing line and a hook and a bobber doohickey.

Teacher 3: And then a flint, which we didn’t know what this was, but you can make fire with it and you've got the flax—yeah, Chris helped us. At first we thought it was a handle on something, but you can actually hold it and you can do that and make fire.

Teacher 4: And it’s small so it’s not like an adult could use it because the way you use it has to be small for small hands.

Jacqueline Langholtz: I use it, I use it. That’s a typical striker size.

Teacher 4: Oh, it is? Oh, okay, I thought it was small.

Jacqueline Langholtz: But you’re right in saying that it's small, you’re also letting us know something about it, that it’s portable. Right? And if we are looking at pockets, everything wer'e looking at is something that is portable here.

Teacher 3: And then really quickly, interestingly, we had these little pieces—they look like Monopoly pieces, and so you can put them together and make a coin. Apparently you used to be able to break a coin apart to make change.

Jacqueline Langholtz: Not like a piece of candy bar, though, but cutting it.

Teacher 5: Like a piece of eight.

Jacqueline Langholtz: Piece of eight! So okay, there’s a story there. What do you know?

Teacher 5: They would cut it and they would weigh it so that they would make sure that they paid the right amount.

Jacqueline Langholtz: That’s right.

Teacher 5: 'Cause your silver was very precious to you.

Jacqueline Langholtz: That’s right. So cutting and weighing the silver. And a piece of eight—eight of those pieces go into a dollar piece.

Teacher 4: And then marbles, which are also recreation.

Teacher 3: So we thought that it was a slave's pocket, like a child slave or, you know, young person.

Jacqueline Langholtz: And they got it right. And we had what I thought was a great discussion, too, because often times if—even teachers—but students do this activity before they’ve gone through any part of the mountain or before they’ve gotten exposed to some of the things in the galleries, sometimes the money in that pocket can throw them off. They either think, well, I thought it was a slave's pocket, but there’s money in it, so it’s not, or they think the money is from someone else’s pocket, so it’s a great way to also teach about how Monticello has different roles and responsibilities for slaves here and that sometimes slaves were paid for their work. People like Joe Foset, the blacksmith, or John Hemmings who often times sold some of their work in town and then had some money from that or selling produce back to the house as Dr. Chew told us.

Teacher 1: We had a sampler with the alphabet on it. A game that has different levels of difficulty, either trying to catch it on top here or in the hole, which is next to impossible. We also had marbles in ours, as well. A little squirrel, which, that actually ended up being a game piece as well. We had a slate with the engraving—I don’t know if you call it chalk or not but—and we had a book in French that was on Anne of Cleves and that’s all we could really figure out because it’s entirely in French. And what was most helpful was a letter from Thomas Jefferson to Patsy that was written—it was dated 1783 in Annapolis and kind of went over his educational expectations for her while he was not at Monticello and that led us to believe that this was the pocket of Patsy, his daughter.

Jacqueline Langholtz: Yes, and would you mind for everyone’s intense enjoyment walking us through what the "miser of his time," Thomas Jefferson, recommends for how a young girl should spend her day?

Teacher 1: "From eight to 10 o’clock, practice music. From 10 to one, dance one day and draw another. From one to two, draw on a day you dance and write a letter the next day. From three to four, read French"—that explained the book—"From four to five exercise yourself in music. From five till bedtime read English and write"—looks like "writed." Communicate this plan to Ms. Hopkinson—

Jacqueline Langholtz: Her tutor.

Teacher 1: —"and if she approves of it, pursue it as long as I remain in Philadelphia. Activate her"—"articulate her affections, she has been a valuable friend to you and her good sense and her good heart make her valued by all who know her."

Jacqueline Langholtz: Excellent. Wonderful reading. So from family letters we learn a lot about the daily life—I mean, that’s the name of this program right, Daily Life at Monticello—for the family, for the staff, so for those who live in the house, for those who work in the house. We love that letter. And what do you think students—how do you think students react to that letter? What do they hear when they see it? They’re like, did she not eat? No, she ate. Did she not sleep? Right, but it sounds—you know, it sounds pretty stern. So who’s missing from this picture? El Jefe, right? Take us through what was in your pocket.

Teacher 2: Well, the first thing that was noticed was it's nice leather when we opened the pocket itself. The thing that we thought—we found really curious was the ivory for note-taking, for this. The glasses are really nice and they—

Jacqueline Langholtz: Ah, the spectacles.

Teacher 2: So they can be compacted a lot more. And this feels like very nice leather. There is a letter inside, it’s been sealed with the wax and the seal from here and it’s signed from Thomas Jefferson. It’s dated Monticello, April 16, and then the year 10, obviously 1810 because what other century could it be?

Jacqueline Langholtz: Right, but great question.

Teacher 2: And it says, "Dear Jefferson"—our question is who’s the Jefferson he’s writing to, it’s a person, he says they’re out of salad oil, he’s wondering if they have any in Richmond, if it’s good quality, they wanted—

Jacqueline Langholtz: They want a lot of it.

Teacher 2: They want a lot of it. I’m trying to think how many. If it’s mediocre then they want two or three. If it’s not so good just a single bottle just to serve them until he can get some from Philadelphia.

Jacqueline Langholtz: This is a man obsessed with salad oil, just so you know. Thomas Jefferson is obsessed with salad oil and this is—if it’s good stuff, get a lot of it, and if it’s bad, I need some, so just give me some and then we'll get some good stuff later on whenever we can. Yeah, that’s what that is.

Teacher 2: Just too fun. And then at the very end he says that everyone in my family is well except for Benjamin whose health isn’t too good. How are you in Richmond? And he said he’d probably see him in Richmond at some point in time. But we don’t know, at least we couldn’t figure out who Jefferson was. Was it his brother or somebody?

Jacqueline Langholtz: Well, that’s a great question and it’s someone in the family. Does anyone here—anyone here in a family where names are repeated in your family? Yeah, so the same thing here. And you’ve already seen that Martha’s name is repeated so his wife is Martha, his eldest daughter is Martha, and here his name is repeated—Thomas Jefferson Randolph is the grandson. He’s actually the executor of the will, so this is a letter from Thomas Jefferson to Thomas Jefferson Randolph.

Teacher 2: Randolph, the grandson.

Teacher 3: Provider of salad oil.

Jacqueline Langholtz: Provider of salad oil, that’s right.

Teacher 2: Okay, do we go through everything?

Jacqueline Langholtz: I like that next thing you’re grabbing, so please do.

Teacher 2: It’s a—this one is the quill—portable quill and the ink as well.

Jacqueline Langholtz: It’s a portable writing set. I love that. It’s so funny, too, because sometimes students ask us if it’s perfume or do you want to guess the other thing they were like—

Teachers: A flask.

Jacqueline Langholtz: A flask. No, no, no! Jefferson’s a man of letters, it’s for writing, yeah.

Teacher 2: Then there’s more money. If you want to show them the money.

Jacqueline Langholtz: Yeah, and more money compared certainly to what you had in your pocket, yeah. Excellent. And any sort of epiphanies or questions you have about Jefferson the man after looking through a recreated pocket for him?

Teacher 2: I just love seeing this after we’ve talked about it. This was awfully fun for me.

Jacqueline Langholtz: So what did we—what did we say about this? Or I don’t know if the whole group heard the discussion&#8212

Teacher 2: It was—it was made from ivory and you can write on it with a pencil.

Teacher 4: How accessible was that?

Jacqueline Langholtz: I don’t know, that’s a great question. Jefferson often has things made specifically for him to his specifications. I, at least, haven’t seen this in other venues—David, I’m looking towards you. I mean I learned about it here but that’s not to say that no one else used it. Certainly other people and Jefferson is not alone in being obsessed with data collecting as a man of the Enlightenment, he’s doing this and he’s sharing data with other people, but this is his system of collecting, but you can’t buy these so they're at least uncommon enough that no one makes reproductions of them. So these are piano keys, this is ivory from piano keys that we bought and then they're just sort of tacked together. And he had very small ones for travel and slightly larger ones in the galleries too. And you’re right—you take shorthand notes on them in lead and then transfer it to the appropriate book, so maybe it transferred into the weather book or the garden book or the plantation book and then wipe it off and reuse it. I love these.

Teacher 4: Were some of Jefferson’s actually found onsite?

Jacqueline Langholtz: We have some of his upstairs but I don’t think they were ever buried and unearthed. I think they were always known to be his and treasured or at least known of. Let’s give them a round of applause. Wonderful job!

Smithsonian American Art Museum: Teaching with 19th-Century Art

Video Overview

Suzannah Niepold of the Smithsonian American Art Museum introduces a group of TAH teachers to four paintings from the 19th century. Niepold demonstrates techniques for analyzing art, including researching context, examining one piece of a picture at a time, and looking for inaccuracies in historical scenes.

Video Clip Name
AmArt1.mov
AmArt2.mov
AmArt3.mov
AmArt4.mov
Video Clip Title
"Landscape with Rainbow"
"Among the Sierra Nevada, California"
"Storm King on the Hudson"
"Lee Surrendering to Grant at Appomattox"
Transcript Text

Suzannah Niepold: Alright, gather up where you can see this painting. I'm covering up the label on purpose; I want you to look before we get any sort of background information. What's the whole picture about? Teacher 1: I begin by looking for what's underneath the rainbow. Suzannah Niepold: Okay. What is underneath the rainbow? Teachers: A home. A church; it looks like a church. Suzannah Niepold: So you notice this tiny little house, sometimes that takes a while to see. And that's at the foot of the rainbow; so what's that about? Why did the artist do that? Teacher 2: Well, homestead. Out west that was the big American dream—have your own land, have your own house, and not be subject to anybody's control. Suzannah Niepold: Fantastic. So that's the American dream—to have your own spot surrounded by land. Okay. What else do you notice? We've used the words beauty, paradise, how else would you describe this particular landscape? Teachers: Vast, open. Teacher 3: You've got two little [unintelligible] over here. I mean, it's not totally alone but it's pretty [unintelligible]. Suzannah Niepold: You're not totally alone, but you don't have right next-door neighbors to deal with. The house is really small; it is really hard to see. What does the artist do to make sure your eye goes there eventually? How does he point it out? Teachers: The rainbow. Suzannah Niepold: Right, it's right at the end of the rainbow. But that really wasn't enough for him. How else does your eye go there? Teacher 4: You've got that slope coming from here too that angles up. Suzannah Niepold: You have what coming up? Teacher 4: The slope, the road. It comes up right here and you've got a lot of water right here. Suzannah Niepold: Absolutely. [unintelligible mummers and answers from visitors] Suzannah Niepold: Fantastic, you have all of these lines—this little sort of drop of light leading up here, the water, the path, the pointing. So that really let's you know that this is the main subject of the story. It's kind of the American dream. The title is Landscape with Rainbow, it was painted in 1859, and the artist is Robert Duncanson, Robert Scott Duncanson. So, if this is painted in 1859, why would you choose this subject at about that time in American history? Lets consider, first of all, what's going on. . . . Teacher 5: People are beginning to go West, also. Teacher 6: The American dream, with all the politics going on, is in some ways disappearing. Suzannah Niepold: The American dream, this idea has come up several times, so that's really maybe challenged, is that what you're saying? Teacher 6: I'm saying with the conflict, the regional conflict, some of the ideals of America are in question. Suzannah Niepold:: The other thing to add that isn't on this label—but it is available on our website in the biography of the artist—is that this artist is African American. Does that change the painting for you at all? Okay, I'm hearing "Oh, oh, interesting." Teacher 3: Going north to the promised land. Suzannah Niepold:: So it's not just the American dream, it's the promised land? Teacher 1: Yeah, but then why would he put two white people there? Teacher 3: Dominant cultures. Teacher 2: Because he's hiding behind his work. His work's not going to be respected. He's an African American. So he paints white people on it because a white man's going to look at a painting with white people in it, they're not going to look at a painting if there's a black one in it. Suzannah Niepold: It's going to change the meaning. If you’re thinking of contemporary viewers, you're right; it's going to change the meaning. Duncanson was funded by abolitionists, and their goal was to show how ridiculous this idea [was] that a race was lesser by showing how skilled an African American artist could be. So he's showing off technical skill, as well as maybe this dream—this kind of American dream on the eve of the Civil War. There are kind of three eras of African American art. Everything before the Harlem Renaissance in the 1920s is kind of what you see here of trying to say, "We're just as good; this is ridiculous, we can do everything that you can do." It's not until the Harlem Renaissance that it's saying, "We don't have to show your world, we can show our own."

Teacher 1: Wouldn't you like to just be standing right there on the water? Teacher 2: Okay, that's the whole point. That's what you're supposed to do. That's what he was doing. He's been on traveling shows to encourage people go to out West. Teacher 1: Oh! Teacher 2: So you got it. Suzannah Niepold: In fact the way the curators hung this, with this curtain here is meant to kind of hint at that history. And that Bierstadt painted these giant landscapes and that he would tour with them, and he would keep them behind a curtain and you would pay admission. Then he would whip back the curtain. But how does Bierstadt accomplish what we just talked about? How does he make you want to step into this landscape and just say, "Wow!" Teacher 2: Its size. Teacher 3: It's a huge picture. It's not just a picture [where] you're like, "Hey, I wonder what that is?" Teachers: It's like a window; it looks peaceful. Suzannah Niepold: Peaceful. How does he create this idea of peacefulness? Teachers: The deer; the calm water; calm waterfalls; the light; the soft clouds; the softness of the whole picture. Teacher 3: It's almost alluding kind of like Heaven and angels right where all the top comes out and the clouds are. You kind of think you would see this in a church or whatever, and a church is supposed to be one of the most peaceful places. Teacher 1: And everything goes up. All the trees go up, the mountains go up, everything is pointing up. Suzannah Niepold: Things that you notice and the specific details that you're pointing out. Like how still the water is and how the deer—they're not spooked, there's nothing coming up behind them. And we have this . . . some people call it the "Godly light" kind of peeking through. What role does God play in this period of American history? Why might he have a part of this landscape, or why might he. . . . Teacher 1: Manifest destiny. God wants us to go there. Suzannah Niepold: Manifest destiny. God wants us to go there. Teacher 2: When was this painted? Suzannah Niepold: Look at the label over here. Teachers: 1868. Suzannah Niepold: 1868. Yes, it's called Among the Sierra Nevada. So it's California in 1868. So, again, why might he paint this in 1868? Teacher 3: It's after the Civil War. It's a calming . . . well, it's supposed to be calming because what's really going on between the South and the North during Reconstruction still is not very calm. And this is an escape. It's an escape for everyone. Teacher 4: But it's also the year that the Transcontinental Railroad is finished. Suzannah Niepold: But it's funny that you don't see any of that, right? You don't see the modernity, the advancement of civilization has no place here; it's still this ideal. And I think it's going to what you're saying is that the Civil War ripped up the East Coast. If you search our website for Civil War photographs, we have plenty, you'll see just destroyed landscapes. You just walked down that hallway past Niagara and all these sort of "New Eden"-y paintings. We sort of saw ourselves as the new world, new opportunity, and the Civil War maybe destroyed that image a little bit. And so the East Coast loses its "shininess" and we start looking out here for our peace and our majesty and our hope. Teacher 1: May I? Suzannah Niepold: Go ahead. Teacher 1: It's like a staircase almost, with the sides. It goes up there, and it goes on, and it takes you into. . . . Suzannah Niepold: To make sure your eye goes all the way back there.

Suzannah Niepold: Okay, let's start with this one just by looking at the right-hand side; just block out—just pretend the other half isn't there. Okay, so, it's nice and peaceful, how else would you describe it? Teacher 1: Old-school. You see the boats with the sails and the hand fishing in the rowboat. It's kind of the way they've always done it. Suzannah Niepold: Okay, so the way it's always been done. And what is being done? What's going on on these boats? Teacher 2: In the front one they’re fishing. Suzannah Niepold: And how are they powered? Teacher 3: It's manual. Suzannah Niepold: Still on the right side. So [by] oar. It's manpower. Teachers: Sailing; wind; natural. Suzannah Niepold: Alright, switching to the left-hand side, what do you see over there? Teacher 4: Pollution. Suzannah Niepold: Yeah, it's funny when we look at it with our eyes you see smog, pollution, this horrible environmental travesty. How might they have seen it in 1866? Teachers: Progress; power of progress. Suzannah Niepold: So you have to consider the transition in how our modern eyes see things versus how they might have been perceived back then. Different kinds of power—maybe steam power, progress, industry. Look at the landscape on both sides, how is it different? Teacher 5: This over here [on the right] is clear, you can see… Teacher 6: It's greener. Suzannah Niepold: So which do you think the artist liked better, the "old school" or the "new school." Which did he support in this painting and how can you tell? I don't know the answer to this. It's a matter of. . . . Teacher 1: To me it looks like old school because he paints that front rowboat so very, very clear; sitting from back here you can see just about every detail of the gentlemen. Teacher 7: But the industry is made larger. It's much larger; more powerful. And it's closer to you. So he wants you to look at this. Suzannah Niepold: We talked some about light and dark, and how artists can use that. Which side has the sunlight? Teacher 5: They both do. You're focusing here, and then you're focusing there. It's almost like you're doing this— Teacher 7: When you look at the sky, this one is lighter [right side]; but when you look down, this one is lighter [left side]. Teacher 5: Yeah, on the water. He's presenting both sides of the issue. [Indecipherable, multiple teachers talk at once] Teacher 1: It's like you said, most of the sunlight is on this side [left side], but look at the smoke coming from it. It's changing it, it's turning it dark. Suzannah Niepold: I want to come back to what you were saying though; because look there is sort of this blue sky up here, and here it's the man-made smoke that's covering that up. But here [right side], we have the natural storm. So again, he's almost setting up that equivalent. Teacher 8: Well, you just said the word storm. Is the storm bringing in this change?

Suzannah Niepold: You came from Gettysburg—am I right about that? Teachers: Yes ma'am; yeah. Suzannah Niepold: So the Civil War is fresh in your mind, right? This is a tiny little scene of Appomattox—feel free to come closer, maybe, you know, take a look, and then let someone else come in. It is a challenge sometimes to work with these much smaller paintings. This is the scene of the surrender; Grant and Lee are meeting in order to officially end the war. Although of course, it wouldn't exactly end right at this moment. How has the artist chosen to present the scene? If you're all the way over here, feel free to come in and fill in the front. Teacher 1: You can tell who won. Suzannah Niepold: You can tell who won. That's very interesting. How can you tell who won? Teacher 1: Well, because the Union soldier is in the front, and he's got his hand on the desk and his whole chest is facing out towards the audience. It's almost like a teacher stance with somebody, if you're scolding a child. You're looking at them like, "I can't believe you just did this." That's what he's doing. Because Lee was such a highly regarded officer in the military at the time, it's almost like he's looking at him like "Why did you do this to yourself, and to us?" Kind of like he's being scolded. Suzannah Niepold: What about Lee though? It's not exactly like he's cowering in a corner. How does the artist show him? How did he show this highly respected, regarded man in this tough moment? Teacher 2: I think he's got his hands up like, "I can't believe I had to do this, that it came to this." Suzannah Niepold: So it's very hard for him to do this. What else do you notice about the scene? Teacher 3: You've got light right on the midline. So that . . . I don't know if that means like, the light, the focus is in the middle where they're agreeing, maybe, to quit fighting. Suzannah Niepold: That is, maybe, the highlight of the moment where the two sides are coming together. And let's use that to talk about composition. It is two sides, right? With the uniforms. How are those two sides equal? Are they? Teacher 4: We've got three soldiers on one end and two soldiers on the other end. Suzannah Niepold: Okay, so there's a little bit more weight over here. Even if you just look at the height of the two generals, [it's] roughly equal the way they're presented. You're right that Grant is slightly forward in that sort of authority stance. But if you look into surrender orders, the fact that Lee was allowed to keep his sword is a huge step. What does this say about what the North was hoping for the end of the war? The way that this scene is presented in terms of a surrender. How did they want to treat the South now that everything was over? Teacher 1: In this moment, it looks like they want to . . . it's like brothers fighting, [it's] done, over, let's go back to the way things were, let's forget about it. And of course we're history teachers, and we know that doesn't actually happen. Teacher 4: Yeah, but when you look at this guy's— Teacher 3: He's not real happy. Teacher 4: [He's like,] "Hey, you know, I really don't care about this." Teacher 3: Grant wasn't wearing his general bars. Suzannah Niepold: A few things are historically accurate. We know that he had mud on his pants, he had rushed there on his horse. Teacher 3: He had borrowed a jacket, so he wasn't wearing his general's jacket. Suzannah Niepold: But he wasn't wearing his general's jacket. So anytime you see an inaccuracy—or you see something you know is actually wrong from the way it happened. For me, that's actually the most valuable part of an artwork because that's pointing out a decision that the artist made in order to help tell a story. Teacher 3: Washington Crossing the Delaware. Suzannah Niepold: Exactly! So actually if we read the accounts of this scene, and there are many of them, there were a ton of people in this room. So why might the artist have chosen just to show a few? Teacher 3: Make it more intimate. Suzannah Niepold: How does that help tell the story. Teacher 1: He had to illustrate the significance of the famous Lee having to surrender, which ultimately became the turning point in the war. Suzannah Niepold: Okay, so it highlights him more if there are fewer people in the room, okay.

Smithsonian American Art Museum: "Westward the Course of Empire"

Video Overview

Suzannah Niepold guides TAH teachers through analyzing the differences between Emanuel Gottlieb Leutze's original study for Westward the Course of Empire Takes Its Way and his final mural in the U.S. Capitol.

Video Clip Name
AmArt5.mov
AmArt6.mov
Video Clip Title
Study for "Westward the Course of Empire Takes Its Way"
Comparing the Study and the Completed Mural
Transcript Text

Suzannah Niepold: Here's what I'm going to do, I'm going to split you right down the middle here, and I want this group just to look at the land—and just look at the land, ignore the border that goes all the way around the side, but just the land in the main part of the painting. Try to figure out what story it's telling and how it's telling it. We talked a lot about light and dark and that's really key here. This half, I want you to look at the people. Again, ignore the border, but just the people in the main part of the painting. Who are they? What are they doing? How do they help tell the story? [Teachers commence group discussions] [Group 1:] Teacher 1: You see men chopping with their axes. Teacher 2: Clearing their way. [Group 2:] Teacher 1: It looks like the Sierra Nevada, doesn't it? Teacher 2: Yeah, it's still the Sierra Nevadas, I agree with you on that. Teacher 3: Coming here, and there's the promised land. Teacher 2: The promised land is out there on the other side of the mountains. [Group 3:] Teacher 1: Yep, they're all trying to cut a path through. Teacher 2: I mean that's what they're doing. They're all looking towards the sunlight. Actually it's probably California because they're coming out of the mountains. Teacher 3: The Rockies. Teacher 1: But yeah, they're forging ahead. That's what they're doing. Teacher 2: So this is along [indecipherable]. Teacher 4: I like the two guys who have reached the top of the mountain. Teacher 2: "We're here!" [Suzannah Niepold transitions to large group discussion] Suzannah Niepold: Let's start with the land groups. What can you tell us about the land in this picture? Teacher 1: Going from the darkness over here on the right, to the valley, it's very dark, cold colors—the blues and the purples right there. And it's coming in, it's getting golden, then it transitions over into the yellow and it gets brighter as it goes over. It's inverting, you've got a triangle with a peak at the top on the right, and then a peak at the bottom, [so] the landscape balances. And you have that division with the landscape . . . it reminds us of Moses parting the Red Sea, taking my people to the promised land. Teacher 2: You've got the mountains, too, the hardship of coming over mountains; and then the valley below on the left. So that the promised land, the easy land, is on the left, and the hardships are almost behind them. Suzannah Niepold: Now this group you got up to go check this, right, was it hard to see? There's a burial scene—there's a cross that someone has erected right here, and if you follow the cross down there's a burial going on. It's one of the harder things to see. What else? Teacher 3: You've got the guys on the left with the axes clearing the way for the people to go through. Suzannah Niepold: Okay, so, they're sort of the head of the party, right? They're the one's clearing the way. What else? Teacher 3: We kind of thought it was interesting that the gentleman that seems to be holding the woman and the two children, she's got her hands like in prayer. He's the only one with that hat; he's the only one that's clean-shaven, that's an older-looking man, because the other ones are really young. So we almost said that maybe that he wasn't really there, maybe he's more like a guardian angel, since behind it's the burial scene. That he's pointing their way—she's in prayer, which is kind of symbolic of that. And he seems very calm, he's like the only one that's calm and just like, "This way!" Suzannah Niepold: So his role is important because he's pointing out the way. How does the artist make sure that you see this group? This is kind of an important group. Teacher 4: The woman's got a white shirt on. Suzannah Niepold: So you've got that bright contrast there. How else? Teacher 5: There's really nothing behind them other than the bright light. Suzannah Niepold: Yeah, that's another real key—you notice that his head and his hand, there's nothing really busy going on behind it so it really stands out.

Suzannah Niepold: The next thing that we're going to do is basically look at the same painting all over again, but here's the difference. This is actually just the study for a mural—this is like a sketch. And it was completed in 1861. The same artist painted the same scene; but instead of it being a painting, about yea big, it was a huge mural, wall-sized big. And it's in the Capitol Building; it's in the House of Representatives. So what I want you to do in your groups is compare the two and find the differences, because there are some pretty major differences between the two. [Visitors commence group discussions] [Group 1:] Teacher 1: Look at the head wound though. The head wound is barely a speck of blood in the first one, but then look, it's almost like— Teacher 2: They all look younger; even this man looks younger. Every one of them look younger. [Group 2:] Teacher 1: It's like there's . . . there's like smoke coming out right here. Teacher 2: Like in the distance there? But look at the difference in the mountains. Does that mean their struggles are less maybe? In this image the struggles being less. And are there more people? Teacher 1: It's spread out more. Teacher 2: Also notice what happened to the horses. Because historically they didn't use horses, pretty much they used oxen. So I guess he corrected it historically. [Group 3:] Teacher 1: I noticed the pose . . . the posture is different. It's almost more—his back is flatter, rather than more of a relaxed pose in the previous one. Here he looks like he's riding faster, or he's tired. Teacher 2: To me it looks like he's shocked, he's like, "Oh my god, is that really it?" And in this one it's like "I can't see it." [Suzannah Niepold transitions to large group discussion] Suzannah Niepold: Why did he take the burial scene out, do you think? Teacher 1: I think he lessened the harshness of the trip in lots of different places. The mountains are lower, so less of a hassle; there's greenery on the right side that he didn't have in the first one. So I think he's lessened the hardship of the journey. And that would be one way to do it. Teacher 2: And they've lowered their guns. In the first one the guns are up more, in this one they're down more. Teacher 3: What's the significance of the smoke in the [back]ground? Is it to show that there are more people moving west? Suzannah Niepold: Possibly. What else could smoke in the distance be? Teacher 4: Industry. Teacher 5: Indians. Suzannah Niepold: Indians. Why would he add American flags? [Unintelligible response] Teacher 3: So he's in the middle of the Civil War. Teacher 6: He's also got more historically correct because he's got oxen rather than horses. Suzannah Niepold: Ahhh, yes! Teacher 3: Everyone looks younger, and it seems like— Suzannah Niepold: Yes, I've noticed that as well. Why would he make everyone younger? What does that do? Teacher 7: To try to encourage the current age group to go that way? Suzannah Niepold: So it's encouraging people to go out West. Remember this is— Teacher 6: It's for the same reason he took the burial scene out; you don't want to scare them. You want to make sure that you can go, but everybody will live. Teacher 3: I think their dogs are interesting too. They have dogs in the painting. I guess it’s a "you can take your pet with you!" kind of mentality. Teachers: Bring your animals! Pets allowed! Suzannah Niepold: Sure. Sometimes in things like this I wonder . . . I mean if we're looking at this in real life it is now huge; and I wonder if translating it from this—which is isn't too much bigger than this reproduction—to the huge size if he's like, "Wow, there's a lot of space to full. What do I put in there?" There is a great video; an art historian who used to work in the museum—who actually used to be the director of the Birmingham Museum of Art—did a great little 10-minute video on this piece where he explains everything. So incentive for you to contact me and keep up with it, I can send you links to all this great stuff.

Slavery at Jefferson's Monticello: Paradox of Liberty

Video Overview

Rex M. Ellis, Associate Director for Curatorial Affairs at the Smithsonian National Museum of African American History and Culture, guides educators through the exhibit Slavery at Jefferson's Monticello: Paradox of Liberty. After the visit, historian Christopher Hamner leads a discussion. How did the exhibit depict Thomas Jefferson? The enslaved people who lived and worked at Monticello?

Video Clip Name
MontExhibit1.mov
MontExhibit2.mov
MontExhibit3.mov
MontExhibit4.mov
Video Clip Title
Introducing the Exhibit
Presenting the Paradox
Framing the Lives of the Enslaved
The Exhibit in Context
Video Clip Duration
6:04
7:03
6:44
4:21
Transcript Text

Rex Ellis: Good morning everyone, my name is Rex Ellis. I am the Associate Director for Curatorial Affairs at the National Museum of African American History and Culture—that's just a long title that says I do whatever they tell me to do. What we’ve tried to do with this exhibition is to suggest three things. Number one, we've tried to grapple with the whole idea of slavery especially in the era of the American Revolution and the paradox of liberty—those who are asking for liberty actually being those who are also slave owners. That's the paradox that we examine and try to talk about. Second thing that we wanted to do was to talk about Jefferson and his life. A little bit about Albemarle, a little bit about his parents, and a little bit about Jefferson the man and the sort of paradox that he is as well. Not only his public life, but his private life as well. There's a third section that happens to focus on the enslaved population at Monticello. That enslaved population reached, at some point throughout his lifetime, over 600 people. And so, we feel that there's—it's difficult to understand Jefferson without understanding his enslaved population. You will be introduced to six families within that larger population. And then finally, there is a section that we are calling, for lack of a better term, "Getting Word," because that is the name of the project that in 1993 two historians at Monticello embarked on to try to find descendants of the enslaved at Monticello. And that section talks about those descendants and where they are and the kinds of things that they are doing. What you see on the outside here are two visions that in some way suggest this whole paradox that we're talking about. Here is Thomas Jefferson and he's behind the Declaration of Independence; and here is Isaac Jefferson, he was a Granger, but he changed his name once he was freed to Jefferson. He is behind a farm book that Jefferson kept from 1770 all the way up until the beginning of the 19th century. That book was supposed to be a sort of diary of his farm and it has turned into one of the most important sources that give us some sense of who the enslaved were and what they did. Because as you see here, there are families that he mentions within the farm book; so with that information we know approximately when they were born, we know what their names were, and we can someway put them into the historical record in ways that we could not if we did not have this information. Also I will tell you that I don't believe Monticello is typical of the slave experience in the Colonial Chesapeake, I think it's very atypical. As you go through it, I think you will see that there are sort of parallels to the larger slave system. But Mr. Jefferson in a variety of ways was a unique man. He was a scholar, he was an author, he was an inventor, he was a farmer—he'd tell you he was a farmer, other folk would tell you no, no, no, he wasn't too good a farmer. But in a variety of ways he was a very, very—that sort of quintessential Enlightenment man who was much more of a Renaissance figure than he was sort of ensconced in the colonial period, as many were. They looked to him and what he said to determine what they should be thinking, in many ways. So as you go through, keep that in mind as well. Rex Ellis: This first area focuses on Jefferson and the idea that in order to see Jefferson clearly you must see him through the lens of his enslaved population. You will see a statue of Jefferson and then behind him you will see a series of names. They are names of over 600 enslaved—that we know—lived and worked in and around Monticello. And the idea here, again, is it allows us to see Jefferson more clearly. You will also see here Jefferson's lap desk, which was what he drafted the Declaration of Independence on. So in many ways that lap desk and the statue of Jefferson and what you see around it—the information you see around it gives you some sense of Jefferson's prominence, not only in the colonial period, but also his prominence as a slave owner. Christopher Hamner: I wanted to do, since we didn't get a chance yesterday, to do a little debrief on the museum and what was particularly useful about it, what changed the way that you thought about the past, what changed the way that you think about this chapter to your kids. Do you remember what the sort of framing is? Teacher 1: It's the Declaration of Independence on the one side— Teacher 2: On the right. Teacher 3: It's slavery— Teacher 4: The farm book on the left. Christopher Hamner: Yeah, right. And just those two images, you have to pick one or two things that go on the outside. And then the title: "Paradox of Liberty." This is all really carefully selected to get you thinking some new way about this person. If you just want to think about context and you want to think about content and this as a source. Think about how different the experience you have of Thomas Jefferson is if you spend 22 minutes in the "Paradox of Liberty" exhibit at the Smithsonian verses 22 minutes at the Jefferson Memorial, which is not very far away. How do you summarize a life if you've got…you can use 61 images, you can have a total of 12 hundred words, and the average visitor is going to spend 18 to 22 minutes walking through there. What parts of the story do you tell and what do you leave out. When I approached it that way I thought, gosh this is an impossible task that they have carried off really well.

Rex Ellis: The objectives in this area are several. Number one, to give you some sense of slavery in the Atlantic world, especially in the colonial period. Then to give you some sense of Mr. Jefferson and the kind of background and upbringing he had. Then to suggest some sense about Jefferson's attitude towards slavery. At the beginning on the wall that I'm facing you will see a variety of things that suggest the institution of slavery. There's a small map on the left-hand side of that portrait by George Morland that gives you some sense of the number of Africans who came to the New World. You will see that they came from all portions of Africa, from Senegal to the Bight of Biafra to the Bight of Benin all the way over to West Central Africa, even Madagascar and other places. But the largest number comes from, as you will see, West Central Africa. Somewhere around 5 million Africans disembarked in places like Pernambuco, Brazil, and South America. Somewhere around four million landed in the Caribbean—Jamaica, Barbados, Haiti, Cuba, those areas. Four hundred thousand came to North America. Four hundred thousand. Whether they were dealing with slave ships, building slave ships, and going—and transporting Africans back and forth, the American economy—the agricultural economy of America in some way, directly or indirectly, depended on the institution of slavery. So Jefferson from the very beginning of his life, there was an enslaved person who actually put him on a pillow and presented him to his father, Peter, and his mom, Jane. There was a slave at the end of his life, his name was Burwell Colbert, who actually fluffed up his pillow because he was the only one who understood what Jefferson was saying when he was at the end of his life and couldn't speak. He was the only one who understood that he was uncomfortable and that he needed his pillow adjusted. So, from the time he was born until the time he died, slavery was a part of the world that he lived in. Here you see a series of items that relate to the period of the Enlightenment. You see an inkwell by Voltaire, that's an image of Voltaire's head. You see glasses and you see Jefferson—who was a voracious reader, by the way—you see this revolving bookstand where he could read one, two, three, four, five books at a time. Speaker 1: You know how he had that bookstand, where he could read five books at a time and keep them open so you don't lose your place? And then you walk a couple feet that way, and some guy, his whole day every day is to pound nails. Like, so you get to do all of this fascinating stuff, and the people working for you are pounding nails over and over and over. And you saw, there were like five steps to making a nail and your sole goal is to make the most nails. So you get to be creative, thoughtful, and everybody around you has to be bored? Christopher Hamner: You know, I took away like the "Paradox of Liberty," that there's this really uncomfortable connection there. That some people were free to do all this grand philosophical thinking about politics and government and the nature of morals because other people were bored. You know, the fact that Jefferson—the leisure time that Jefferson enjoyed was on the part built on the backs of enslaved people piling up all this wealth and stuff so that he was freed. Rex Ellis: You will see here some sense of what we're suggesting about his view of enslavement. And you will find out as you read that Jefferson was not—that Jefferson believed in emancipation. He did not believe that emancipation was something that could happen here. He believed in emancipation connected with colonization. So that he felt that blacks and whites could not live together and once they were set free they should be delivered some place else in order to enjoy their freedom. Interestingly, 1791 he has a letter—somewhere around August he has a letter from a man named Benjamin Banneker. He's an African American, he's a scientist, he is an author, a very, very learned person himself. He writes a letter, what he said was he wanted Jefferson to help and to assist in the liberation of his people, he used—he sent him a copy of the almanac, he used himself as a way of saying, "This is what's possible given the help, given the education, given the support, this is what's possible within the black community." Eleven days later, Jefferson wrote him back and said wonderful letter, wonderful almanac, but I don't believe that the enslaved can in any way rise to the level of intelligence and the level of sophistication that you have risen to. So I generally say to folk when they ask me what I think about Jefferson, I say he was a man who was in terms of his intellect, he was ahead of his time; in terms of his morality, he was a product of his time. I think, more than most, though, Jefferson grappled with this issue. Speaker 1: I think that kind of summarized the entire exhibit, was that intellectually Jefferson was ahead of his time, but philosophically he was a product of his time. Speaker 2: And that's so current for today, though. Speaker 3: He did a good job at not giving you the answer for how we should judge him, not saying he was this or he was that. I think what it does effective to us is we're all a product of our time now, we might think that other people are wrong. Two hundred years from now everyone might think we're all wrong. So it kinda makes you step back, too, and think, well, how do I see my time? Christopher Hamner: I think it shows we're supposed to—sometimes we forget but we're a fairly young country. And now we're kind of looking at it and saying, yeah, well, you know we got some things right and we got some things wrong and it's okay to look at both of those so that maybe we can be more right the next time.

Christopher Hamner: What were the objects or the text or—what part did you stop and go, "Whoa." Teacher 1: I thought that the map, the to-scale of his entire plantation in the back was really, really interesting. Christopher Hamner: What was it that kind of— Teacher 1: Well, there were two parts. One, obviously, his house is so built on that hill it's almost on a mountain compared with his farmlands. I thought that's interesting management-wise. He's got kind of like a little town up near his house, and yet he's got these dispersed houses throughout the farmlands. And then I started thinking did he give his slaves who lived in those farmhouses somewhat of an autonomy as they were farming those areas because his house was miles away on top. Rex Ellis: Mulberry Row I think is very important. It's a 13-hundred-foot space on the northeastern side of the house. If this is Monticello here, and this is the north here, and this is the east, here is Mulberry Row. Somewhere around 20 homes is what it had on it, domestic spaces, as well as—there was a nailery, there was a blacksmith's shop, there was a textile shop, there were domestic houses, dairy. You either worked as a domestic, you either worked as tradesman or a craftsman, or you worked in the fields. Generally those were the three areas. Mulberry Row became a real proving ground to determine which one of those might be your fate. Between 12 and 16, Jefferson would engage them in work, males and females, at Mulberry Row. He would use that to make some determination about where the aptitudes were and where he would then assign those who he had working there. Then he brought a variety of people from around the country and even outside of the country, Scottish tradesmen and craftsmen, to teach the enslaved at Monticello a variety of the skills. So a variety of those were sort of determined based on the experience at Mulberry Row. Christopher Hamner: And then how was the other way that you encountered enslaved people at Monticello. Teacher 1: Through their lineage. Christopher Hamner: Okay. Whose? Teacher 1: One of the most famous would be the Hemings. There was— Teacher 2: The Grangers. Teacher 3: The Fossetts. Christopher Hamner: That second part of the exhibit, remember, the six families, that struck me as another choice. You know, what are we going to do? Instead of trying to cover all 600, they made this choice that we'll pick six—one well known and maybe some that are less well known, but we’ll really focus on that, just on those families' experiences. Rex Ellis: Now, these families, George Granger is the only man I know that was actually assigned to be an overseer at Jefferson. During Jefferson's lifetime he must have had over 30 overseers on the property. Granger was the only one that he had that was from the black community. And Granger was one of those that we use at least to suggest that Jefferson wasn't someone who was so struck by color until he didn't understand that it was merit that was the most important in terms of whom he allowed to do work, whom he allowed freedoms, and whom he did not allow freedoms. But there is an argument to be made for the precedent of the Hemings family. There were five generations of that family on the hill, over 70 people in that family on the mountain, started with Elizabeth Hemings who was the matriarch of the family and five generations of her family were at Monticello. The Hemings were treated differently, they were given freedoms no one else was given, several of them were even allowed to not only work, but to live off the mountain, and also to sort of move around as free people even though they were owned by Jefferson. You will find that the Hemings were the ones who did either the least work or worked as domestics or received privileges that others did not receive. And then finally for me the Fossett family. They were also Hemings but they were—Joseph Fossett was the grandson of Elizabeth. Joseph, the reason I wanted to mention him is because Joseph was the only member of his family that was freed in Jefferson's will. He set Fossett free, but Fossett was not free at the time that the auction took place, so he could not bid on his family. He watched his family being sold away. But he also knew some folk in Albemarle County that he had done business with, so he made requests of them that they purchase members of his family, and that, as a blacksmith, he was able to work and he promised and whatever it was that they paid for the price for them that he would then pay them back the price of his family. Somewhere in 1837, he purchased five of his children and four of his grandchildren and they all moved to Ohio. Teacher 1: The Hemings family, there were like these really nice pots from France and I just thought that helped paint a complex picture of Jefferson. Teacher 2: Right, I thought that—I enjoyed learning about the families, it was interesting to see the different dynamic that that plantation would have had than a lot of others. But I thought, too, it kind of focused on the fact that these were his most skilled slaves. They had the chair that that one person built, I know he had a trained French chef as a slave, that's not normal. Christopher Hamner: You get to know those six families really well, but at the same time you lose sight of all these people. And that's a trade-off. Do you want them to learn a couple of people's experience really deeply, or do you want them to get a bigger sense of the whole, the whole enormity of the operation.

Rex Ellis: Interestingly, that Joseph Fossett that I was telling you about, Joe Fossett had a great-grandson by the name of William Monroe Trotter, who founded—with W.E.B. Dubois—the Niagara Movement, he was an activist himself, a very, very well educated man. All of the families, the Hughes family, the Fossett family, the Hemings family, all took on responsibilities that in many ways were civic responsibilities. Frederick Madison Roberts, that you'll see on this end, was the first African American legislator in California. You will see also that the descendents of Sally Hemings and of Eston and Madison fought in the Civil War. So that continuation of family, that continuation of faith, Peter Fossett became a minister. It was Peter who said this, "My parents were here in Ohio and I wanted to be with them and be free, so I resolved to get free or die in the attempt." Peter ran away several times and was recaptured. And finally with the help of his family his freedom was bought and he finally rejoined his family in Ohio. Christopher Hamner: I thought this was one of the best museum exhibits that I'd ever seen. And I was particularly impressed because it's really sensitive. Plus, it's the Smithsonian Museum of American History, it's on the Mall, it's yards from the White House, and a stone's throw from the Congress building. There's a sense that this is the official history, it has this sort of weight based on where it is and the fact that it's the Smithsonian. Teacher 1: What struck me, I was wondering if this means how far we've come as a society, because do you think that 50 years ago you could have had an exhibit like this? Christopher Hamner: No, and that's something they didn't talk about, but I love the way that you're thinking in terms of this as a source. If you went back 50 years ago, totally different. Teacher 2: I liked the human touch to it, because they're much more complicated and they have to deal with their times. Rex Ellis: We know a great deal about a small number of the enslaved at Monticello. I told you there were over 600; I've introduced you to maybe 30 or 40 that we know a great deal about. Don't you dare leave thinking that those other 500 are not important as well. The fact that we have their names is a testament to Jefferson's record keeping and also to the history and the historians who have made this all happen. But if you ask me why I would say that Jefferson was anomalous and he was not normal—Jefferson said that he did not want—and I'm paraphrasing—but he said he wanted his enslaved population to respect him; he did not want them to fear him. He tried to keep the families together, he discouraged abroad marriages, he tried to get them to marry on the mountain so that the family was together there. So all of that is what makes me suggest that as a slave owner—Now I don't think that there is such a thing as a "good" slave owner, especially someone like Jefferson—when you think of the fact that he was governor of Virginia, when you think of the fact that he was a two-term president, when you think of the fact that he was Secretary of State, he had a variety of opportunities to do something significant about the institution of slavery. He never did. So, there is that reality to him; but there's also the other reality. And I think the public Jefferson and the private Jefferson are two different Jeffersons all together. In order to see Jefferson clearly, you have to see him through the lens of his enslaved community as well.