Incorporating 20th Century US Environmental History in the 6-12 Classroom

Article Body

Introduction: How to Use this Guide

Organization

  • Sources are sorted into four thematic sections, arranged chronologically.
  • Each section begins with an overview and index of sources.
  • Primary sources are curated alongside questions, videos, and podcasts to help contextualize each source.

Links

  • Many sources are linked to their hosting websites (external to this site).

 

Environmentalism in the Progressive Era & WWI (c. 1890-1920)

Overview

The primary source documents and videos in this section illustrate the growing environmental ethos evident in the early twentieth century, from the Progressive Era through Wold War I.

The Progressive Era, spanning roughly from 1890-1920, can be understood as a period of reform movements formed in response to rapid industrialization, urbanization, and commercialization. Among these reform movements were two early environmental movements known as preservationism and conservationism. Preservationists believed that natural landscapes should be left exactly as they were, and conservationists sought to maintain natural resources in order for them to be best used and enjoyed. John Muir was known as the most prominent preservationist, whereas Gifford Pinchot was known as the most prominent conservationist.

This growing environmental ethos continued into World War I, as Americans conserved and rationed resources in order to support the war effort. Through their participation in garden clubs and local victory gardens, American women and children on the home front used agricultural practices to support soldiers abroad.

The sources in this section exemplify the many perspectives among Americans fostering connections to the environment in the early twentieth century.

Sources

  • Essay: Gifford Pinchot, 1890 (Excerpt) 
    • 6-12 Video: Mira Lloyd Dock: A Beautiful Crusade
  • Legislative Summary of the Bill to Establish the National Park Service, 1916
    • 6-12 Video: Brigadier General Charles Young
  • “Everybody Plant a Garden,” Richmond Times-Dispatch, April 22, 1917
  • “Yule Exhibits in Portsmouth,” Virginian-Pilot, December 11, 1941
  • Will you have a part in Victory? 1918 Poster
  • The Gardens of Victory, Poster
    • Victory Gardens Video

 

Excerpt: Gifford Pincho Essay, 1890

Link: https://dp.la/primary-source-sets/environmental-preservation-in-the-progressive-era/sources/919


Excerpt from essay on pg 327

Background:

  • Gifford Pinchot (1865-1946) was known as the “father of American forestry.”
  • He was an influential Progressive Era conservationist who advocated for the protection of natural resources in the United States.
  • This 1908 Essay discusses issues of deforestation, the over-extraction of coal and other minerals, and the negative effects of monopolies on natural resources.
  • Pinchot calls for a “New Point of View” regarding the environment, and he appeals to doing so for future generations and the United States as a nation.

Discussion Questions: 

  • Which natural resources do you think Pinchot is referring to?
  • What might Pinchot mean by a “critical point” in history?
  • In what ways might this relate to industrialization?

Extension Video:

Mira Lloyd Dock: A Beautiful Crusade (Link to Web)

Annotation/Discussion Questions:

  • How might Dock’s experiences growing up in an industrializing city influenced her career trajectory?
  • What were some of the environmental hazards
    Harrisburg faced due to industrialization?
  • What were some of the argument Dock made for cleaning up Harrisburg? How might her trip to Europe have influenced her arguments?
  • How might public parks have helped industrializing cities?
  • How might Harrisburg’s city beautiful movement have influenced movements in other cities, as well as city parks in our own time?

 

1916 Congressional bill to establish the National Park Service & NPS Video

Link: https://dp.la/primary-source-sets/environmental-preservation-in-the-progressive-era/sources/913

1916 Congressional bill to establish the NPS

Background:

  • President Woodrow Wilson established the NPS
    into law through the 1916 “Organic Act.”
  • Congress proposed a bill to establish the NPS in response to the growing national ethos toward conservation coming out of the Progressive Era.
  • This Congressional report summarizes the bill,
    highlighting the utility behind the creation of the
    NPS under the Secretary of the Interior.

Annotation/Discussion Questions:

  • In the first paragraph, the report summarizes the main purposes behind the foundation
    of the National Park Service. What are they?
  • Which department will manage the NPS? Why do you think Progressive Era Americans wanted the federal government to oversee parks? How might this fit into broader Progressive Era reforms?
  • How does Congress distinguish the difference between the National Parks and the National Forests?

Extension Video:

Brigadier General Charles Young Link: https://home.nps.gov/seki/learn/historyculture/young.htm

Background:

  • First Black National Park Super Intendant of Sequoia National Park
  • Prolific military career despite segregation of US armed forces

Link to Supplementary Lesson Plan, NPS: https://home.nps.gov/articles/000/-h-our-history-lesson-fit-for-service-colonel-charles-young-s-protest-ride.htm

 

"Everybody Plant a Garden," Richmond Times-Dispatch, April 22, 1917

Everybody Plant a Garden Newspaper article

 

Annotation:

  • As a newspaper, this was intended for a wide audience and was published just weeks after the US declared war on Germany during WWI. Victory Gardens were encouraged as a way to help with food shortages and rations during the war. Gardening also gave people something to do and a way to participate that would ease anxieties about the war, food, and the threat of inflation.
  • While Garden Clubs were primarily run by women, men and children were also encouraged to join so the whole family could be involved.
  • War took millions of men away from their jobs which included agriculture and transportation. Imports of goods from other countries including fertilizer also slowed or stopped. With decreased home grown food and decreased imports of foreign food, shortages occurred  which caused increased prices and hoarding.
  • The bank invested in the Garden Club in support of the war effort and the local economy.

Discussion Questions:

  • Why might the Bank sponsor a Garden Club? For what reasons might the government have encouraged victory gardens?
  • What benefits do you think victory gardens provided?
  • What do you need to start a Victory Garden? Can everyone do it? (knowledge, tools)

 

"Yule Exhibits in Portsmouth," Virginian-Pilot, December 11, 1941

Yule Exhibits in Portsmouth Newspaper Article

Annotation:

  • As a newspaper, this was intended for a wide public audience. The date reveals that this Yule Exhibit was held the weekend after the attack on Pearl Harbor.
  • A Federation of Garden Clubs through the County indicates that Garden club work was important to the government. Even on the local level, there was institutional support of the war effort.
  • This exhibit attempted to make conservation interesting
    to a wide audience by connecting it to Christmas, and
    hoped to encourage families to reduce waste and decorate using recycled materials at home. Reducing
    waste was important during war time when money and
    resources were scarce.
  • All of the club’s leaders were women which shows that
    conservation was seen as a “women’s activity.” Garden
    Clubs provided women leadership opportunities. Also note that they were all listed by their husbands’ names.
  • Garden Clubs were often made exclusive to only wealthy
    white women. This article shows that in spite of
    segregation, Black women organized their own Garden
    Clubs and advocated for conservation.

Extension Videos:

Smithsonian Gardens: https://www.youtube.com/watch?v=TtrlcLslK5w

Discussion Questions:

  • How might Garden Clubs connect to politics?
  • Why was gardening an “acceptable” way for women to become activists and professionals?
  • What were gender roles of the time? How did this work stay within or reject them?

 

Will you have a part in Victory? 1918

Link: https://www.loc.gov/item/2002712327/

Will you have a part in victory? painting of woman dressed in american flag tossing seeds into a field.

Annotation:

  • This was published by the National War Garden Commission, a temporary department created to encourage gardening during WWI.
  • Dressed in the American flag, this woman, beautiful and innocent looking, represents the country. She appears delicate and yet powerful, but ultimately worthy of
    protection. She walks with a purpose and sows seeds that presumably will allow the nation to win the war. This imagery is often used for America or American ideals (think Statue of Liberty). The image conjures an emotional attachment to the nation, but also inspires women to join her in the garden or farm fields.
  • “Every Garden a Munition Plant” communicates that growing food is just as important as manufacturing guns and ammunition.

Discussion Questions:

  • How is this similar to or different
    from other propaganda images?
  • Why might America be depicted in
    this way? Where have we seen
    something similar?
  • Why do you think the painting/image
    was made to look this way?
  • Who is the audience for this image?

 

The Gardens of Victory

Gardens of Victory Video

Link: https://www.youtube.com/watch?v=uBg1ND5X3tA

poster showing a family working in a garden with a basket full of vegetables they grew

Annotation:

  • This film was made by the United States Office of Civil Defense. It shows the wartime need for vegetable gardens. It advertises that people can get instructions from the government on how to plant a successful garden. The film also says that people benefit from being in the sun and feeling involved in the war effort.
  • In both of these sources, every member of the family is shown participating in the garden. The poster is not just focused on a wife or mother, in fact she is in the back. This family also does not appear to be wealthy which suggests Victory Gardening is for everyone.
  • “Our food is fighting,” is similar to the WWI Poster that said “Every Garden, a Munitions Plant.” Food is seen as just important as military material and action.

Discussion Questions:

  • Do you think this video would have been helpful to people? Why?
  • What are some of the benefits victory gardens provided?
  • How is this poster similar to or different from other propaganda images?
  • Do you see any similarities or differences between these sources and victory garden material from WWI?

 

The Great Depression & The New Deal (c.1929-1945)

Overview

The sources in this section chronicle the environmental aspects of the Great Depression and the New Deal. This period can be studied for both its environmental disaster and federal initiatives toward conservation and reforestation.

In the early 1930s, as the Great Depression wreaked havoc on the economy, the Dust Bowl hit in the Great Plains and the eastern US. The Dust Bowl became known as the largest human caused environmental disaster in US history and is largely attributed to the poor use of agricultural lands as well that were intensified by a long drought in the region. The disaster would lead to mass migration from the Great Plains to Wester states, including California. Primary source photographs, an interview, and a PBS video illustrate the toll the Dust Bowl had on the environment and the people living there.

President Franklin Roosevelt’s New Deal ushered in a series of federally funded programs to alleviate financial burdens of the Great Depression, while also focusing on environmental projects. Notably, the Civilian Conservation Corps (CCC) employed young men to work on conservation initiatives and reforestation projects. Their work would benefit the National Park Service, as well as State Parks around the country.

Sources

  • The Dust Bowl & The Great Depression
    • Photo: Arthur Rothstein, “Abandoned farm in the dust bowl area, Oklahoma,” April 1936, Farm Security Administration.
    • Photo: Dorothea Lange, “Migrant Mother: Birth of an Icon,” Nipomo, 1936.
    • Video: A Man-Made Ecological Disaster
    • Interview with Flora Robertson, 1940
  • Civilian Conservation Corps & the New Deal
    • Video: Zion National Park Ranger Minute
    • NPS, Civilian Conservation Corps Article
    • Video: Civilian Conservation Corps | Oregon Experience, Oregon Public Broadcasting

 

The Dust Bowl and the Great Depression

“Abandoned farm in the dust bowl area, Oklahoma. ” Photographed by Arthur Rothstein of the Farm Security Administration April 1936, Library of Congress.
“Abandoned farm in the dust bowl area, Oklahoma.”
Photographed by Arthur Rothstein of the Farm Security Administration April 1936, Library of Congress.
Dorothea Lange, “Migrant Mother: Birth of an Icon,” Nipomo, 1936, Oakland Museum of California.
Dorothea Lange,“Migrant Mother: Birth of an Icon,” Nipomo, 1936, Oakland Museum of California.

Background:

  • In the early 1930s, extreme drought hit the Great Plains. For decades, farmers in the region had been over-plowing and depleting the soil through a lack of crop rotation.
  • The drought, combined with high winds, caused massive
    dust storms that blew across the plains, further stripping topsoil.
  • Along with environmental damage, the Dust Bowl caused
    further economic hardship and health issues.
  • The Dust Bowl would also cause a mass migration of
    farmers out of states like Oklahoma, Texas, and Arkansas
    and to California as they searched for better opportunities.

Discussion Questions:

  • Describe what you see in the photo.
  • Read the caption:
    • Who took this photo and when?
    • Where is this located?
    • Why do you think this photo was taken?
    • Why might this photo have historical significance?
  • Taken together, how do these two photographs provide different perspectives of the Dust Bowl and the Great Depression (eg. environmental, migration, childhood)

Extension Videos:

A Man-Made Ecological Disaster

Link: https://www.pbslearningmedia.org/resource/ecological-disaster-ken-burns-dust-bowl/ken-burns-the-dust-bowl/

Interview with Flora Robertson, 1940

Link: https://history.iowa.gov/history/education/educator-resources/primary-source-sets/dust-bowl/interview-flora-robertson-about

Discussion Questions:

  • When was this interview recorded and where is Flora located?
  • How did Flora take to protect her from the dust storms?
  • Why might Flora have waited to move to California?
  • How does a personal account of the Dust Bowl add to your understanding of what happened?

 

Segregation and Jim Crow in the Environment

Overview

In the early twentieth century, Jim Crow segregation relegated Black Americans to separate and often unequal environmental spaces. In spite of this, Black Americans had robust relationships to the environment through recreation, and commercial or personal ownership.

The sources in this section highlight the specific ways outdoor spaces were segregated through law and social custom. The sources also reveal how Black Americans maintained connection to the outdoors despite the segregation they actively fought, creating spaces of joy and environmental connection for their communities. By exploring these not so distant stories, students will also be able to consider what effects of environmental segregation and racism are still present today.

Sources

  • Ownership and Segregation of Beaches
    • Photo: “YWCA camp for girls. Highland Beach, Maryland,”
      1930, Scurlock Studio Records, Box 41, Archives Center,
      Smithsonian National Museum of American History.
    • Newspaper: “Police on Guard at Wade-In,” Chicago Tribune, July 9, 1961
    • Video: “Five Minute Histories: Carr’s Beach,” Baltimore Heritage, August 25, 2023.
  • “African Americans and the Great Outdoors,” National Park Service, Digital Project and Map

Ownership and Segregation of Beaches

YWCA camp for girls. Highland Beach, Maryland, 1930, Smithsonian National Museum of American History.
YWCA camp for girls. Highland Beach, Maryland, 1930,
Smithsonian National Museum of American History. https://sova.si.edu/search/ark:/65665/ep80096b07bf0a64bfb9fd5ec70b4dd9cc6


Annotation:

  • Incorporated in 1922, Highland Beach was the first African American municipality in Maryland. It was also the first African American Summer Resort in the Country.
  • Many very wealthy African Americans including Mary Church Terrell and Charles Douglass.
  • In the late 1800s and early 1900s, most beaches and coastal properties were owned by Black people, particularly formerly enslaved folks and their descendants because the weather and sandy soil made the land less valuable. In the 20th century, predatory white land developers started trying to take these properties and monetize them as segregated beaches and resorts.
  • The car and clothing hint at when this was taken, and reveal the presence of Black people in outdoor spaces, specifically beaches, long before desegregation.
  • This photo is of a YWCA camp for girls. Recreation, specifically in the outdoors, was not limited to just boys.
Chicago Tribune, July 9, 1961.
Chicago Tribune, July 9, 1961.

Annotation:

  • Wade-ins were just like sit-in protests happening at lunch counters during the civil rights movement. Instead of sitting down in restaurants, activists were visiting the beach and swimming in the ocean.
  • Many of the beaches where wade-ins occurred, including Rainbow Beach, were not legally segregated, but were “segregated by custom,” meaning that only white people had been welcome there for many years, they were dangerous places for Black people to go.
  • Wade-ins advocated for integration. Many communities ended up getting designated Black beaches rather than equal access to all beaches.
  • The police are facing the group of protestors. This stance indicates that the protestors were seen as the threat of violence rather than the racist mob.
  • Although no violence was reported, ten people were arrested for “unlawful assembly.” This charge is meant for people who enter a space illegally or who threaten public safety. Since there was no legal segregation of Rainbow Beach, neither one of these things was the case.

Discussion Questions:

  • What or who do you see in these photos?
  • When do you think these photos were taken?
  • Why do you think the photos were taken?
  • Did anything in the photos surprise you?
  • What questions do you have for the photos?

 

The Environmental Movements of the 1960s and 1970s

Overview

By the 1960s, decades of industrialization, resource over-extraction, and use of harmful chemicals had taken a noticeable environmental toll. The sources in this section explore the environmental movements of the 1960s and 1970s and pieces of federal legislation passed in response to the growing popular movement to protect the environment.

By the early 1960s and 1970s, what had been a burgeoning environmental movement grew into the mainstream as activists and scholars alike noticed an intensifying environmental crisis. Some key issues included deforestation, air and water pollution, and species extinction. A few key moments in this growing environmental movement include: the fight against DDT, made popular by Rachel Carson’s Silent Spring; the first Earth Day in 1970; and the American Indian Movement’s March to Wounded Knee in 1973. Important pieces of legislation include the Wilderness Act (1964), Clean Air Act (1970), the Endangered Species Act (1973).

Sources

  • "DDT is good for me-e-e," Advertisement, Time Magazine, June 30, 1947
    • Podcast: "DDT: The Britney Spears of Chemicals"
  • Rachel Carson, Silent Spring, excerpts
    • American Experience: Rachel Carson Video
  • Earth Day and March to Wounded Knee
    • Walter Cronkite, Earth Day CBS News Broadcast, April 22, 1970
    • "World Pilgrimage: Wounded Knee," Poster, April 22, 1970
    • Podcast: Throughline, "The Force of Nature"
    • Video: PBS, "The American Indian Movement and Wounded Knee"
  • Environmental Movement: Legislation
    • Complete Text of the Wilderness Act (Teaching Version)
    • Endangered Species Act of 1973
    • Video: PBS Learning Media, "Birth of the Clean Air Act"
    • Video: US Fish and Wildlife Service, Endangered Species Act 101

"DDT is good for me-e-e," Advertisement, Time Magazine, June 30, 1947 

DDT Poster by the Penn Salt Chemicals Manufacturing Company. Poster touts the many beneficial uses of DDT.

(see https://digital.sciencehistory.org/works/1831ck18w)

Background

  • Created by the Penn Salt Chemicals company
  • Published in Time Magazine, June 1947
  • Touts the multiple uses and benefits of DDT for different audiences, including commercial farmers and in the home.
  • Dichloro-diphenyl-trichloroethane (DDT) was developed in the late nineteenth century, but became commercially available by the 1940s.
  • The US military initially used DDT to stop the spread of diseases, like malaria, that spread through insects.
  • DDT became commercially available in the 1940s as a pesticide that everyday Americans and famers could use to keep insects off of crops.
  • Rachel Carson’s Silent Spring has been credited with exposing the harms of DDT on human, animal, and plant health.
  • The movement against DDT can be seen as one of the main signifiers of the modern environmental movement, which had already started to take shape by the early 1960.

Discussion Questions

  • What kind of document is this? (Is it a newspaper article, an advertisement, a letter, etc.)
  • Who created this document?
  • Who might the intended audience be for this document?
  • Choose three of the photographs and text blurbs. What do these sections argue?
  • Taking the document as a whole, what do you think the argument of this document is?
  • Given what has been discussed about DDT, how might this document be misleading?

Extend: "DDT: The Britney Spears of Chemicals" Podcast, https://digital.sciencehistory.org/works/1831ck18w.

  • What were some of the initial uses of DDT?
  • When did the public start to question the use of DDT and why?
    • What are some of the different interpretations of when the public started doubting the use of DDT?
    • How did the Polio epidemic sway public opinion on DDT?
  • Where do we see discourses surrounding uses of chemicals and safety in today’s media?

Excerpts: Rachel Carson’s Silent Spring, 1962, Chapters 1 & 17

A Fable for Tomorrow page one. Above the text is a sketched landscape with trees and mountains

(see https://www.uky.edu/~tmute2/GEI-Web/GEI/GEI10/GEI%20past/GEI08-Global%20Env%20Issues/GEI%20lecturse/carson_silent-spring.pdf).

Background

  • Rachel Carson’s Silent Spring was published in 1962.
  • Carson’s work exposed the dangers of DDT to the public, spurring an already growing environmental movement.
  • Carson was born in Springdale, Pennsylvania (near Pittsburgh) in 1907, and died in 1964 after a battle with cancer.
  • Carson was one of the foremost nature writers of the twentieth century.
  • For more on Rachel Carson see: https://pabook.libraries.psu.edu/literary-cultural-heritage-map-pa/bios/carson__rachel_louise.

Video Source: American Experience on Rachel Carson https://www.youtube.com/watch?v=SeJNRaE11A0

Questions

  • Carson’s introduction spells out a “before” and “after.” How does she describe the natural landscape like before?
    • How does she describe the condition of nature after?
  • What is the cause of this change, according to Carson?
  • Why might Carson have called her book Silent Spring?
  • What is Carson’s call to action?
  • How does Carson appeal to broad audiences beyond the scientific profession?
  • How would you describe Carson’s philosophy behind humanity’s relationship with nature?
  • Do you think Carson’s observations and solutions are still relevant today? If so, how? 

The First Earth Day & March to Wounded Knee, 1970 & 1973

Walter Cronkite, Earth Day CBS News Broadcast, April 22, 1970, https://www.youtube.com/watch?v=WbwC281uzUs.

March to Wounded Knee: Earth Day World Pilgrimage Poster, 1973, Library of Congress, https://www.loc.gov/item/2016648085/

Poster reading March to Wounded Knee: Earth Day, April 20-22

Background

  • The growing popular movements aimed at environmental protection led to a major moment in 1970 with the first Earth Day.
  • Senator Gaylord Nelson of Wisconsin is credited with organizing the first Earth Day, wherein activists from across the country, protested the environmental degradation caused by unchecked industrial pollution.
  • The American Indian Movement (AIM) used Earth Day as a focal point of the 73-day Wounded Knee occupation in 1973.
    • AIM protested the US government’s broken promises and exploitation of American Indian land and human rights. Activists protested on the site of the 1890 Wounded Knee Massacre.

Cronkite Broadcast Questions

  • What are some of the environmental issues Earth Day might have remedied?
  • Who participated in the first Earth Day?
    • Why might Cronkite have said Earth Day “failed?”
  • What role do the media play in shaping public awareness and action on environmental issues?
  • How do you think the environmental movement has evolved since 1970?
    • In what ways do you think it has succeeded, and where do challenges remain?

March to Wounded Knee Poster Questions

  • Who created this poster, and when?
  • Why was this poster made?
  • What is on the poster, and what might these symbols represent?
  • How might the goals of Earth Day align with those of AIM?

Extension Podcast and Video

  • NPR Throughline Podcast, "The Force of Nature," https://www.npr.org/2021/04/19/988747549/earth-day-1970.
  • PBS Video: "The American Indian Movement at Wounded Knee," https://www.pbslearningmedia.org/resource/ush22-soc-aimwoundedknee/the-american-indian-movement-and-wounded-knee-we-shall-remain-wounded-knee/.

Environmental Movement: Legislation 

Background

The growing social and cultural movements throughout the 1960s and 1970s helped push both state and federal legislatures to pass a series of laws to combat air and water pollution, and curb species extinctions. Legislation including the Clean Air Act (1963, 1970), the Wilderness Act (1964), and the Endangered Species Act (1973), provided federal support for the conservation and protection natural environment. These acts, along with the creation of the Environmental Protection Agency (EPA) in 1970, formed the backbone of modern environmental policy, as the federal government began to take a more active role in environmental protection efforts. 

Sources

 

 

 

Incorporating 20th Century US Environmental History in the K-5 Classroom

Article Body

Introduction: How to Use this Guide

Organization

  • Sources are sorted into four thematic sections, arranged chronologically.
  • Each section begins with an overview and index of sources.
  • Primary sources are curated alongside questions, videos, and podcasts to help contextualize each source.

Links

  • Many sources are linked to their hosting websites (external to this site).

 

Environmentalism in the Progressive Era & WWI, c. 1890-1920

Overview

The primary source documents and videos in this section illustrate the growing environmental ethos evident in the early twentieth century, from the Progressive Era through Wold War I.

The Progressive Era, spanning roughly from 1890-1920, can be understood as a period of reform movements formed in response to rapid industrialization, urbanization, and commercialization. Among these reform movements were two early environmental movements known as preservationism and conservationism. Preservationists believed that natural landscapes should be left exactly as they were, and conservationists sought to maintain natural resources in order for them to be best used and enjoyed. John Muir was known as the most prominent preservationist, whereas Gifford Pinchot was known as the most prominent conservationist.

This growing environmental ethos continued into World War I, as Americans conserved and rationed resources in order to support the war effort. Through their participation in garden clubs and local victory gardens, American women and children on the home front used agricultural practices to support soldiers abroad.

The sources in this section exemplify the many perspectives among Americans fostering connections to the environment in the early twentieth century.

Sources

  • US Forest Service Video, "Gifford Pinchot Birthday Card"
  • National Parks Service Video, "Happy Birthday National Park Service!" 
  • National Parks Service Video, "Brigadier General Charles Young, Early Park Superintendent."  
  • "Everybody Plant a Garden," Richmond Times Dispatch, April 22, 1917.
    • Political cartoon, J.N. Darling, in the New York Tribune, 1919.
  • "Yule Exhibits in Portsmouth, Virginia Pilot, December 11, 1941.
    • Smithsonian Gardens Video.
  • "Will you have a part in Victory?" 1918, poster.
  • "The Gardens of Victory," poster.
    • Victory Gardens Video.

US Forest Service, "Gifford Pinchot Birthday Card" 

Link: https://www.youtube.com/watch?v=WgFlbQiG3j0.

Background:

  • Gifford Pinchot (1865-1946) was known as the “father of American forestry.” He was an influential Progressive Era conservationist who advocated for the protection of natural resources in the United States.

Discussion Questions:

  • The Grey Towers National Historic Site commemorates Pinchot. 
  • What does commemorate mean?
  • How might physical sites commemorate people?
  • Why might the Forest service want to tell Pinchot’s story?
  • What is scientific forestry?
  • Why might Pinchot have wanted to bring forestry to the United States?
  • What kinds of local and national political influence did Pinchot garner?

National Parks Service Video, "Happy Birthday National Park Service!" 

Link: https://www.nps.gov/media/video/view.htm?id=F4CA333A-E487-498D-BB0A-4E3D3729B9B7

Background:

  • President Woodrow Wilson established the NPS into law through the 1916 “Organic Act.”
  • Now, there are sixty-three National Parks across the country, serving millions of people each year. 

Discussion Questions 

  • What do you think of when you hear “National Parks”?
  • What is a Park Ranger?
    • Where do the Park Rangers in this video work?
  • List some of the National Parks described by these Park Rangers.
    • Do any of these places surprise you?
  • If you could make a site you know a National Park, which site would you choose? Why?

Brigadier General Charles Young, Early Park Superintendent

Link: https://home.nps.gov/seki/learn/historyculture/young.htm.

Background:

 

“Everybody Plant a Garden,” Richmond Times-Dispatch, April 22, 1917.

Everybody Plant a Garden newspaper article, sponsored by the American National Bank of Richmond, Virginia

Background

  • As a newspaper, this was intended for a wide audience and was published just weeks after the US declared war on Germany during WWI. Victory Gardens were encouraged as a way to help with food shortages and rations during the war. Gardening also gave people something to do and a way to participate that would ease anxieties about the war, food, and the threat of inflation.
  • While Garden Clubs were primarily run by women, men and children were also encouraged to join so the whole family could be involved.
  • War took millions of men away from their jobs which included agriculture and transportation. Imports of goods from other countries including fertilizer also slowed or stopped. With decreased home grown food and decreased imports of foreign food, shortages occurred which caused increased prices and hoarding.
  • The bank invested in the Garden Club in support of the war effort and the local economy.

Political cartoon, J.N. Darling, in the New York Tribune, 1919

Link: https://virginiahistory.org/learn/victory-gardens.

Cartoon featuring a line of vegetables with faces like people, and a soldier standing in front of them with a newspaper reading Uncle Sam Expects every war garden to do its duty.

Discussion Questions:

  • What do you see?
  • How might Cabbage Worms “enemy plotters” like our enemies in war?
  • Who do you think this cartoon is for?

 

“Yule Exhibits in Portsmouth,” Virginian-Pilot, December 11, 1941. 

 

Article about a conservation yule show in Portsmouth-Norfolk County, Virginia.

Background

  • As a newspaper, this was intended for a wide public audience. The date reveals that this Yule Exhibit was held the weekend after the attack on Pearl Harbor.
  • A Federation of Garden Clubs through the County indicates that Garden club work was important to the government. Even on the local level, there was institutional support of the war effort.
  • This exhibit attempted to make conservation interesting to a wide audience by connecting it to Christmas, and hoped to encourage families to reduce waste and decorate using recycled materials at home. Reducing waste was important during war time when money and resources were scarce.
  • All of the club’s leaders were women which shows that conservation was seen as a “women’s activity.” Garden Clubs provided women leadership opportunities. Also note that they were all listed by their husbands’ names.
  • Garden Clubs were often made exclusive to only wealthy white women. This article shows that in spite of segregation, Black women organized their own Garden Clubs and advocated for conservation.

Smithsonian Gardens Video

Link: https://www.youtube.com/watch?v=TtrlcLslK5w. 

Discussion Questions

  • Are the photos you see in this video in Black and White?
  • What might that mean?
  • What are some reasons people have gardens today?
  • What are some reason why people had gardens back then?
  • Why is gardening good?
  • Why is reducing waste good?
  • What did the women in Garden Clubs do besides garden?
  • How might Garden Clubs have benefited communities?

 

Will you have a part in Victory? 1918

Link: https://www.loc.gov/item/2002712327/

Image showing woman dressed in american flag walking and sprinkling seeds into a field

Background

  • This was published by the National War Garden Commission, a temporary department created to encourage gardening during WWI.
  • Dressed in the American flag, this woman, beautiful and innocent looking, represents the country. She appears delicate and yet powerful, but ultimately worthy of
    protection. She walks with a purpose and sows seeds that presumably will allow the nation to win the war. This imagery is often used for America or American ideals (think Statue of Liberty). The image conjures an emotional attachment to the nation, but also inspires women to join her in the garden or farm fields.
  • “Every Garden a Munition Plant” communicates that growing food is just as important as manufacturing guns and ammunition.

Discussion Questions:

  • What do you see? What do you wonder about this image?
  • Why is the woman dressed in an American flag?
  • Is this similar to other propaganda images?
  • Why was food important during the war?

 

The Gardens of Victory Video

Link: https://www.youtube.com/watch?v=uBg1ND5X3tA

Discussion Questions:

  • What do you notice about this video?
  • When do you think this video was made? Why?
  • What are some reasons why people have gardens today?
  • Why might people have had gardens back then?
  • What is a ration?
  • Do you have questions about the video?

 

The Great Depression and the New Deal (c. 1929-1945)

Overview

The sources in this section chronicle the environmental aspects of the Great Depression and the New Deal. This period can be studied for both its environmental disaster and federal initiatives toward conservation and reforestation.

In the early 1930s, as the Great Depression wreaked havoc on the economy, the Dust Bowl hit in the Great Plains and the eastern US. The Dust Bowl became known as the largest human caused environmental disaster in US history and is largely attributed to the poor use of agricultural lands as well that were intensified by a long drought in the region. The disaster would lead to mass migration from the Great Plains to Wester states, including California. Primary source photographs, an interview, and a PBS video illustrate the toll the Dust Bowl had on the environment and the people living there.

President Franklin Roosevelt’s New Deal ushered in a series of federally funded programs to alleviate financial burdens of the Great Depression, while also focusing on environmental projects. Notably, the Civilian Conservation Corps (CCC) employed young men to work on conservation initiatives and reforestation projects. Their work would benefit the National Park Service, as well as State Parks around the country.

Sources

  • The Dust Bowl & The Great Depression
    • Photo: Arthur Rothstein, “Abandoned farm in the dust bowl area, Oklahoma,” April 1936, Farm Security Administration.
    • Photo: Dorothea Lange, “Migrant Mother: Birth of an Icon,” Nipomo, 1936.
    • Video: A Man-Made Ecological Disaster
    • Interview with Flora Robertson, 1940
  • Civilian Conservation Corps & the New Deal
    • Video: Zion National Park Ranger Minute
    • NPS, Civilian Conservation Corps Article
    • Video: Civilian Conservation Corps | Oregon Experience, Oregon Public Broadcasting

The Dust Bowl and the Great Depression

“Abandoned farm in the dust bowl area, Oklahoma.” Photographed by Arthur Rothstein of the Farm Security Administration April 1936, Library of Congress.
“Abandoned farm in the dust bowl area, Oklahoma.”
Photographed by Arthur Rothstein of the Farm Security Administration April 1936, Library of Congress.
Dorothea Lange,“Migrant Mother: Birth of an Icon,” Nipomo, 1936, Oakland Museum of California.
Dorothea Lange,“Migrant Mother: Birth of an Icon,” Nipomo, 1936, Oakland Museum of California.

Background:

  • In the early 1930s, extreme drought hit the Great Plains. For decades, farmers in the region had been over-plowing and depleting the soil through a lack of crop rotation.
  • The drought, combined with high winds, caused massive
    dust storms that blew across the plains, further stripping topsoil.
  • Along with environmental damage, the Dust Bowl caused
    further economic hardship and health issues.
  • The Dust Bowl would also cause a mass migration of
    farmers out of states like Oklahoma, Texas, and Arkansas
    and to California as they searched for better opportunities.

Discussion Questions:

  • What do you see in these photos?
  • What people and objects do you see?
  • When do you think these photos were taken?
  • Why do you think the photo was taken?
  • How might the Dust Bowl have affected women and children?
  • How might the Dust Bowl have affected the environment?

Civilian Conservation Corps & the New Deal

National Park Service Ranger Minute Link: https://www.youtube.com/watch?v=zPvnXG8qSTs

National Park Service CCC Article Link: https://www.nps.gov/articles/the-civilian-conservation-corps.htm

Oregon Public Broadcasting CCC Video (28 min) Link: https://www.youtube.com/watch?v=6ZArEDEVo4s

Analyzing Photographs & Discussion Questions:

  • What do you see in these photos?
  • What people and objects do you see?
  • When do you think these photos were taken?
  • Why do you think the photo was taken?
  • How did the Civilian Conservation Corps help people? How did it help the earth?
  • Would you join the CCC? Why or why not?

 

Segregation and Jim Crow in the Environment

Overview

In the early twentieth century, Jim Crow segregation relegated Black Americans to separate and often unequal environmental spaces. In spite of this, Black Americans had robust relationships to the environment through recreation, and commercial or personal ownership.

The sources in this section highlight the specific ways outdoor spaces were segregated through law and social custom. The sources also reveal how Black Americans maintained connection to the outdoors despite the segregation they actively fought, creating spaces of joy and environmental connection for their communities. By exploring these not so distant stories, students will also be able to consider what effects of environmental segregation and racism are still present today.

Sources

  • Ownership and Segregation of Beaches
    • Photo: “YWCA camp for girls. Highland Beach, Maryland,” 1930, Scurlock Studio Records, Box 41, Archives Center, Smithsonian National Museum of American History.
    • Newspaper: “Police on Guard at Wade-In,” Chicago Tribune, July 9, 1961

Ownership and Segregation of Beaches

YWCA camp for girls. Highland Beach, Maryland, 1930, Smithsonian National Museum of American History.
YWCA camp for girls. Highland Beach, Maryland, 1930,
Smithsonian National Museum of American History. https://sova.si.edu/search/ark:/65665/ep80096b07bf0a64bfb9fd5ec70b4dd9cc6

Annotation:

  • Incorporated in 1922, Highland Beach was the first African American municipality in Maryland. It was also the first African American Summer Resort in the Country.
  • Many very wealthy African Americans including Mary Church Terrell and Charles Douglass.
  • In the late 1800s and early 1900s, most beaches and coastal properties were owned by Black people, particularly formerly enslaved folks and their descendants because the weather and sandy soil made the land less valuable. In the 20th century, predatory white land developers started trying to take these properties and monetize them as segregated beaches and resorts.
  • The car and clothing hint at when this was taken, and reveal the presence of Black people in outdoor spaces, specifically beaches, long before desegregation.
  • This photo is of a YWCA camp for girls. Recreation, specifically in the outdoors, was not limited to just boys.
“Chicago Tribune, July 9, 1961. Police on Guard at Beach Wade-In police stand and look down on group of young African Americans sitting on the beach.
“Chicago Tribune, July 9, 1961.

Annotation:

  • Wade-ins were just like sit-in protests happening at lunch
    counters during the civil rights movement. Instead of sitting down in restaurants, activists were visiting the beach and swimming in the ocean.
  • Many of the beaches where wade-ins occurred, including Rainbow Beach, were not legally segregated, but were “segregated by custom,” meaning that only white people had been welcome there for many years, they were dangerous places for Black people to go.
  • Wade-ins advocated for integration. Many communities ended up getting designated Black beaches rather than equal access to all beaches.
  • The police are facing the group of protestors. This stance indicates that the protestors were seen as the threat of violence rather than the racist mob.
  • Although no violence was reported, ten people were arrested for “unlawful assembly.” This charge is meant for people who enter a space illegally or who threaten public safety. Since there was no legal segregation of Rainbow Beach, neither one of these things was the case.

Discussion Questions:

  • What or who do you see in these photos?
  • When do you think these photos were taken?
  • Why do you think the photos were taken?
  • Did anything in the photos surprise you?
  • What questions do you have for the photos?

The Environmental Movement of the 1960s and 1970s

Overview

By the 1960s, decades of industrialization, resource over-extraction, and use of harmful chemicals had taken a noticeable environmental toll. The sources in this section explore the environmental movements of the 1960s and 1970s and pieces of federal legislation passed in response to the growing popular movement to protect the environment.

By the early 1960s and 1970s, what had been a burgeoning environmental movement grew into the mainstream as activists and scholars alike noticed an intensifying environmental crisis. Some key issues included deforestation, air and water pollution, and species extinction. A few key moments in this growing environmental movement include: the fight against DDT, made popular by Rachel Carson’s Silent Spring; the first Earth Day in 1970; and the American Indian Movement’s March to Wounded Knee in 1973. Important pieces of legislation include the Wilderness Act (1964), Clean Air Act (1970), the Endangered Species Act (1973).

Sources

  • “DDT is good for me-e-e” Advertisement, Time Magazine, June 30, 1947.
  • Rachel Carson’s Silent Spring
    • Video: Rachel Carson and the Origin of Scientific Environmentalism
  • Earth Day & March to Wounded Knee
    • Walter Cronkite, Earth Day CBS News Broadcast, April 22, 1970
    • “World Pilgrimage: Wounded Knee,” Poster, April 22, 1970.
    • Video: PBS, “All About Holidays: Earth Day”
  • Environmental Movement: Legislation
    • Video: Endangered Species Act Overview, U.S. Fish and Wildlife Service

 

"DDT is good for me-e-e," Advertisement, Time Magazine, June 30, 1947

DDT is good for me-e-e magazine page

Link: https://digital.sciencehistory.org/works/1831ck18w

 

Background:

  • Dichloro-diphenyl-trichloroethane (DDT) was developed in the late nineteenth century, but became commercially available by the 1940s.
  • The US military initially used DDT to stop the spread of diseases, like malaria, that spread through insects.
  • DDT became commercially available in the 1940s as a pesticide that everyday Americans and famers could use to keep insects off of crops.
  • Rachel Carson’s Silent Spring has been credited with exposing the harms of DDT on human, animal, and plant health.
  • The movement against DDT can be seen as one of the main signifiers of the modern environmental movement, which had already started to take shape by the early 1960s.

Annotation:

  • Created by the Penn Salt Chemicals company
  • Published in Time Magazine, June 1947
  • Touts the multiple uses and benefits of DDT for different audiences, including commercial farmers and in the home.

Discussion Questions:

  • What kind of document is this? (Is it a newspaper article, an advertisement, a letter, etc.)
  • Who created this document?
  • Who might the intended audience be for this document?
  • Choose three of the photographs and text blurbs. What do these sections argue?
  • Taking the document as a whole, what do you think the argument of this document is?
  • Given what has been discussed about DDT, how might this document be misleading?

 

Rachel Carson's Silent Spring

Rachel Carson and the Origin of Scientific Environmentalism Video Link: https://www.youtube.com/watch?v=GCYEElzrK64

Discussion Questions:

  • What were some of Carson’s “unique talents”?
  • How did Carson communicate her findings to the public, and why might her message have been important?
  • Why might Carson’s writings appeal to us today?

 

The First Earth Day & March to Wounded Knee, 1970 & 1973

Background:

  • The growing popular movements aimed at environmental protection led to a major moment in 1970 with the first Earth Day.
  • Senator Gaylord Nelson of Wisconsin is credited with organizing the first Earth Day, wherein activists from across the country, protested the environmental degradation caused by unchecked industrial pollution.
  • The American Indian Movement (AIM) used Earth Day as a focal point of the 73-day Wounded Knee occupation in 1973.
    • AIM protested the US government’s broken promises and exploitation of American Indian land and human rights. Activists protested on the site of the 1890 Wounded Knee Massacre.

Walter Cronkite, Earth Day, CBS News Broadcast, April 22,1970. Video Link: https://www.youtube.com/watch?v=WbwC281uzUs

Discussion Questions:

  • What are some of the environmental issues Earth Day might have remedied?
  • Who participated in the first Earth Day?
    • Why might Kronkite have said Earth Day “failed?”
  • What role do the media play in shaping public awareness and action on environmental issues?
  • How do you think the environmental movement has evolved since 1970?
    • In what ways do you think it has succeeded, and where do challenges remain?
March to wounded knee poster
March to Wounded Knee: Earth Day World Piligramage Poster, 1973, Library of Congress. https://www.loc.gov/item/2016648085/

Discussion Questions:

  • Who created this poster, and when?
  • Why was this poster made?
  • What is on the poster, and what might these symbols represent?
  • How might the goals of Earth Day align with those of AIM?

PBS, All About Holidays: Earth Day Video Link: https://www.youtube.com/watch?v=YuhpygdNmcQ&feature=youtu.be

Video: Endangered Species Act Overview, U.S. Fish and Wildlife Service, https://www.youtube.com/watch?v=9OAIlM1EFHc.

 

John F. Kennedy and Service

Teaser

Students learn about John F. Kennedy and his ideas about service as a prompt to explore what service means in their communities.  

lesson_image
Description

What does it mean to "ask not what your country can do for you but what you can for your country"? Students learn the context of JFK's phrase and craft their own "Ask Not" messages.

Article Body

In this teaching module from the Shapell Manuscript Foundation in collaboration with the Roy Rosenzweig Center for History and New Mediastudents explore rare and historically significant manuscripts from Shapell collection. These include handwritten documents by President John F. Kennedy including notes recording his well known call to service "Ask not what your country can do for you, but what you can do for your country." Students use documents to learn more about what President Kennedy meant by service and then develop their own ideas about how what service means in their community.

Students work in small groups to analyze these documents and think through the kinds of service Kennedy engaged in. Kennedy's service include his military service in the navy during World War II that he volunteered for despite the fact that his medical issues excused him from the draft. Students also learn about Kennedy's policies such as the Peace Corps which promoted the idea that young people could serve the world in a variety of ways.

After analyzing these primary sources students work in groups to create their "Ask Not" video to encourage young people to engage in service to their communities. As a possible extension, teachers can invite community leaders into the classroom to view the video presentations and offer feedback on what local service opportunities exist for young people.

Topic
John F Kennedy and Service
Time Estimate
90 minutes
flexibility_scale
2
Rubric_Content_Accurate_Scholarship

Yes

Rubric_Content_Historical_Background

Yes

Rubric_Content_Read_Write

Yes

Rubric_Analytical_Construct_Interpretations

Yes

Rubric_Analytical_Close_Reading_Sourcing

Yes

Rubric_Scaffolding_Appropriate

Yes

Rubric_Scaffolding_Supports_Historical_Thinking

Yes

Rubric_Structure_Assessment

Yes

Rubric_Structure_Realistic

Yes

Rubric_Structure_Learning_Goals

Yes

Statistics in Schools

Image
Annotation

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

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

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

Smithsonian American Art Museum: "Acehlous and Hercules"

Video Overview

How do you analyze a massive primary source? Divide it up! Suzannah Niepold of the Smithsonian American Art Museum guides teachers in observing Thomas Hart Benton's mural Achelous and Hercules. What parts of the painting seem realistic? What parts might be symbolic?

Video Clip Name
achelous1.mov
achelous2.mov
Video Clip Title
Analyzing the Mural
Sharing Observations
Video Clip Duration
5:25
5:49
Transcript Text

Suzannah Niepold: This, first off, is much, much bigger than the one we just saw. So what happens when we all look at the whole thing, to start with, is we forget and we miss out on some of the details, especially on the sides. So I'm going to start by asking you to divide in the middle, and have—actually this group is now a little bit bigger, divide in the middle. And have this group look at everything from this man over this way. And you guys look at everything from this woman in blue over this way. Look closely, notice as much detail as you can, you can talk amongst yourselves; try and figure out what's going on in the picture, and keep an open mind for now. We'll put it all together later. Speaker 1: What do you think that is behind him? Is that clouds or… Speaker 2: I think it's mountain? Speaker 3: What did you guys decide this looked like? A river? Speaker 2: Because it's sort of the same color as what's in the foreground. He's gotta stand on something. Speaker 1: He's right, you're right. And then the river—and maybe that's muddy. Yeah, I saw that. Speaker 3: And that looks like Little Boy Blue! Speaker 1: Yeah, I saw that. Speaker 4: I'm not really sure what that is. What the woman—maybe Freedom? Speaker 1: Yeah, she's carrying like a wreath—that's what they used to wear. Speaker 3: And there's a steamboat— Speaker 4: Red is always a prominent color, and it's clearly in the center, so that must mean something. Speaker 1: Well, it's like blue and red. Speaker 5: It's like the muddy Mississippi? I don’t know. There's a steamboat. Speaker 4: I was thinking gold instead of muddy, but it could be muddy. Speaker 1: But it looks like it's harvest time. So all the work has been done, the food— Speaker 2: American bounty, the corn, the prosperous land. Speaker 1: And everything—at least these three subjects seem to be very relaxed. Speaker 2: Yep, not doing any work. Speaker 1: He's working, but it's okay, he's not being overworked. So there's a sense of safety, a sense of security. Suzannah Niepold: So, let's start with this group here, what's going on in this half of the artwork? Speaker 1: We were looking at—we started first on sort of the food. That it's harvest time, and then the people sitting on top of the cornucopia of food as maybe the food is the support system that allows them to feel secure and safe from want. And then we were looking at, in the background, at what we assume is water, but it's not blue—so is that golden? Or is it muddy to reflect the Mississippi because of the steamboat? And then we were looking at the mountain-slash-and/or clouds in the background and trying to decide what that was as well. Speaker 2: And didn't know if that was "Little Boy Blue." And the date is '47. Suzannah Niepold: And you saw that because the artist so inconveniently put that in the corner? Darn it! You noticed what's really prominent in this half of the picture is that harvest, the bounty, and it's all spilling out of the cornucopia. I like the way that you say that's maybe the support that makes them feel secure, and you used the phrase "freedom from want." Now what era is that from, too? Speaker 3: Roosevelt. Suzannah Niepold: Roosevelt, that's right, end of World War II. So that really fits right into this. And then you wondered also about this weird color, it's water because there's a steamboat on it, but maybe it's a golden color or a muddy churning color that made you think Mississippi, Old Muddy, that kind of thing. So you've situated it a little bit in place and time. How about this half of the artwork? Speaker 4: I grew up on a farm in northern California, so this really reminds me of home with the foothills, the coloring of the countryside, the live oaks along the ridgeline, and the mountains in the background. So that really reminded me of home and harvest time. Suzannah Niepold: So more harvest, American farm, American Dream. What else? Speaker 5: It looks like there's a struggle of some sort with the bull. It was at one point tied up, you can see the lasso around its horns but it's cut somehow. Suzannah Niepold: We talked about the farm; notice there's this struggle here between this man and the bull, he's gotten loose. What else is going on over here that we haven't talked about yet? Speaker 6: The African American gentleman on the fence there. Suzannah Niepold: So he's sitting on the fence, what might his role in this scene be? Speaker 7: I think the symbolism of him being "on the fence," it can go either way—he can help in this struggle, or he can—I don't know. Suzannah Niepold: Maybe, purposefully, he's literally on the fence as you noticed. Speaker 4: It looks like he was very content to watch, but now that the bull's broken free he's getting involved and coming in to help.

Suzannah Niepold: Putting the artwork together, how do you think the two halves fit?

Speaker 1: It's like a new Manifest Destiny, too. You've got Liberty right there on the cornucopia, and this seems more the wildness of the West. Like the Manifest Destiny picture that we've all seen before, you kind of move from progress to more wild.

Speaker 2: Almost two Americas, where on the one hand we have this security, we've won World War II, life is great; but then the bull being loose and still offering a threat is sort of there's still challenges out there that we need to face.

Suzannah Niepold: Okay, so there's still that struggle of two forces there in the middle.

Speaker 3: The right side seems very calm and serene, the boy is sitting very relaxed, and his eyes are almost closed. And the two women looking very peaceful, and she's almost falling asleep. On the left it's chaos, there's this raging bull.

Speaker 4: And the bull, doesn't it represent economy? Don't we have [on] Wall Street the big brass or whatever bull down there? And then there's this man on a horse waving in the background, and I'm not quite sure—he seems happy, but he seems to be saying goodbye; he doesn't seem to be coming, he seems to be leaving or passing by. So I don't know if the country's struggling with—cause after World War II, we're coming out of the Great Depression, and what does this new economy, the GI Bill being in place, I don't know if any of that—but yet, maybe we're moving from one base economy to another?

Speaker 5: The other thing with 1947—because African Americans were allowed to fight in World War II, but then they came back and they weren't given their rights; somebody said he's kind of like on the fence, and is he on on the fence because he's like, "Am I free? Do I have rights?"

Suzannah Niepold: Right, so pre-Civil Rights era. One thing that's interesting if you look to the bull, and maybe that's a symbol and maybe that means something else. One symbol we've seen him used for is the economy and the global market. Is there anything else that stands out that as though it might not belong on a farm in America in 1947 or doesn't look quite like it comes from that era?

Speaker 6: Maybe the cornucopia?

Suzannah Niepold: Yeah, I don't think you'd expect to—you probably, growing up on a farm, wouldn't have a giant cornucopia in your backyard?

Speaker 7: No, but it is a symbol that stands for something else.

Suzannah Niepold: Ah, so again a symbol that might be standing in for something else. Anything else that doesn't seem middle—middle America farm?

Speaker 8: Well things aren't all going to be on the same farm. It's agriculture from across the country. You're not going to grow grapes in the same place that you grow wheat in the same place that you grow pumpkins and—

Speaker 9: The other group pointed out the two women. They're not exactly wearing farm clothes. And the big cape—I'm not sure what's in her right hand.

Suzannah Niepold: So one woman almost compared to the Statue of Liberty, so maybe they're more symbolic than realistic as well. Now, we've covered up the label, but looking at a bit of information gives us some clues. Not only was it painted in 1947, it was painted by Thomas Hart Benton, who's a Missouri artist. But he called it Achelous and Hercules. If we look back at our Greek mythology, we see there's a myth of the fight between Hercules—who might be a familiar name, usually students have heard about him; he's the son of Zeus, he's half god, strong man. The myth is that he is fighting over a girl, he wants to marry Deianira, and he has to fight for her hand in combat with Achelous—who is a river god. He takes on many forms depending on the type of river; so if he is a winding river he's a snake, and if he's a charging river he is a bull. So here we have a symbol, maybe not of economy but of the river. And it's a battle between the river and between man. So knowing that, what do you think the artist may be trying to say? Why is the struggle between man and the river important in this setting?

Speaker 5: Irrigation projects?

Speaker 10: Flooding.

Suzannah Niepold: Flooding, irrigation.

Speaker 1: Transport of crops.

Suzannah Niepold: Right, transport. So all of this—if you notice this harvest, we need to harness nature to create that. But sometimes it fights back, right, someone mentioned flooding. Benton was living in Missouri on the Missouri River during some very severe floods. So when he was commissioned to paint this for a department store in Kansas City, he chose a scene that he thought the people in that area would respond to of man conquering the bull. Because what happens is Hercules rips off the bull's horn and that's what turns into the cornucopia, so that's how California got its symbol.

The label I didn't want you to read makes a connection to the Marshall Plan. The idea that Europe was starving after the war and America was very proud of its bounty and its ability to feed the world. So that's one connection you can make. I didn't want you to read it ahead of time because I didn't want that to be the only connection that you make.

A Close Look at the World War II Memorial

Video Overview

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

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

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

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

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

A Close Look at the FDR Memorial

Video Overview

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

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

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

Teacher 1: An experience.

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

Teacher 1: It's huge.

Teacher 2: It's larger than life.

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

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

Teacher 4: Him in his wheelchair.

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

Teacher 5: The money? They had extra money.

Teacher 6: This one was earlier.

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

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

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

Christopher Hamner: Why do we do that?

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

Christopher Hamner: I would imagine.

Teacher 5: It's not designed to teach.

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

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

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

Christopher Hamner: So who is it for?

Teacher 8: Everybody else.

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

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

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

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

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

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

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

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

Teacher 1: Time. Time kills it.

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

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

Paintings About Segregation

Video Overview

What did the experience of segregation look like? Suzannah Niepold of the Smithsonian American Art Museum guides teachers in analyzing three paintings on segregation: Jacob Lawrence's Bar and Grill (1941) and Community (1986) and Norman Lewis's Evening Rendezvous (1962).

Video Clip Name
segregation1.mov
segregation2.mov
Video Clip Title
Jacob Lawrence's "Bar and Grill"
Lawrence's "Community" & Norman Lewis's "Evening Rendezvous"
Video Clip Duration
4:57
3:46
Transcript Text

Suzannah Niepold: Some of you jumped right into this, but what's going on in this picture right here? Speaker 1: Segregation. Suzannah Niepold: Segregation. What do you see that makes you say that? Speaker 1: The big wall in the middle of the room. Suzannah Niepold: Big wall in the middle of the room. What more can you find? Speaker 1: Not equal. You've got the fan on the one side; the bartender is on the white side. Suzannah Niepold: The bar tender is on the white side of the bar; the fan is on that side of the bar. Speaker 2: Is the bartender holding a paper? Speaker 3: Yeah, I was trying to figure that out, it kinda looks like a face. Suzannah Niepold: What about his face? Speaker 3: No, this looks like a face, like, I feel like it's one of those cartoons, this is like the nose. We're trying to figure it out. Suzannah Niepold: Yes, it almost looks like there's a profile in possibly the newspaper he's holding; the shadow creates the image of a face. If that was intentional, what do you think the artist was trying to do there? What could it mean? Speaker 4: Have the white man looking at himself and actually reflecting upon what he's created, essentially. Looking at himself in the mirror, so to speak. Suzannah Niepold: Looking at himself in the mirror and reflecting on what he's created. And what has he created? Speaker 4: A segregated society, inequality, and divisiveness. Speaker 5: Unhappiness from the looks of all the people. Suzannah Niepold: So divisiveness, unhappiness, inequality. Are these kind of separate but equal? We talked about the fan and about the fact that he's sitting on this side of the bar. Is there anything else you notice that's different about the two sides? Speaker 3: There are physically more people on that side versus this side. Speaker 6: Am I mistaken, is this a woman on this side? Suzannah Niepold: In red, I believe. I would read that as a woman. Speaker 6: Okay, so that means something—I'm not sure what. Speaker 7: I don't know whether the character is either—I think he's dancing. Suzannah Niepold: The man with his hand up this way? Okay, that's one way to sort of read that pose. Speaker 7: And then over his shoulder there's another face. Suzannah Niepold: So there's maybe someone facing him and dancing with him. What does that tell you about this side of the room? There's a woman here, and maybe a second woman dancing with the man. Do you get a sense of the mood or the personality of this side as opposed to this side? Speaker 8: This one looks much more happy. This one, everyone looks angry or shady, or like something's going down. Suzannah Niepold: Shady, what do you see that makes you say shady? Speaker 8: I mean, this guy's like looking over his shoulder, that guy has his hat pulled down. And this side as much as it's not equal, they don't have the fan and things, I feel like they're having a better time. It's almost like they have their own—it's a different type of freedom. Suzannah Niepold: So some of the expressions and poses on this side are very—hat pulled down, over the shoulder, kind of angry looking or "shady," as you said. Speaker 9: The back of the bar's like lopsided—I don't know if that makes sense. Suzannah Niepold: How—well, tell me about the lopsided idea. Speaker 9: Well, it's not equal—it's not straight, I don't know. Speaker 10: I think it's really the white guy's perspective, too. You can tell that he's over here, if he's looking at it. So he painted himself on that side of the picture. Suzannah Niepold: So the artist put himself on the white half of the picture so that the person looking at it sees off to one side. We're not looking at it straight on, with the wall just being a thin shape, we're seeing the line of the wall. Speaker 1: A lot of bars have mirrors on the back, so, actually, the artist could be sitting— Suzannah Niepold: Yes, could be facing the mirror. Speaker 10: What's the year? Suzannah Niepold: 1941. Speaker 11: And the doorways, maybe it's just the angle, but the doorways are shorter—one's larger than the other, it appears. Suzannah Niepold: But we notice there's two doorways. Speaker 11: There's two doorways, exactly. Suzannah Niepold: Okay, so what else does that tell us? Multiple Speakers: They have separate entrances. Suzannah Niepold: Okay, so separate entrances. Almost trying to create two entirely separate spaces. What's interesting about the date this work was created is that Lawrence, as a Northern artist—he's born in New Jersey, he moves to Harlem, spends most of his life in Harlem. This is his first trip to the South, so it's his first experience with segregation. And he chooses to paint this. This is the year after his famous Migration Series, and if you know that series you know he's painted the South a great deal; he's kind of told those stories but he's never actually been there himself. So this is representing his first experience of being in a segregated place.

Suzannah Niepold: Next to this is another Jacob Lawrence, he painted this as a study for a mural for New York State on the theme of "Community." Notice again, it’s hard to see unless you come up a little bit closer to it. How is the mood of this piece maybe a little bit different from the mood of this piece? Speaker 1: It’s a little bit lighter; everyone’s together. Suzannah Niepold: Lighter, everyone is together. There’s not that big wall in the middle. Speaker 2: Lots of smiles. Suzannah Niepold: Yes, really exaggerated smiles on the faces of the people. Speaker 3: A sense of cooperation, people are bringing their tools, somebody’s already started working. Suzannah Niepold: So it’s a cooperative, productive environment of creation. Speaker 4: It’s not so much social, versus professional—for lack of a better term. Suzannah Niepold: And then the other contrast we can draw on this wall is this piece over here. This is later, this is 1962. And it’s interesting having it in the context of other works by African American artists, especially dealing with civil rights, because it is, of course, very different—it’s abstract. How can you read—in fact, come up closer, I'm sorry to make you keep moving, but you really need to see. What do you notice about this piece here? Speaker 1: Red, white, and blue. Suzannah Niepold: Okay, so red, white, and blue—we associate with America, American flags. Speaker 2: We’re looking at regionalism here in the United States? I don’t know. Speaker 3: Each color is in its own area. Suzannah Niepold: So how would you—where does the United States fit into this? Where do you see that? Speaker 2: Red, white, and blue, but then I can take West Coast, I can take the North, the Northeast, the Mid-Atlantic, the Southeast. Suzannah Niepold: So are you saying that you see the shape of the country? Speaker 2: If you wanna see it you can, yeah. Suzannah Niepold: That is the joy of abstract art, right? No, you’re not the only one to see the shape of the country in the colors; so maybe we’re looking at regional differences. Knowing that this is about civil rights, does anything start to emerge with the colors? Speaker 4: Upside-down peace symbol? Speaker 5: Abstract Klansmen. Suzannah Niepold: Can you point any out specifically? Speaker 5: I don’t know, that kind of strikes me— Speaker 6: Horsemen there, and this turns into flames when you put— Suzannah Niepold: So then the white maybe represents the white robes of the Klan, what might the other colors start to represent? Blood, flames, smoke, absolutely. So the red, white, and blue is kind of transformed into something very different. The title of the work is “Evening Rendezvous.” Why choose the title “Evening Rendezvous” rather than, you know, "Meeting of the Klan"? Speaker 7: It sounds a lot better. Suzannah Niepold: But it sounds better in what way? Speaker 7: I mean, it doesn’t sound bad. Speaker 3: Nothing bad is happening. Suzannah Niepold: Nothing bad is happening, it’s part of what’s going on. Speaker 8: They did things in secret; if people knew they were coming, they’d probably run.

Race and Ethnicity in Advertising

Annotation

Offering a new way of looking at the history of American culture and society, Race and Ethnicity in Advertising is a database of advertisements from across the United States throughout the 20th century.  This site offers a fresh lense for students to explore the changes in how Americans view themselves and each other in the world through the familiar medium of commercials and advertisements. 

Visitors to the site can explore the posters, videos, and images in three different ways.  With over 100 hundred pages of materials, every page offers diverse ads to analyze from the late 19th century through the early 21st century.  The option to browse by collection focuses on specific topics for analysis, such as Asian American representation and celebrity endorsement advertisements.  Browsing by essay is a function that highlights themes such as gender, stereotypes, and cultural transformation using adverts from different periods to demonstrate continuing trends.

The site is friendly to students of all ages with the background and contextual information provided for every advertisement.  Each item offers key information for students to place the ad within its historical context by providing the title, date, racial/ ethnic markers, and primary time period.  The Keywords and Context section also provides clarifying information that would assist students while evaluating sources or be a great way to introduce a new topic in the classroom.  

For Us the Living

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Annotation

For Us the Living is a resource for teachers that engages high school students through online primary-source based learning modules. Produced for the National Cemetery Administration's Veterans Legacy Program, this site tells stories of men and women buried in Alexandria National Cemetery, and helps students connect these stories to larger themes in American history. Primary sources used include photographs, maps, legislation, diaries, letters, and video interviews with scholars.

The site offers five modules for teachers to choose from, the first of which serves as an introduction to the cemetery's history. The other four cover topics such as: African American soldiers and a Civil War era protest for equal rights, the manhunt for John Wilkes Booth after Lincoln’s assassination, commemoration of Confederates during Reconstruction, and recognition of women for their military service. Most of the modules focus on the cemetery’s early history (founded in 1862) although two modules reach into the post-war era. Each module is presented as a mystery to solve, a question to answer, or a puzzle to unravel. Students must use historical and critical thinking skills to  uncover each story. Each module ends with two optional digital activities, a historical inquiry assignment and a service-learning project, related to the module theme.

Teachers should first visit the “Teach” section which allows them to preview each module (including its primary sources, questions and activities), learn how to get started, and see how the site’s modules connect with curriculum standards. In order to access the modules for classroom use, teachers do have to create their own account, but the sign up process is fast, easy, and best of all, free! The account allows teachers to set up multiple classes, choose specific module(s) for each class, assign due dates, and view student submissions.