>> Michael Apfeldorf: Hello.
I am showing 2 p.m.
Eastern time on my end,
so we will go ahead
and get started.
Welcome, everybody.
We're glad that you could
join us this afternoon.
My name is Michael Apfeldorf
with the Library of Congress.
Welcome to today's professional
development educator webinar
called Analyzing
Multiple Perspectives.
A few housekeeping items
before we get started.
For a smooth webinar experience
and to save bandwidth,
we will not be using
video for our speakers.
You will, however, be able
to see our PowerPoint slides,
hear our voices,
and use the chat.
We will also be recording
this program
and will serve this recording
to you as soon as we were able.
As this event will be recorded,
please note that any questions
or other participant
contributions may be made
publicly available as part
of the Library's archives.
Attendees staying for the
entire webinar will be --
will receive an automated email
certifying their attendance
to a one-hour professional
development event.
I want to go over a
few Zoom tips for you
to help you optimize your
experience over the next hour.
To optimize your screen for
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Or if you prefer
Side-by-Side Gallery,
you can use the little sliding
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speaker gallery.
Also, as we discussed, you will
have the opportunity to talk
to one another and the
presenters in the chat.
As you do so, we'd like to
ask you to please make sure
that you select All Panelists
and Attendees in the to box.
And you can see the screen
capture showing you the toggle
All Panelists and All
Panelist and Attendees.
Just make sure you select
All Panelists and Attendees
to make sure your colleagues
can see your thoughtful comments
as you enter them
throughout the session.
If you have not done so
yet, go ahead and enter
in the chat your first name,
where you're joining us
from, and why you're here.
And while you introduce
yourself,
I'd like to introduce
a few people
who will be helping
me in this session.
The session will be
facilitated by Cheryl Lederle,
Educational Resources
Specialist with the Library
of Congress, and myself.
Joining in the chat will be
Kaleena Black, our colleague,
who will be feeding you
information in the chat,
and answering your questions,
and engaging with you.
Darien Rivera [phonetic] will
also be joining us in the chat.
Okay, with that said,
let's go ahead
and start the main program,
Analyzing Multiple Perspectives.
Throughout the next hour,
Cheryl and I are going to go
through some strategies that
really dive into the idea
of having kids, having
students analyze primary sources
with the idea of identifying
multiple perspectives.
Some strategies will
really dive into how
to identify multiple
perspectives
from which a single primary
source can be examined.
Other strategies will involve
identifying multiple primary
sources, each one of which
has a different perspective.
And in general, we'll be talking
about analyzing primary sources
with multiple perspectives
and how students can develop
a more complete understanding
of history through engaging
with multiple perspectives
and also reflect on how these
strategies might be useful
in your classroom.
As we often do, we're
going to start
with a primary source
document to analyze.
And we're not going to get into
the diving into perspectives
at first 'cause what we want
to do is spend a little time --
maybe 5 to 10 minutes
-- on this document just
to get a good grounding
in the document itself.
What kind of details
do we see in it?
What kind of questions
do we have about it?
And just kind of understanding
and thinking about,
what do we think
this represents?
Once we kind of have a good
grounding in the source,
we'll then move on to bringing
in multiple perspectives.
So I want to start
just by asking you --
and yoiu can share in the chat--
As you observe the
document, what do you notice?
And feel free to share
your ideas in the chat.
Liz sees angelic
figure leading people.
The -- lots of people noticing
the woman in the middle.
There's some noticing
of Indians and farming,
light and dark colors, a
cloudy sky, light to dark.
A lot of people noticing
the angel in the middle
and also the contrast
between light and dark.
There's this movement
going to the left.
People are mentioning farmers
and sort of colonization.
Lots of people noticing the
Native Americans to the left.
And I see lots of comments
about the transportation.
There's trains.
There's lots of talk about --
Jay mentioned civilization
versus wilderness.
Angela says, "This is a painting
about Manifest Destiny,
I believe."
And Angela, feel free
to say more about that.
You have some prior
knowledge, it sounds like,
on this period in
American history.
We're seeing lots of
different kinds of people
and vehicles moving to the left.
I'm hearing about progress,
a progression of technology.
There's buffalos in the
background moving westward.
Laura mentions a romantic
ideal of pioneers moving west.
And I'd be curious to know
what makes you say that,
what makes you think that
this is a romantic ideal.
Anne [phonetic] mentions
the angle
of the Native Americans
look like they're fleeing.
Mary Anne [phonetic] says Native
Americans seem frightened.
You know, it's interesting, as
I reflect upon your comments,
I'm already seeing different
perspectives prop up here
in terms of a westward movement,
an ideal movement versus sort
of a frightened fleeing.
So there's already
kind of this sense
of perspective moving
into your comments.
We'll continue to work
that, with that more
as we go through the session.
Before I proceed further,
Cheryl, I'd like to invite you,
since the chat has been so
fast and furious, if you would
like to unmute and mention any
comments that I may have missed
that you feel that
you'd like to bring up.
>> Cheryl Lederle: Thanks, Mike.
Honestly, you have caught
the main themes very well,
so I don't have anything
to add right now.
>> Michael Apfeldorf: Thank you.
And so it's, also, I should
mention there was another
perspective brought in that
most of the settlers look
like they're white male.
So that was another -- the
gender aspect was something
that wasn't brought up before.
So as we continue to
analyze this source,
it's so rich in energy.
What's -- what can be helpful is
to look at sections zoomed in.
So what I've done is
cut this image in fours,
in terms of four quadrants.
Let's continue to analyze
it, just sort of pointing
out details in the
various quadrants.
So you should now see a zoom
in of the lower right-hand
quadrant.
And feel free to point out
anything that really pops to you
as you closely look
at this quadrant.
[laughs] The deer is
living the best life.
Thank you -- yeah,
the deer is going
in a completely different
direction
than everybody else,
which is interesting.
The elk is fleeing
from the settlers
but also from the farmers.
Yeah, the animal perspective is
something we don't often take
into account, is it?
Males farming and
settling in houses.
Right, so there's houses.
There's opportunities.
There's hand to plow, log house.
So a lot of the tools of
agriculture, and of farming,
and of cultivation
being illustrated.
Again, we see the technology
and the train in the background,
and the fencing, and the
technology being a part
of this westward expansion
and of this cultivation.
I'm going to keep moving
to the lower left quadrant.
We're going to be going in
clockwise, I believe, direction.
Anything you notice in the left,
lower left quadrant
that pops to you?
Some good questions
coming through too.
Does the stagecoach have
women or more wealthy in it?
So this idea of people
walking versus people riding.
Maybe there's class
difference in terms
of the westward expansion too,
even among the white
men or the white women.
The animals and the Indians
look frightened more.
Idea of the frightened.
So now, we can see some
females among the Indians
where we may not have
seen some females before.
They're showing up
in the picture there.
There's a lot of glancing
toward the right and look
at what is coming toward them.
Somebody notions that the
American Indian women may be
naked from the waist up.
Yeah, the women do not have
shirts, so sort of noticing
about maybe the different
dress of the Native Americans
versus the white settlers.
They have different --
they look differently.
They're dressed differently.
We're going to move on to
the upper left quadrant now.
And anything you
notice in this section,
feel free to share in the chat.
Yeah, we really see a
lot more buffalo here,
and we see mountains.
We see mountains, the Rockies,
the clouds, the dark clouds
that were talked before.
There was a lot of talk about
the light versus the dark
in terms of perhaps
an allegorical aspect
of the painting, but
also just the landscape
of the West, right.
The mountains, water
beyond, and, you know,
what was being explored
at the time, right --
the Wild West and the
cultivation of the Wild West.
Romantic images, Liz says.
Summary of different landscapes.
The animals are wild versus
the animals domesticated.
Mary Anne, that's an
interesting point.
I hadn't thought
about that, but yeah,
we have horses drawing the
wagons and we have wild buffalo.
So right, even the animals
are very different in nature
in terms of their cultivation.
We're going to move on
to the final quadrant.
And the final quadrant,
anything that you notice here?
Yeah, Jeffrey mentions
the angel as the center
of the prominent -- is
center of the picture.
And that certainly
does really pop.
I saw the comment about
zooming in on the book.
I can't zoom on it where I
am, but that's a great idea.
[laughs] We'll give you the
link to this source later,
and you can zoom in on it.
It would be interesting to
know what that book says.
There's some lighter effects
here, so it's the idea that,
is there lighter
skies associated
with where the angel is and
where the angel has been,
if this is indeed an angel?
'Cause it may not be an angel.
It may be something else.
And feel free to enter your
speculations in the chat
and why you would think that.
The angel has a star
on her forehead.
That could be a clue
of something.
Lady Liberty?
Yeah? You know, this
is a woman in progress.
Starting to make me think it's
Columbia, right, which is a --
Columbia was a kind of classic
symbol of America, right.
So we're not going to
really go into this as deep
as we would have if we were just
doing a primary source analysis,
and I really will
give you the links,
or Kaleena will give
you the links shortly,
for how to look more in
terms of that strategy.
But I really just wanted
to spend a few minutes just
to get kind of grounded
in this source,
and I think you've done a
really good job doing that.
If I could just ask
somebody to put in their --
anybody to put in the chat -- if
you were to look at everything
that has been mentioned --
'cause you pointed out a ton
of details in terms of
the people, the movement,
the symbolism, the animals --
how would you kind of sum up,
if you had to guess, what
this image is showing,
what this painting is showing?
What is the aim or what
would your guess be
that what is being
illustrated here?
Yeah, Andrea says
Manifest Destiny,
the history of westward
expansion.
And again, Manifest Destiny
is the idea of, you know,
a couple people mentioned that's
sort of the romantic, right,
sort of image of
westward expansion,
the idea that it is sort
of ordained from on high
that it is a duty to
cultivate the West,
to redeem the West, right.
So in some ways, that's part
of what's going on here, right.
And, but, of course,
not that simple, right,
'cause you've also pointed out a
lot of details, as you've done.
You haven't just gone to the
summary, but there's a lot
of details that are
related to that, right,
and you've pointed
a lot of those
out through your
detailed observations.
This is the bibliographic
record that goes with the image.
Any observations here?
Any information from
the bibliographic record
that you find either confirms
what you were thinking before
or just give you new information
that you felt was
important to point out?
I'm going to pause here
and see if there's anything
that you notice here that you
feel is worth pointing out.
"Progress" indeed
could be a loaded word.
Crystal's right, yeah.
This is a -- this is,
indeed, a popular image.
So as I'm looking at the
bibliographic record, I'm also,
I'm looking at --
I'm thinking much
of your interpretation
seems to be in line
with the bibliographic
record in terms of westward,
the course of destiny,
Manifest Destiny.
Somebody mentioned
written from the point
of view of the settlers.
Interestingly enough,
I also notice
on the contributor
names George Crofutt.
Does that name mean
anything to anyone?
I had to research this.
I would not have known this.
But the actual painter, his name
was Gast, I believe John Gast,
but George Crofutt was an
entrepreneur who hired Gast
to make this painting,
and he was an entrepreneur
who had popular Western
travel guides.
So that's an interesting
idea to think about.
There are people behind
these paintings, right.
If we see these artifacts
from history,
there's always living people
who either painted them
or who may have commissioned
the painting,
and that's always important
to sort of keep in mind.
And it will be pertinent
as we go
through the rest of
this presentation.
So yeah, if we look at
primary source analysis,
some of the things you've done
very well is really made very
close observations.
So even if students or people
might have been familiar
with this image, just the
depth that you've gone
into it has been very
enlightening for me.
You've pointed out things
that I've never noticed before
and really making note
of who created this item
and why does that matter.
You really get into that during
the next phase of this activity.
I wanted to pause a minute
before I pass it on to Cheryl
to mention that the little
thing we just did now,
we haven't really gone into
multiple perspectives yet,
but I kind of used a couple
strategies that we went
over earlier on this summer
in two different webinars,
Analyzing Primary Sources
and Analyzing Complex Images.
So if you missed one or
both of those presentations,
please feel free to go to the
recording, and you can see sort
of a deeper dive in
terms of that strategy.
The other thing I'll remind
everybody as I move you
on to Cheryl and really digging
into perspectives is to --
and I think most of you all
are doing this very well
and I appreciate it --
is to make sure you've selected
All Panelists and Attendees
so when you're making
these observations,
everybody can hear them.
With that said, I want
to pass along to Cheryl,
who's going to take us through
the next part of this activity.
>> Cheryl Lederle: Thanks, Mike.
And thanks to all of you for
your lively participation
that makes these webinars work.
So we're going to
work in just a moment
with a strategy called
Circle of Viewpoints.
And this comes out of
Harvard's Project Zero.
It's one of their -- they
have many making thinking
visible strategies.
And I want to point out
that visible in that points
to the thinking, it
can apply to any format
of primary source material.
It's a strategy for
thinking strategically
about other perspectives,
and you've already naturally
begun pulling those up
and talking about them.
So questions to ask to get
to different viewpoints:
How's involved?
How is affected by it?
And who might care?
So I invite you to take a look.
Mike's going to put up a summary
of those three questions
next to the image.
Thank you.
And I invite you to continue,
as you have been doing,
to add into the chat
your responses to any
of these three questions
or all of them.
If you want to answer
multiple of them,
it does help a little bit
if you keep your responses
together before you hit Send.
But I'm going to stop
talking for just a moment
and give you a minute
to add your thoughts.
And I appreciate that the first
response, Alisha [phonetic],
has modeled another perspective
and whether it's involved,
affected, or might care.
And that makes it
a little easier
to understand your thinking.
So please take a minute
to share your thoughts.
Lots of conversation
about Native Americans.
Quite a bit -- I see several
of you noting that the earth
or the land might care.
Researchers of Western history.
Animals are involved.
They are treated and
used in different ways.
And mammals, for example.
Lots of talk about that.
Multiple displaced entities.
And for the purposes of this,
it's, yes, really helpful
to then start getting specific.
It's hard to research displaced
entities, so you might want
to start thinking about, so who
were those displaced entities?
Mary Ellen [phonetic] is
asking a clarifying question:
Are we talking about the present
or the folks involved
in the painting?
And I would say pick an
interest and go with it.
I wouldn't put a boundary
on how you interpret this
for the purposes
of this activity.
If you were teaching a class,
you might have a more
particular purpose in mind.
U.S. government might
care to justify expansion.
And Kim is raising the
question about people
who are not depicted --
women, other people of color,
for example, industrialists,
[inaudible] railroad companies
to show connections
opening up the untamed land.
Anyone studying immigration
patterns --
and I really appreciate
that you've --
you're considering both people
at the time this was created
and this was happening
and people now
who might still be affected
because events ripple
across time.
Perhaps those studying
art, absolutely.
Lots of different
ways to approach this.
Jerry raises the question
of forced immigration
versus immigration by choice.
And again, with that
as a starting point,
you might start brainstorming
some specifics
about who falls into
each category.
Andrea's talking about
current politicians
who are passing legislation.
The artist.
Propaganda versus art
for the art's sake.
Railroad barons,
ship owners, farmers.
So lots of different
perspectives here,
and I'd like to show you one
way of representing this.
When we do this in
person in workshops,
we most typically put a copy
of the picture in the middle
of a big, old piece
of chart paper
and draw what looks a little bit
like a very many-legged spider,
and we, you know, brainstorm
and record these
multiple perspectives.
Since we're doing this remotely,
we used a tool available
here in PowerPoint.
But if you have other tools
that you would use for this,
I can't endorse them,
but if you have something
that you think would be
useful, feel free to put it
in the chat for fellow
educators.
And of course, this was
just a sample that Mike
and I generated brainstorming
back and forth.
There have already been
lots of ideas in the chat
that didn't necessarily
make it on our list
because we were limited
in space.
So this is just a
sampling of possibilities.
And of course, many of
these could then be expanded
into subsets.
For example, you could --
the U.S. government
is sort of an entity,
but there are certainly
lots of pieces to it.
You could start breaking
those down.
Women settlers -- again,
you could get really
specific with that.
So lots of ways to approach
this and to build on this.
I'd like to shift gears now
just a little bit and I want
to echo Mike's gratitude to all
of you for sharing the many,
many tech tool ways, from
the fairly low-tech paper
and sticky notes to
the fairly high-tech,
lots of tools you would use.
That's gold to hear from
you what you're using.
What I'd like you to
do is think explicitly
about your teaching now,
and think about the benefits
of identifying the perspectives
within a primary source
and then the benefits
of identifying perspectives
not reflected
in the primary sources.
And I'm really excited to
read this because you come
from so many different
places and teach
so many different
subjects and grade levels.
So I'm going to stop
talking for just a minute
to give you a minute to
record your thinking,
and then I'll start
voicing a few of them.
See a lot of rich and
thoughtful responses already
about teaching students to value
ideas and experiences of others,
about ways to introduce literary
theory, about developing empathy
and connecting to other
times and current events.
A lesson in point of view.
Possibility of rethinking
how one understands
or views something.
About the value of thinking
about perspective to help,
in a source, to help
understand the author's intent,
for example, and to
open the conversation
for what you still maybe
need to research and know.
I see the phrase -- Tanya helps
to open the can of curiosity,
prompting students to
ask questions and build
on the perspectives of others.
I love that phrase,
can of curiosity.
Builds critical thinking
skills and encourages debate
and discussion for more
reflective writing.
And as a former writing teacher,
I'd say more reflective
thinking as well.
Alisha notes that a primary
source is not only a perspective
and a concept, but
a tangible document
that makes it more
real to students.
To ascertain the meaning
and central idea identifying
additional perspectives,
popular and unpopular.
And teaching students to get
out of their own perspectives
and broaden their
scope when researching.
Lots -- more ideas than I
can begin to read out loud.
I think it would take
close to the next hour.
The good news is we will
post this recording,
and the chat will be part of
that, so you can read this
at your convenience later.
And I encourage you to read
this because there's a lot
of good material there.
I want to thank you all for
your thoughtful participation.
Mike and I had some good
conversations planning these,
but the ideas really come
alive when you all join in,
and I want to thank
you for that.
I'm going to mute myself
and invite Mike to--
Looks like Mike is
just having a second
of technical difficulties,
but we'll be--
>> Michael Apfeldorf:
Sorry about that.
>> Cheryl Lederle:
Right on back.
>> Michael Apfeldorf: A little
bit of technical problems,
but I think we're back.
And can you see the PowerPoint?
Again, Cheryl, can you just
give me a confirmation?
>> Carol Lederle:
Yep, you're good.
>> Michael Apfeldorf:
Thank you so much.
I apologize, everybody,
but we came back sooner
rather than later, I guess.
Okay, so I really
appreciate your thinking
about the multiple perspectives,
and Cheryl did a great job
really laying out a strategy
for a way to identify
many perspectives.
You know, a lot of
times, you may think
of there are even two
perspectives, the white settlers
and the Native Americans.
But really, what you
showed was there are many,
many, many perspectives.
Not -- it's not even
just a duality.
It may be that you could break
the Native American perspective
into different tribes
or even different groups
within the tribe.
Or even among the
white settlers,
there might've been
class differences
or gender differences.
So this idea of cutting things
up into more categories can
really be encouraged to go
as deep as you want to really
see that there are many,
many perspectives
around any issue.
And you guys did a
wonderful job modeling
that in the chat,
so much appreciated.
So what we're going to do
is just take one perspective
that you may have -- yeah.
So what we're going to do
is take one perspective
that you may have come up
with, and find another source,
and dig into that a little
bit to show, you know,
what might be a next step,
right, after brainstorming all
of these different perspectives
from which westward expansion
can be examined, right.
The next step is, oh, we wanted
to see the Native
American perspective.
What resources do I have that
come from a Native American?
Or so on and so forth.
So here we've just
taken one source.
This is an interview
with Bones Hooks,
who was an African American
cowboy from the pioneer.
And so this is one area,
I don't even think --
I'm not sure that African
American was mentioned
in our list of perspectives,
but that could be --
that may be one that we
didn't even know about, right,
before or didn't
think to put up.
But that's the source that
we're going to look at now.
And what we're going
to do is think about,
how can students sort of derive
some more meaning from looking
at such additional sources?
And we're going to
look at an excerpt
from this Bones Hooks
interview, and we're going
to ask ourselves three question:
What new perspectives are shown?
What is the source of
this additional item?
And how might this item
add to our understanding?
So let's go ahead
and sort of look
at a very close excerpt
of this Bones Hook.
This is actually about a
four-page interview on our site.
Thank you, Kaleena, for
putting in the link,
if you want to see
the whole thing.
We're just going to
look at a small sample.
I'm going to give you 20 seconds
to read what's on the screen,
and then I'll read
it out and we'll talk
about it a little bit.
Okay. Some of you may have
small screens, so I'm going
to go ahead and read it.
And what I want you
to think about are,
what new perspectives are shown
by this item, or what new points
of view, if you'd
rather use that word?
"Bones said that he usually
ate with the other cow hands.
Once, when someone objected to
the presence of the Negro boy
at the same table, a pioneer
housewife told the objector,
'Everyone is treated
alike at my table'.
'In the early days,' Bones
said in answer to a question,
'when a cowboy died on
the trail, accidentally
or otherwise, he was buried in a
hole dug in the sod without loss
of time and without
much ceremony.
The name -- and then the name
of the dead man was
sent to his family."
So what new perspectives
do you seen shown in here?
So yeah, we see a couple things.
We see the African
American youth, right.
Not just African American,
but he seems to be a youth.
Also, the female
white settler, right.
So where we didn't see a lot
of women, white women settlers
in the American Progress
picture, she's a major character
in Bones Hooks' account, and she
comes up, these housewives come
up quite a bit in
his experience.
That's a hot take for a
pioneer wife in the 1930's.
So yeah. So we can
already see, right --
I see connections
to Of Mice and Men.
That's interesting.
All people on this ranch
are treated equally.
And you're seeing
some new ideas too.
I mean, I think you're
kind of thinking ahead
to new perspectives when we're
getting when later I'm going
to ask you, what
more do we learn?
But yeah, I mean, it's
interesting that in this image,
the white female settler is
actually sort of the tool
of equally, right, at the table.
And so we're seeing sort of more
from the African American point
of view, more from the
youth point of view,
and more from the
female point of view.
And so if you like this story, I
would encourage you to download
that whole interview
and read more.
There's lots of interesting
things in that piece.
We're going to move pretty
quickly through this because,
just in the interest of time,
and I want to give you a chance
to look at some more
sources after this one.
As we think through, you've
already done a good job talking
about what new perspectives
or what new points
of view we're seeing.
What about thinking about, like
we did with American Progress,
we thought about George Crofutt,
sort of the source, where,
who was behind the information.
What kind of source do you see
from the bibliographic record?
Who's behind this information?
Who is the source?
Yeah, and Kyle is sort of
getting at that, right.
So Bones Hooks, of course, who's
the African American cowboy,
but who is the -- who was --
he was the interviewee, right.
So there's actually
an interviewer, right.
Who is the interviewer?
And Jackie [phonetic] mentions
and others mention
this was a part
of the Works Progress
Administration Federal Writers'
Project, right.
So even when we see
a source and say, oh,
this is giving us the
African American perspective
or the woman perspective, it's
actually always good to look
at the source, isn't it,
so that we can think some
of these views may
be mediated, right,
through whoever was
interviewing,
whoever was compiling
the interviews.
And we might even have to do
some more research, right,
to find out exactly who was
behind all the information.
But this is kind
of another element
that students can always
look at when looking
at multiple perspectives, right.
Not just what perspectives
are shown,
but really who is it
that's telling the story
of those perspectives.
And then, finally,
when we look at the --
I won't read this again 'cause
this is the same source,
the same excerpt
that we looked at.
Particularly comparing
this to the painting
that we've already seen, what
new sort of pieces of history
or new insights into
history, I guess,
do we get through
such narratives
like Bones Hooks' narrative?
What new things did you learn?
I think somebody already
mentioned about sort of there,
you know, there's this kind of
equality at the dinner table
that might've been, you know,
different in different areas,
but something certainly we
may not have even expected.
Yeah, Bones is aware he
cannot tell all the stories he
witnessed or it'll
rock the boat, right.
That, Crystal, it
says that elsewhere,
and that's a really
interesting part.
He -- at the beginning of this,
he claims he can't
tell all the stories.
He can't really let it all out.
Yeah, we get a glimpse into
racial relations, right,
which are not necessarily
so cut and dried, right,
as what we may even
think, right.
Even just the existence of an
African American cowboy, right.
So for some students,
that may be news, right.
How cowboys were buried, right.
That's an interesting thing that
doesn't even have anything to do
with race, but just next to the
idealic picture of the Columbia
or whomever taking
people across the West,
we have this image
of death, right.
And not just of death,
but no time for a burial.
Just unceremoniously digging
a hole and put in the hole.
And Jerry mentions, yeah,
there could've been
people who were murdered.
Death is an equal
opportunity employer.
Exactly. So lots of --
and as Cheryl mentions --
thank you, Cheryl, and feel free
to come on to talk about this --
we're reading this
account slightly removed
from Bones himself.
It is written by the
interviewer, so details
and word choice are filtered.
A good point, Cheryl.
Do you want to say
anything more about that?
>> Cheryl Lederle: Not
right now, but thank you.
>> Michael Apfeldorf: Yeah.
But yeah, so it's important
to get the mediation.
But even it's so interesting
to hear your comments even
in just such a short passage.
I know sometimes we don't -- we
can't always give students a lot
to read, but it was
instruction that we just look --
took six lines of text here and
really got a lot more out of it,
which is really interesting
to me.
And good. So well done on that.
So obviously, you know,
this was just one source.
I want to bring Cheryl
back on to talk
about more sources
you could bring out.
>> Cheryl Lederle:
Thanks so much, Mike.
And we're going to, in fact,
invite you to go on out
to a primary source
set from which Mike
and I selected the materials
that we've used so far.
It's part of a whole set
called Westward Expansion.
Mike, maybe you could
just go quickly
to the next slide
and back to this one.
It's 18 materials, excuse
me, 18 primary sources
around this theme of
westward expansion.
It's intended to be
a starting place,
not the be all and end all.
There are, of course,
many more items
in the Library's collection.
Mike, if you could go back.
Thank you.
And what we'd invite you to do
is spend just a minute or two.
Going to give you a
quickest taste of this.
And then, select an item, if
you would, that you might use
to help students understand
multiple perspectives.
And you're welcome to think
of it in terms of, you know,
you're going to do something
roughly like what we've done
in this webinar, and
you want to build on it
to show additional perspectives.
Or perhaps you're doing
something more foundational
and starting with a
different primary source.
So -- and anything that you
see that would be useful
for your students, share in the
chat the title and hyperlink
of the item, how the --
and how the item adds
to your understanding
of perspectives during
westward expansion.
If you have any questions about
this invitation, please do put
that in the chat, and we'll
get to them as best we can.
Otherwise, enjoy a moment or two
of exploring the
primary source set.
And again, Kaleena has
put the link in the chat.
It's helpful if you could
compose your answer before you
hit Send so all of your
ideas are in one place,
but enjoy the exploration
for a moment.
Just a word of encouragement,
the real gold is what you --
what you're thinking about when
you look at the item, right,
'cause the items are all
right there in front of us.
But knowing what you're thinking
about for your teaching
is so useful.
Yolanda, thank you for
clarifying your situation.
And yes, a good decision
if you're driving not
to be trying to text chat.
Thank you.
Thank you, Karen and Alisha
for submitting your choices.
Would love to know what
you might do with those.
Thank you, Kyle, for
talking a little bit
about what you might do with
Mining Life in California.
Shows how whites characterize
Chinese immigrants as well
as some of what they
experienced out West.
Karen, it is easy to do.
There are -- no worries
about it.
Really, it's fine.
Just add to your ideas.
Tina notes that the resource
Working on the Last Mile
of the Pacific Railroad might
give students some insights
into Asian and European
relations on that project.
Mary Anne is drawn to
the song that's a folksy
and upbeat perspective
of westward expansion,
and she says she might use it
to show another perspective
in compare and contrast for
analyzing language and looking
for poetic devices
and songs as poetry.
Absolutely.
And, of course, some of
these primary sources,
upbeat isn't necessarily the --
what you associate with them,
so that -- even the sound of
it gives a different dimension.
And Liz is noting, again,
building on the Working
on the Last Mile of
the Pacific Railroad,
that it helps underscore that it
was not just a white endeavor,
and she would bring in
the question of history
that has been erased in words
but captured in pictures.
And, you know, of course, that
does open the whole question
of when you're learning from
primary sources, you're learning
from what has, in fact, been
created and preserved, right.
And that would be a different
webinar and probably one
to have face to face, around
the table with coffee.
But always important
questions, what we can learn.
Megan [phonetic] points
out a map of land-grant
and bond-aided railroads
of the United States.
And I would love to know
what you might do with that.
Alisha and several
people have pointed
out The Chinamen Must Go.
Even a song written about
it and a perspective
of hatred toward Asians
at that time period.
Elizabeth and a couple of others
have looked at the letters
from leaders of the Seneca
Nation to understand how the --
understand the goals
of the Native Americans
and how they're preparing
for negotiating
with the U.S. Many ideas
here, and again, I'm not going
to take your time reading all
of them, but I do encourage you
to revisit this chat
because there's
so much rich sharing
going on here, some ideas.
Mary Beth points out that her
students already study the
railroad race, and the meeting
political cartoon also shows the
Native Americans and animals
running away while the
workers cheer.
So there's some points of
comparison to that image.
And Laura is bringing in
some book recommendations.
So lots of possibilities here.
Karen is connecting that
letter from the Seneca leaders
to other letters that
she uses in AP Language,
letters from Jefferson,
and Abigail Adams,
and Frederick Douglass,
and so forth,
to get to a perspective
that's often ignored.
And again, so many possibilities
here, ranging from perspective
to rhetorical analysis and
strategies, which, of course,
all build to show
the perspective
of the person who created it.
I would invite you to return
from exploring the items.
This is always the tricky
part of this, and when Mike
and I divvied this up, it was a
little paper, scissors, rock --
who has to take on the
job of pulling people back
from the primary sources?
So I'd invite you to come
back, leave that open in a tab.
You can get back to it.
And it's one of many,
many primary sources.
We've just chosen
that as an example,
but you can do the same kinds
of strategies for perspectives
with many other primary source
sets -- women's suffrage,
Jim Crow and Reconstruction,
immigration,
many other possibilities.
But moving on along,
I would invite you
to now explicitly thin
kabout your own teaching.
And there have been a
lot of ideas in here
about how you'd use a
few particular items
with your students.
I'd invite yoiu to kind
of take a step back
from those particulars that
we were just looking at
and thinking about
the strategies
that we've used, and
we've used a lot.
We did a foundational
primary source analysis,
and you can learn
more about that
in other webinars and webcasts.
Mike divided the painting
up after you took a
look at the whole of it.
And to focus on details, he went
on a tour quadrant by quadrant.
That's a strategy.
We stopped and brainstormed
other perspectives.
That's a strategy.
We looked at another item.
That's a strategy.
So I'm going to invite
you to share your ideas
about what you would adapt
and how you would apply these.
And I'm going to stop
talking for a moment
to let you compose
your thoughts.
And a couple of --
lots of ideas coming
in about ways you might
do this, including how
to support students
in debate to use this
to help them identify opponents'
arguments and evidence
so that they're aware of that
when they construct
their debate.
Whitney has a whole sequence
lined out of a Circle
of Viewpoints on a
document, then a gallery
of related documents, and then
add to that original Circle
of Viewpoints, and then
they have the foundation
to do independent
research or writing,
creative writing perhaps.
Michelle would help her -- use
these to help her students look
at the hidden story
and how it lends itself
to a deeper meaning.
Karen is going to use
the primary source sets
to help her AP Research students
delve into possible topics
and think about perspective
and the role
of perspective in research.
And Mary Anne is talking
about so many ideas.
I hope so.
That makes my heart
happy to read
that you've found
some ideas in here.
Not just what Mike and
I have pulled together,
but also what has been shared
in the chat is amazing.
And Mary is pointing out that
you could work with stations,
with each one having different
perspectives, and then debrief
to share different
understandings.
Harriet points out you
could literally cut the --
print this, and then cut it
up into puzzle pieces,
and use it as a game.
Jigsaw groups and perhaps,
quite literally, a jigsaw.
Lots of ways to modify this, and
these are the ideas that, again,
make me just really excited.
Some good conversation
about the value of stations.
Tanya says this would be a
means of introducing a concept
to help build curiosity and
to help open their minds
and generate excitement
and curiosity.
Laura would make
connections to current media.
And yeah, the current
and the historical.
And we've seen some
conversations about that already
in this webinar today,
some ideas bringing on.
Someone earlier mentioned
the connection
between westward expansion
and the current race to space.
Socratic seminars are
getting some love here.
Melissa -- attendees
mentioning NHD,
NHD is National History Day.
And we have quite
a number of folks
from National History
Day joining us today.
Some of them are part of a
program that we're working with.
And if you don't know National
History Day, look it up.
It's not just for
history classes.
I'm going to encourage you
to continue to use the chat,
but I'm also looking at the
time, and I want to make sure
that we're respectful
of your time.
You've been generous
with us today.
Before we switch to explicitly
inviting your questions,
we invite you to
take our survey.
And Kaleena will put that
link in the chat again.
We cherish your input, and
we take it very seriously
and make decisions about future
programming based on your input.
So we really do value
what you have to say
and discuss it pretty seriously.
A reminder -- Mike said this
earlier, but that was a lot
of ideas ago -- that you will --
if you've stuck it
out this long,
you will receive a certificate
of participation
for attending this.
It might take up to 48 hours for
that, and if you don't see it
after that, you know, do contact
us, please, and let us know
so we can make it right.
And again, thank
you for the survey.
A couple of you have put
that link in the chat.
We really appreciate that.
Kaleena's also going to
share some of the links
that are our starting
places, and I'm going
to stop talking now and say, if
you have additional questions,
we've moved pretty
quickly through here.
Use the chat and ask us.
I don't have the website
for Project Zero handy.
Kaleena, if you haver
a moment to check
on that, that'd be great.
Lisa, if not, it's, you know,
it's a good search term,
but Kaleena may be able
to get that pulled up.
Other questions?
Yep, the participation
certificate will automatically
be sent to the email
that you registered with.
So you don't have to
do anything about that,
except if it doesn't show
up, email Mike in two days.
Thanks, Kaleena.
It is good to work with a
large and competent team.
And if you do have
questions, please stick around.
If you don't have questions,
Mike and Kaleena and I thank you
so much for showing up.
Kaleena's putting in some
links to upcoming webinars.
And we do have an office --
or, excuse me, we do
have an open house coming
up the first week of August,
August 4th, where if you would
like to chat with experts
from around the Library,
that's an opportunity.
And you can find that
information on the same page
where you registered
for this event.
So thank you so very much.
Mike, anything that I've
neglected to say or anything
that you'd like to chime in with
before we formally say thank you
and goodbye?
>> Michael Apfeldorf:
You've not missed anything
from my perspective, but I do
want to just thank everybody
for coming today and
for sharing with us.
It's been wonderful
to work with you,
and hope you have a
wonderful evening.