>> Hello, hello, everyone. It's 2:00 pm on the dot, so we will get started. Welcome to today's professional development educator webinar from the Library of Congress, Foundations: Analyzing Multiple Perspectives. My name is Mike Apfeldorf with the Library of Congress. A few housekeeping items before we get started. For a smooth webinar experience today and to save bandwidth, we will not be using video for our speakers. We will, however, be able to see our PowerPoint slides, hear our voices, and use the chat. And we will be recording this program. We will serve this recording up to you as soon as we are able. As this event will be publicly recorded, please note that any questions or other participant contributions may be made publicly available as part of the Library's archives. Participants in this live program, are eligible for a certificate of participation certifying one hour of profession development. We'll give you more information at the end of the program on how to get that certificate. As stated, you will have the opportunity to talk with one another and the presenters via the chat. As you will do so, please make sure you select all participants in the To box. Many of you are doing that already. Thank you very much. And if you have not introduced yourself, please feel free to go on. Select all participants in the To box. Introduce yourself. Tells us where you're from and what brought us here -- what brought you here today. Let's go on with our webinar, on to today's program, Foundation: Analyzing Multiple Perspectives. And facilitating today's sessions will be Cheryl Lederle from the Learning and Innovation Office of the Library of Congress, as well as myself, Michael Apfeldorf. We're also joined in the chat by two of our colleagues from Learning and Innovation Office: Stacy Moats and Danna Bell, and they'll be feeding links to you and engaging you in the chat and so thanks to everyone involved. So what you see before you is kind of what we're covering today. As you know, you came here today for analyzing multiple perspectives. And this is going to, throughout the hour, going to sort of cover a couple of things. One, you know, both identifying sort of dominant perspectives of points of view within primary sources, but also identifying additional points of view that can be helpful as students explore a particular topic. And along the way, we will also sort of reflect on how these strategies that we practice could be applied in your classroom. So let's go ahead and look at the first item. And this item is one that many of you may be familiar with already. It's certainly a well-known painting and what we're going to do here, how we're going to start is we're not only going to start right off talking about multiple perspectives. What we're going to do is what we might do in the classroom, which is the first thing is we just want the students to get grounded in this picture, to look at it closely, to point out details in the picture and to reflect on, you know, things like, what is being represented here? Just so before we talk about perspectives, we have kind of good grounding in the picture itself. So we're going to start off 5 to 10 minutes in this session just doing a primary source analysis. Now, just to kind of in the side note, and I think in late May it was that we actually did a circuit webinar on analyzing primary sources. So if you missed that one, I think that link is going to be put in the chat. Thank you, Stacey. And so if you need sort of a reminder on that kind of basic analysis process, check that webinar out. It'll get you grounded in that. For now, we're just going to do it real kind of fast and down and dirty for this resource just so that later when we talk about perspectives, we have good understanding of this image. I'm going to be quiet, and what I want you to do is don't even worry about putting anything at the chat at this point. Just sort of silently we're going to all be -- I'm going to be silent, and we're going to observe this painting for about 30 seconds or so, and then I'm going to ask you a question. I don't know if that was 30 seconds or not, but close enough. So now we want to pull up a question for you to just get us started on the discussion. And now I do want to sort of invite your input in the chat, and, Cheryl, if you could bring up the following slide that has question for our participants, and I'll also voice it to you here. So the question is just simply "What do you notice?" So go ahead and share your observations in the chat, and share what you say, but also kind of try to take some time to read what your colleagues have to say. What do you notice in this image? Now, everyone is going left. What makes you say that? That's good there, farmers. You see telegraph lines, many different modes of transportation. Feel free to elaborate on that. There's trains and stagecoaches. Sun is rising in the east. Someone, he notes an angel. Lots of points about the different technologies. Also different people I see, Native Americans. There's buffaloes. There's animals. You see Lady Liberty. What makes you think it's Lady Liberty? You're full of good observations here. We have this kind of western movement and this idea of many different people I'm seeing in terms of farmers, in terms of natives. We have multiple forms of transportation all moving west. And we have a sort of -- whether it's Lady Liberty or Columbia, this kind of angelic-looking character sort of front and center in the middle. Mary-Ellen asks also as a question, "Is this an angel or a figure of justice?" And Mary-Ellen, I'd love to hear you -- more about that. Electricity, Laura points out, is coming with Liberty, right? So we have this westward expansion, and part of that is technology, right? Transportation, technology, and this kind of wires that the angel is actually kind of threading these wires through the telegraph poles. People are looking at Lady Liberty. Boats off in the distance, right, so you would think that you see far back in the picture that you may not have realized. I'm going to pause for a second and see, you know, because you are such good in the chat. And Cheryl's really good at picking up things in the chat that I may have missed. Cheryl, do you want to jump in, and were there any insights in the chat you want to bring to the fore that I may not have mentioned? >> Mike, I think you really caught the bulk of them, although I'll also say the chat is moving fast. >> Yeah [laughs]. >> So I'm not sure that I caught some either, but I appreciate that some of you are responding to each other already, and I really encourage that. I noticed that some folks are not putting in they're noticing, but are going on to some questions, and that's a natural part of primary source analysis. >> Yeah, I agree. I love some of the questions. What's the title of the book? And, you know, how big is this original painting? And even to think about where was this? And we'll get to this in a little bit, but like how would this document have been consumed? You know, who was the audience, and how would it have been consumed by people? These are all [inaudible] and great questions, but there are so many details here, including those boats in the back, that as you're doing this preliminary primary source analysis with students, a good technique here also is to zoom in on different sort of points of the picture. So what I did, just for fun, was to divide this into fours, and I want to show you, one by one, each one of the quadrants. And as you look at them, let's start with the first one. I think the first quadrant is the lower right quadrant. And you might reflect to yourself, "Are there details here that I didn't notice the first time that I'm noticing now, or were there reflections or questions I have looking just at this little quadrant blown up that I wouldn't have had before? So feel free to share that in the [inaudible] as well. Seeing the leaping stag, you might not have missed that the first time. Really looking at plowshares in the fields, right, this idea of farming, right? So now you're really -- lots of men, the stag running the opposite way. Is she the only woman in the painting, right? So now we see there's a woman, right? Is that the only woman in the painting? There's somebody's seeing what's not there in this particular -- Where is the slaves? Are there slaves, or when was this? Was slavery still going on, or where's the African Americans in this picture, right? So you can also look at what's not shown here is also very significant, particularly when we get into the concept of multiple perspectives, right? Let's move on to the next quadrant, the lower left quadrant. We're kind of moving clockwise around the page. Any insights in terms of this close-up picture? Native Americans are looking back now. Now we get a little close look at what they're doing. Well, there we go women running, right? So now we can see different types of people. Mother Nature is not thrilled. Check out what is happening with the animals [laughs]. It's funny. Native Americans displaced. A bear, right? So as you like focus on different parts of this picture, it really kind of makes you see the different sort of storytelling that's going on in this picture and perhaps even the different possible perspectives that we may talk about later, right? So let's keep going around the picture, and we're just doing this real lightning round, right? Like with your kids you may take more time to go through this, but we're just kind of doing this quick, down, and dirty to give you a sense of it. Any observations from the upper left quadrant picture? Yeah, now we see mountains in the background, Rocky Mountains, now the coastline. We really get the sense of the expanse of the country this way, don't you, in a different way. You know, it's interesting the concept of storms when we kind of zoom back out in the picture. You definitely see there's a difference in light and dark, and when you see the whole picture again, you may want to think about where is it light, and where is it dark? There's kind of a definite sense of where the storms are and where there's not in this picture, and you can kind of reflect on that as well. Finally, let's move on to the final quadrant. Any thoughts about this one? I'm getting a question in the chat about will this webinar be recorded? And the answer is yes, it will be recorded, and we'll send that out to everyone. Light and dark. Kevin mentions the known and the unknown. Everything is moving west, right, kind of from light to dark is an interesting concept and part of sort of the allegorical, perhaps, nature of the message of the piece. The angel has one star on her hair, right? You may think about what is that? So you can really kind of go through and analyze the source, and again, you would take much more time, most likely, in your class to do that, but this is the master class. You've done a yeoman's job looking at through this, and, Cheryl, you can go ahead and go to the bib record. That's fine. Thank you for doing that. So you've done a really good job kind of taking out details and really kind of seeing the scene, what, moving west, right? Is it's kind of settlement moving west, and then this is the bibliographic record which, of course, provides more information on the primary source, so I would invite you to read through this in the next minute or two and sort of can share with me what new information is in here that sort of you find interesting or new questions that maybe this bibliographic record brings up that you'd like answered. Anything from the bibliographic record that you find interesting or new information that seems pertinent to analyzing the source. [Inaudible]. So, I mean, that's very interesting. Before, we said that there wasn't much about women in that picture, but, yet, that's somehow, you know, it comes out in the bibliographic record. There's some points about the format, and what does the format mean, right? Who is that allegorical figure? Why women? Oliver points out the date of 1873, post-Civil War, right? So we had a question about are there slaves? Are there African Americans? So this kind of situates this a little bit in history, right, talking about some westward movement, westward expansion, kind of post-slavery, right? And so there's kind of different things that you can sort of take from the bibliographic record. I also find it interesting the three different titles and of what you make of that, the title Westward the Course of Destiny, or Westward Ho, or Manifest Destiny. The fact that those were sort of titles as well, right, to this piece. You know, what might have meant? Anybody notice anything about the source of the item? Who was the source of this? Good question. Mary-Beth asks, "If this is a print, could it be widely distributed to others?" Who asked for this piece to be created?" Sarah asks. And it's interesting. I did a little research on this George Crofutt who's the contributor here. Yeah, I believe the actual painter's name was John Gash, I believe. George Crofutt actually was -- he commissioned this piece, right? And George Crofutt, actually, he was a publisher of like travel brochures out west. That's what George Crofutt was known for, a publisher of sort of west travel guides. And so, you know, this kind of gives you a sense, right, that there is a, you know, that this is kind of sort of an image sort of depicting westward expansion, right? But we also know that there is this particular source to this, right, and if you see the next slide, you can see that, you know, we've sort of done a good job making notes about what we've seen here and observations, and we're talking about nature and Native Americans. But it's also interesting to note that every primary source has a source, itself, right, has a creator. And that we want to think about, as we go through, you know, what does that have to do with this topic that we are going through right now, which is talking about identifying perspectives or identifying points of view in a piece, right, and also sort of thinking through multiple additional perspectives? So I'll leave you with that for the analysis. Now that we have kind of a good sort of basic grounding in this image, I want to ask Cheryl to unmute and see if she has any thought -- see if she can take us through the next portion of this activity. >> Thanks, Mike, and thanks, everyone. I really appreciate the lively, fully-engaged discussion, and I'm looking forward to going back and reading through the chat transcripts to grapple with your ideas a bit more. So now is the part where we really do build on the multiple perspectives. And so in just a minute, I'll pull up a shortened version of this task, along with the image again, but, in short, what we're going to do for the next few minutes is brainstorm a list of different viewpoints related to westward expansion and [inaudible] by what you see in this image. So you'll tie that back to the observations that you've just been making, but don't feel limited by those. You can certainly add on to it. So to generate additional viewpoints, think about who was involved? Who is affected by it? And who might care? And I saw a lot of responses in the chat that get right to that, so I'm going to mute myself for just a couple of minutes and invite you in the chat to generate -- So what are some perspectives that you see in this? And if you have questions, put those in the chat too. And Celia [assumed spelling], yeah, there are few visible women. That was a lot of chatter about that in the part that Mike just led you through. I'm interested in what you think of -- What perspective does that represent when you read these silences? What's not there? So, again, what perspectives are represented? Native Americans, pacifists, people looking for a new life. Thomas says it's clearly the white European American settlers', white Americans' views. I'd love, Thomas, if you could add some details to make sure that we're all seeing as clearly as you are. Affective Native Americans, and trappers, settlers, railroads, miners. Speed of travel is affected. I don't know if there's a perspective there, but there might be. I'd be interested in what you can make of that. As Mike points out, the absences also tell us something. You talked a bit earlier about, well, where are the African Americans? Builders coming out from the East, Native Americans. Someone points out that no one is visibly working on the rail lines in this, and that would have included some minority groups. Andrew says children. Mary-Ellen is still asking questions about this, and that is one of the -- My favorite things about working with primary sources is the wondering, the thinking about, "Okay, so what do I wonder, and how can that help my learning?" Mike suggests thinking about, oh, okay, what are the specific perspectives? Who worked on the railroad? And what perspectives might they have represented? People seeking to move west. Working class. Mary-Ellen points out Chinese are missing from this. Stephanie says investors of technology would have a stake in this, and that ties back -- in my mind -- that ties back to Billy's -- I meant that this is propaganda trying to get people to move west. Please do continue offering your ideas in the chat. I'm going to move on to thinking about a way that you might structure this with students, right? There's a very long, linear chat that's a little bit hard to keep up with. So if you're looking for students to do this, one way that you could do it is the Harvard Project Zero circle of viewpoint strategy. And when we do this face to face, we do this on chart paper with markers. We, typically, post the primary source in the middle as you see it modeled onscreen in a technology-driven version. We just used the tools available in PowerPoint, but there are many different ways you can get to this. What's important is that you structure it in some fashion so that students' thinking becomes clear and so that they can -- so that they can interact with each other the way that you're interacting with each other on this. Tonya, thank you for the shout-out for the circle of viewpoints. Of course, any one of these bubbles could be broken down a little bit more, right? So these are pretty high buckets for perspective, and Aiesha [phonetic] points out that this is a way that you can use it in a virtual classroom. And I would absolutely, absolutely encourage you to share ideas in the chat box about what you would do with this in an online environment in your teaching. This is we're working together online. That's not the focus of my presentation, so I'm not going to too much dig into that, but absolutely. Take advantage of the gathered expertise for thinking about ways you might do this in your face-to-face or online classrooms, and if you have tools that you want to share, by all means. I'm going to move on just a little bit and invite you to now think like teachers. We've shifted. We've done some shifting to teacher talk anyway, so let's become really explicit about the benefits of this, benefits. And take either one or both of these ideas. First, think about the benefits of identifying perspectives within a primary source. And a lot of that came out during the primary source analysis, and then think about identifying additional perspectives that may or may not be visible in the primary source. And Stacey has put in a link to the Harvard Project Zero circle of viewpoints if you want to click into that and explore it later. If you click into it and get lost, I promise you'll miss some cool stuff. Aiesha suggests grouping students for additional perspectives. Carol adds that identifying different perspectives gives added depth to learning, and Patty says it opens up to empathy and understanding. Going to pause to give more of you time to enter your thoughts and to read what other people are typing. Cultural awareness and paying attention to details, valuable skill. Alani [phonetic] says giving each child a chance to share their voice gives way to social-emotional learning. Perspective informs depiction and interpretations, and additional perspectives takes one out of one's self and makes one think more broadly. [laughs] Mary-Ellen, it helps them ask questions. Yes! Which is my favorite thing. Karen points out that it's good to ask, "Why was this created?" Thinking about the choices that the person made. Also, Elizabeth says, "critical thinking about what students see around them." Yes, these are not skills that are limited to historical primary sources. Mary-Beth says the discovery process is like uncovering a mystery, and who doesn't love that? Gabe [phonetic] points out the skill of being critical about sources and possible bias. There'll be whole different conversation, but I personally think everything is created with a perspective, and if you don't think about that, you miss a lot. Sally says, "There is no one right answer, so many students are included." Such great conversation. Oh my gosh, Mike, you're okay? [laughs] Oh, that's surely startling. For those of you who are not reading the chat box as closely as I am, Mike says lightning just struck right next to his house, which means that in about 35 minutes, I'm probably going to get a storm here. Tonya brings up ideas about the authenticity and what is it? And then but loop all of this back, absolutely, I'd invite you to spend a minute -- So why are these valuable skills? I'm just going to leave it at the question because we could go on a long way on this. I'm seeing a lot of things coming up, and I really appreciate the thinking that's going into this. It's made personal connections which stay with them. Useful in teaching how history is not linear. There are many stories and perspectives that can and should be considered. These are life-thinking skills. All knowledge is based on interpretation. You can't take what you read as logistic fact. There could be another approach, and we're all capable of looking for ourselves. When students don't see themselves in history, it prompts questioning, "Where am I, and when did I arrive?" Students get told so much. Why not have them offer their own interpretation? [Inaudible] to look at the perspectives of those who are missing. And as adult learners, you did that pretty much without Mike prompting you, right? Some of you are like, "I don't see women. I don't see African Americans. What's going on with that?" So lots of benefit and lots of reasons to do this. I'm going to say thank you, and I'm going to step out for a bit. Well, I'm not actually stepping out, but I'm going to mute myself and invite Mike to come back and lead through the next segment of this. >> Thank you, Cheryl, and so we are going to look at sort of a next step you could do with your students. So Cheryl did a nice job taking us to an activity to just help kids to think about, hey, there are other perspectives. Some students -- Well, yeah, I think you heard that. And, hopefully, you heard that in the background. But, anyway, some students may think the westward expansion, well, you have white settlers; you have Native Americans, right, so two viewpoints. But as you showed, there were many, many perspectives, right? Many students may not think about, well, there was a Chinese perspective, Chinese laborers' perspective or this particular industry, right? So Cheryl did a really good job with that, showing kind of how you could start to brainstorm that there's more than just two perspectives in any issue. There's really many, many perspectives. And as she pointed out, even with our little chart, you could have divided that up. Maybe Native Americans are not one category. Maybe you have to segue out by different tribes or even different individuals within a particular tribe, right? So you can gradate it as far as you want. So what we're going to do here is just something very simple and just take one source that somebody might find showing a [inaudible] and think about some of the questions you may ask around that source to sort of broaden your understanding of westward expansion. So how you would do that with kids, you probably want to think about how the -- You know, you have a class of 30. Does every kid have one source they're following up on? We'll leave that sort of detail for later, but for now, we're just going to focus on one source, and we're going to look at three questions. What perspectives are shown? What is the source of this item, and how can this item add to our understanding? And the item, you can see here, is based on interview with this guy, Bones Hooks, who was a cowboy of the pioneer era, and he was African American. So let's go ahead and look at the next slide. And the first question "What perspectives are shown by this item?" I want to be quiet for 30 seconds to give you a chance to read what's on the screen. Then I'll read it again for everybody in case you have a small screen, and you can't see it. And then we'll talk about what perspectives are shown. So I'm going to be quiet for about 30 seconds here. Okay, and as I was pausing, I love the conversation in the chat about, yeah, right, through much of history, children, right? Children are not really considered a perspective. That's good point. So I'm going to read this little excerpt. And I'm going to invite you to comment on what perspectives are shown by this item. And this is, again, an interview with an African American pioneer cowboy, Bones Hooks. Says 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." And then goes on to say in the early days, 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, and then he goes on to talk about how they buried them. But just in these little excerpts, go ahead and comment on, you know, what kind of perspectives are shown here? And I've seen a lot of good things here about there's different characters, right? There's the African-American perspective. There's the pioneer perspective. There's the woman now gets -- the housewife -- gets a little more sort of a tension here. But also a comment about the interviewer, right? So this kind of layers the perspective here, right? So you may want to think, well, this is a African-American perspective, right, or a housewife's perspective, right, but, you know, to what is that mediated, right? Who is the ultimate sort of teller of the story? Is story told from an African-American point of view? Is it a story told from the interviewer's point of view? And this kind of inquiry is good that you're doing, and this is what we want our kids to do, to really kind of interrogate what is the perspective shown by this item? Whose point of view or stand in for the [inaudible] point of view, right? So whose point of view is being represented here? If we could have the next slide, think about now the source itself and how that might help you think about perspective in this case. Who is the source, and what might that tell us about perspectives, in this case? Kind of cut off at the bottom, but where it says Source Collection says US Works Projects Administration Federal Writers' Project, right? So WPA interview project. Most interviews were white, right? Let me ask -- Maybe I don't know the answer to that. That would be my hypothesis too, but I haven't investigated enough to put a stake in the ground and say, "That's what's happening." But, again, you know, you can just think about it, right? So this is a, I guess, closer to the natural African-American perspective than what we saw, say, in the painting, right? It's also closer to looking at the role of women, right, but then the painter, but you're really kind of peeling through and thinking about who is the source here? Who is the point of view? These are the kind of questions that kids can ask. And, finally, if we go the third little slide, we think about the excerpt. No matter who the interviewer was or who the source was [inaudible] I guess from a content perspective, the content of this piece, story about sitting at the table and what happened. What new perspectives or insights do you gain from this little story, anything about westward expansion that you find, like a new insight from this story? It's interesting Mary-Beth points out Zora Neale Hurston was one of the WPA interviewers. That's a good point, observations. You know, Simon makes a point that seems obvious but profound. Cowboys weren't just white [laughs]. Some say, "Well, if you watch movies, cowboys movies growing up, like me, that wasn't always the case, right?" You know, you didn't regularly see that, right, but here we know that cowboys weren't just white. Death being a part of the frontier, no time to bury the dead. Somebody else mentioned as opposed to the movies, Beverly mentioned 25% were black. Those cowboys were black and African American, Tonya says. So maybe there's a whole area of investigation kids can have. You also have this story about, you know, what were the women's role, right? Is there sort of this -- there's this kind of interesting dynamic, right, where these kind of other white cowboys are sort of putting down the African-American boy for sitting at the table, and it's the housewife who stands up for him, right? And the reason I pulled that out is if you read this whole document, that's not the first time he brings it up. He kind of goes out of his way -- Bones goes out of his way to point to these housewives and how they helped him. So you get kind of these little stories along the way, and the idea is, you know, the more of these different perspectives you get, right, the more well-rounded of an understanding westward expansion -- you know, read that to mean history -- any history you would get. So the question is "How do you really kind of get through a lot of these different multiple perspectives in, sort of, in class?" And the next activity, our kind of concluding activity, Cheryl's going to lead us through. Going to kind of give us one modeling way that you could kind of get through lots of different perspectives in a class. So, Cheryl, do you want to take it from here? >> You bet you. Thank you, Mike, and thanks again to all of you for the lively conversation in the chat. I noticed considerable prior knowledge in this group, and I say that because when you're working with students and when you're planning for students, you want to think explicitly about what do they come knowing, and what do they come believing to be true? Because that, of course, affects what they'll see in any primary source. And how can you guide them from where they are to where you would like them to be? So, Oliver, that's a great question. How do we empower our students to pursue different perspectives through their own research of primary sources instead of us finding all the resources for them? And so let's talk about that after we move through the next part of this activity. It's a great question to set this up, so now it's your turn. And you might say this to your students as well. Stacey has put, in the chat, a link to a primary source that don't go there yet. Be really great if you would listen to these directions for just a minute before you start exploring. So what I'd like you to do is go to this primary source set, and if you don't know about primary source sets, happy to talk about that during the Q&A if we have a little time. Browse that select set of items. So, Oliver, it's a little bit like gradual release, right? They're not doing a totally from scratch -- you're not doing a totally from scratch search, but you are going and making some selections. So look at the set. Choose one item that you would use to help students better understand multiple perspectives around westward expansion or whatever. I mean, you know, this is content neutral. We're using this example, but it's obviously the process, the process, conveys to any content area and could be started with many, many -- you could start with any primary source at any grade level. Then share in the chat. And it's really helpful if you do this as all one chat message because if it gets split up, it'll be really hard to know what you're conveying. So compose one chat message, and in one chat message, share the title and hyperlink of the item, and then explain how does the item add to your understanding of perspectives during westward expansion? And you can certainly think in terms of your students. If you're doing that, you might let us know what grade level you're thinking from. I'm going to mute myself for we are brilliant on time. So I'm going to mute myself for like four whole minutes, and I'm literally going to set my timer and say -- Sorry, I'm distracted by the chat because it's so good. And Simon has put in that as an archivist, he will say that primary source research can be complicated and overwhelming no matter what the age for a newcomer. And so some amount of curation at the start is a good idea. Absolutely, and I'll take that as a verifying this choice. So unmute myself. Go on. If you have questions, be sure and attach to the title and URL what you would do with this or how this adds to your understanding of perspective. And, Stacey, if you could put the link back in the chat for the primary source set, we've moved on so thank you. Okay, I'm going to mute myself and just read the chat for a few minutes. I see lots of titles, and URLs, and some reflections on how the items add to your understanding of like for perspectives during westward expansion. Your thinking around this is really important, so encourage you to add that, please. And if you haven't taken a minute to browse the chat, I would encourage you to come to an endpoint in your own searching and browsing -- although it could go on for a while, right? -- and come back and spend a minute reading the chat. But don't feel like you have to catch it all because we will save this and get it to you. So browse it a little bit to inform our conversation -- -- and then come on back. Some of the things I'm seeing is -- I'm going to start from the bottom and work backwards a little bit. Amy notes that, from her perspective of having lived on both coasts -- So, you, as a learner, also have perspective -- she's always surprised as to how little attention we pay to the other coast's history, so she would probably focus on the role of Chinese immigrants in the building of this country since, in elementary schools, at least it's given very little attention, and she offers an engraving that she might examine and then compare to how other groups are represented. And that question of representation is crucial because what we're looking at does itself come with a perspective, and we saw that very clearly in American Progress. Several of you have picked up on black homesteaders and looking at what people wore and the photographer's perspective, Billy points out. Lots of you are tuned in to the role of Chinese laborers, some of which, you know, the rather horrifying sheet music that is very uncomplimentary to that, so lots of possibilities here. And, again, what we have done, as a group, just in fairly short time -- and you would want to pace this maybe differently for your students is started with one primary source and ambled around it for a little bit, looked at what we saw, asked some questions. And then explicitly turned toward thinking about what viewpoints that might represent or make us think about around the topic of westward expansion. I'm not going to spend the time to do more than just put this up quickly because you've all spent several minutes going along, and I love the chat conversation. Now you're talking to each other in ways that just make my heart sing, looking at [inaudible] today's popular music? Excellent question. And to make those connections I think can be really a valuable extension. I meant to go back into history and see what is old, and what is new, and what is still the same? So I want to thank you for all of your energy and for joining us. And I'm going to mute myself and invite Mike back to wrap us up, so thank you. >> Yeah, we've got about -- And thank you, Cheryl, and thank you, everybody, for your good searching of the primary source set and for your wonderful ideas. So we've got about 10 minutes left, and so we wanted to give space for final reflections and for Q&A, but, first, we wanted to give you a little space here to think about, you know, how -- you to reflect on the strategies that we've done today. We started with a primary source analysis. We did the circle of viewpoints activity, which was sort of identifying, brainstorming different sources, and then we did a activity where sort of you could assign different or could select different sources and do a deep dive into them. And I wanted to invite you to reflect on how these strategies may be working with your students, so maybe you don't teach westward expansion. You want to talk about another topic that you think it would work particularly well with -- maybe you don't even teach history, and you're a science teacher -- how this would work. Or maybe you want to talk about, not topics, but strategies that you would use, how you would jigsaw it or what technology you would use to enable this in a remote learning environment. So just kind of with that very broad question, how might you apply these strategies with your students? Take a moment to ask questions of your colleagues in the chat or share thoughts you have about how you might use these strategies with your kids. Yeah, I love Aiesha's comment about how you can upload brainstorming perspective for any primary sources in a virtual learning environment. So that's very important right now, and as the schools around here going 100% virtual in the -- [inaudible] we're really thinking about how can you do these kinds of things virtually, right? Whitney talks about how this would work well for an AP seminar, identifying stakeholders for an issue they need to research, exactly. And that links to the idea that these techniques can be used for history, or they can be used for contemporary debates as well. I like the idea of a Flipgrid group, right? Any way you can use technology to facilitate this process should be extremely fruitful I think, particularly in this remote learning environment. You could also think about, well, what could be done synchronously, right? What could be done asynchronously, right? Could I have them populate, right, my -- quote -- "circle of viewpoints" in something asynchronously even, right? Aiesha talks about contemporary bias can be included, definitely. Sally talks about how this could be used for teaching candidates. Angela talks about a website like Linkalot [assumed spelling], which is like a sticky notes, right? Flipgood [assumed spelling] , See, Think, Wonder. And I saw somebody use, the other day, Padlet, which seems like it could be a tool that somebody could use. Tara talks about how this could be a part of a mini DBQ strategy. Consider how students could pick and narrow the source we use for it. Jennifer points out Padlet is good for discussion. So you're -- >> This is Cheryl as just a gentle reminder to make sure that your dropdown is set to all participants so that everybody can see the conversation. >> Thank you, Cheryl. Blakelet [assumed spelling]. I've never heard of that one either. But this is a golden opportunity for you all to share -- Cheryl and I are somewhat limited in what applications we can use, but that's why I encourage you when you're together right now, really share those tech tools. I have a feeling, in the fall, they're going to be extremely valuable to everybody. And if there's a way to facilitate these processes, these feeding processes, both synchronously and asynchronously online, that'd be very helpful to your colleagues. So even as we wrap up, feel free to continue to talk in the chat and share those tools and strategies with one another. Cheryl, maybe we should go to the next slide and show for the people who have to scoot what they can do to get their certificate and what they can do to give us feedback. So this slide shows a couple things that are important to us. One is that we rely upon your feedback to improve these programs and to meet your needs, so I believe Stacey is also going to put these links in the chat. Thanks, Stacey. And so please take the survey before you leave. That feedback is really valuable to us, and it helps us to, you know, not only see who we're helping, but it really helps us improve, so appreciate that. The other thing is is you are for participating in this live webinar, you are able to get a certificate for one hour. So you just send an email to me. Now, this is not a automatically generated certificate, so you want to send me an email mapf@loc.gov. Stacey put it in the list, and shoot me an email. Try to get it to me within the next 48 hours, and then I will do my darndest to get you your certificate by this Friday, okay? But I can't do that unless you email me within the next 48 hours. So those are just two sort of logistical type things. So with that said, want to show you some final links, and then we'll pause and allow the next six to seven minutes to be Q&A. These are some places you can go to for more information. Some of you may be new to the Library's materials. There's our veterans. Either way, these are valuable resources, the Library homepage. Ask a Librarian is a critical -- for this topic as you're looking for multiple perspectives, you may be looking for a perspective, and you may have a hard time. Say, you can't find authentic Native American perspectives, for instance. Well, Danna Bell is actually online with us right now. She's our Ask a Librarian, and so that's if you're stuck finding a resource, that is a golden place to go, so I encourage you to check out Ask a Librarian, we can think about in this idea of hard-to-find perspectives. There are loads of teacher resources online you can see, and that's where you can get things like the primary source analysis tool. And there's this teacher blog, right, where there will be ideas for teaching there. So, please, feel free to investigate any of those links after the session and sort of use them frequently. Want to pause for a second to see if there's any questions. If you don't have a question, feel free to go off and enjoy the rest of your evening. If you do have a question, let us know in the chat, and we'll do our best to answer it. >> Just want to echo Mike's thanks for this and say I've been looking at the chat, and I haven't seen any questions that we didn't get to. So if you put a question in the chat, please reenter it because we're not intentionally ignoring you. Beverly [inaudible] happy birthday. Thanks for joining us. >> If we'd have known that, we might have had to unmute everybody and done a roaring, rousing Happy Birthday song. That's probably why you didn't tell us earlier. But thank you everybody for joining us. It's been wonderful collaborating with you and hearing about your wonderful ideas, and good luck with this. Cheryl and my contact is on the screen, so if you have any questions moving forward as you plan your teaching using these strategies, feel free to send us an email.