teaching history with art
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DESCRIPTIONTeaching History with Art. How We Saw Them: Depictions of Native Americans. Teaching History with Art. It’s not about the aesthetic qualities of the art As historians, we want to know what art can tell us about the time period we’re studying. - PowerPoint PPT Presentation
Engaging Teachers through Collections
Teaching History with ArtHow We Saw Them:Depictions of Native Americans
Teaching History with ArtIts not about the aesthetic qualities of the artAs historians, we want to know what art can tell us about the time period were studyingMatoaka als Rebecka daughter to the mighty Prince Powhatan from John Smiths General History of Virginia, 1627
2ObjectionsBut its artit isnt supposed to be relevant to time and place. Answer: There is no category of human expression that isnt influenced by context.
ContextContext is particularly important when considering Native Americans in art
4Things to ConsiderWho or what is in the art?Record the number of men and women, children and adultsLook for physical characteristics that distinguish age, nationality, ethnicity, religion, or raceWhat are the people wearing?What can their dress tell you about the time?Are the people posing, or caught in action?
Things to ConsiderAre the people carrying/holding anything?Portrait painters often use props and settings to tell you something about the subject
Images of Native AmericansRemember that the artist is generally an outsider looking inConsider how artists bias might have influenced depiction
George Catlin, Wi-jun-jon, an Assinneboin Chief. Going to Washington; Returning to his home. , Catlins North American Indian Portfolio, 1845. Courtesy New York Public Library.Images of Native AmericansMake sure to think about whether the image is primary:for examplefor Tecumseh there are no contemporary images
Death of Tecumseh Currier and Ives print, 1846. Library and Archives Canada, Acc. No. 1970-188-1431 W.H. Coverdale Collection of Canadiana8Images of Native AmericansNew York Public Library Digital Gallery: After Columbus: 400 Years of Native-American PortraitureNational Museum of the American Indian Collections *One advantage of this site is that it includes images and artifacts created by Native Americans Classroom StrategiesCompare and ContrastSeriously, do I need to explain this?
Compare and Contrast
From J. O. Lewis, The Aboriginal Portfolio, 1836. Courtesy of the New York Public Library Digital Gallery. Compare and Contrast
Charles Bodmer, Blackfoot on Horseback, from Voyage dans linterieur dAmerique du Nord, 1840-1843Man Who Carries the Sword (Oglala Sioux), circa 1875, Courtesy, National Museum of the American Indian, Smithsonian Institution 10/9628
Classroom Strategies30-Second LookStudents look at the picture for 30 secondsTurn the sheet over (or take the powerpoint slide away)Have students write down what they sawTurn the picture back over (or bring back the slide)Talk about what they saw and remembered, and what they didnt30-Second Look
The Pipe Dance and the Tomahawk Dance of the Chippeway From J. O. Lewis, The Aboriginal Portfolio, 1836. Courtesy of the New York Public Library Digital Gallery. 14The Pipe Dance and the Tomahawk Dance of the Chippeway, from John Lewis Aboriginal Port-Folio, 183630-Second Look
George Catlin, Buffalo Dance, Catlins North American Indian Portfolio, 1845. Courtesy New York Public Library.15Buffalo Dance, from Catlins North American Indian Portfolio, published 1845Combine StrategiesFirst, the 30 second look
Courtesy, National Museum of the American Indian, Smithsonian Institution 2/6927 16Cornbread Dance, by Earnest Spybuck, Absentee Shawnee, c. 1908-1910; collections of the National Museum of the American IndianNow, Compare and Contrast
Earnest L. Spybuck (Absentee Shawnee), c. 1875. Courtesy, National Museum of the American Indian, Smithsonian Institution 2/6927
George Catlin, Buffalo Dance, Catlins North American Indian Portfolio, 1845. Courtesy New York Public Library.Other Classroom ActivitiesHave students re-create the art in a tableau vivantHave students create original pieces inspired by a contemporary event or by historical art
18Kehinde Wiley paints young African-American and African men recreating poses from Old Master paintingsin this case a portrait by 17th century Dutch painter Johannes Verspronckthough against backgrounds that combine the floral motifs of Victorian wallpaper with the colors of African textiles. Wiley does basically the same thing in every painting, so the cumulative effect is rather repetitivebut that's kind of the point: young men both posing for a time-worn, European-dominated pattern and at the same timequite literallyemerging as their individual selves from the patterns that entwine them. Another Strategy:Can be applied to art or to any imageSee, Think, WonderWhats See, Think, Wonder?Thinking routine from Visible Thinkinghttp://pzweb.harvard.edu/vt/VisibleThinking_html_files/VisibleThinking1.htmlVisible Thinking is a flexible and systematic research-based approach to integrating the development of students' thinking with content learning across subject matters.
Making Thinking VisibleSee, Think, WonderShareLets Do This!
I see. . .I think. . .I wonder. . .War of 1812Well go through the See, Think, Wonder process with some other items from this summers CD.
Now, with real primary sources!I see. . .I think. . .I wonder. . .
Remember: I See, I Think, I Wonder
Death of Tecumseh Currier and Ives print, 1846. Library and Archives Canada, Acc. No. 1970-188-1431 W.H. Coverdale Collection of Canadiana
25Modifying the ActivityThis process can be used for most types of sourcesCartoons, broadsides, artworks, etc.Can modify slightly for text (Read, Think, Wonder)Students work from where they areUses prior knowledgeRecreating This ActivityPretty basic analysis activityAny topicMost any type primary sources, even objectsA little more engaging than a typical analysis worksheetQuestions?