Search results

The introduction presents the challenges of teaching history and social studies within a society that questions why we should learn about the past. It summarizes federal legislation and funding that have both expanded and limited history education at various times. It suggests that historical interpretation and performance are ways to engage students in their ability to make meaning of the past and engage in inquiry, at a time when student access to historical information and media is often overwhelming. The introduction concludes with a summary of all chapters as they advance a process for historical inquiry through storytelling and interpretation.

This chapter sets forth a plan designed to encourage and enable teachers to engage in first-person characterization in their classrooms. The author draws on his extensive background in social studies teaching, administration, and consulting to argue for the value of historical interpretation within the context of today's curricular emphasis on science, technology, engineering, and mathematics (STEM). This chapter then explores and explains historical interpretation from a classroom perspective, focusing on pedagogical best practices. In a first-person presentation, the presenter assumes the identity of a historical figure. The first question to be asked then is, Who is the individual I wish to represent, and why? This person should be selected from subject matter being studied in your class. Be aware that it is necessary to anticipate some element of controversy when you undertake this activity. With rare exceptions, any historical figure selected for portrayal will have something questionable in their background, and you will have to contend with this. So, the next question to ask is, Why engage in first-person interpretation in the first place? In this chapter, experienced teachers provide reasons for doing so, and consider necessary preparations for effectively implementing such a characterization. That discussion leads to examining ways to ensure successful presentations that achieve established lesson goals, followed by suggestions for debriefing and effectively bringing closure to the exercise. As the accompanying lesson extension demonstrates, a characterization can ground further study of an issue associated with the individual being depicted.

In the online media world, students are usually the consumers of media content. The advent of social media provides a wide variety of content that is streamed into their devices 24/7/365 much of which is unvetted and/or focused only upon the type of content that they have “liked.” While this content can be entertaining or disturbing, it remains within the realm of user absorption often without critical thinking or even a rudimentary screening as to the quality, accuracy, and authority of the content or its providers. The goal with the classroom uses of technology as it relates especially to the history classroom is to move the student from content consumer to content creator. Students who learn how to appropriately search for and vet relevant content in the process of creating a product that demonstrates learned knowledge on a given topic also learn what makes for high-quality production values in a setting that affords students the skills needed to more fully function within an online world. The concept of “Digital Natives” versus “Digital Immigrants” often separates students from teachers, but that, and in most circumstances, is not a truly dividing phenomenon that is seen in most classrooms today since the idea of lifelong learners has equaled the playing field. Success arrives when creative teachers and students are working together in a project-oriented study of American history that uses classroom-tested techniques that can assist educators and students in the management of technology applications to enhance learning.

This chapter presents performance pedagogy as an interdisciplinary construct and potential bridge between history-based performance and classroom teaching. This chapter proposes Living History in the Classroom: Performance and Pedagogy's central theme: that storytelling and historical interpretation are effective teaching tools. These techniques are integral at many public history settings for on-site and outreach education; Freeman Tilden's foundational 1957 interpretive guidelines for America's national parks paired engagement with education and still influence the public history field. Yet, a review of related literature suggests that limited attention has been paid to translating these techniques for educators' use, whether as performers, as mentors for their students, or in collaborating with historic sites. The pedagogy inherent in storytelling and interpretive performance aligns with their potential instructional value, as has been documented for educator's performance pedagogy in the arts. Similarly, the continuing need to engage current and new audiences impacts how these organizations conduct educational programs and visitor attractions. In the same respect, PK-16 educators and administrators consistently seek best practices for engaging today's Generation Z students (born between 1997 and 2012) and the generation that follows, termed Generation Alpha (McCrindle, 2020). This chapter features a performance pedagogy model that combines historical and instructional objectives that draw from research and observation of first-person interpreters performing in teacher professional development workshops and the author's personal instructional and interpretive experience. This chapter contains a related interview with a noted historian-performer and for educators' use, a worksheet with guiding questions to create or analyze a historical character, educational content, related pedagogy, and key aspects of a performance.

This chapter explores ways to think about historical “stuff” and how to use objects to create a rich presentation and understanding of both time periods and historical figures. Items can help “set the stage” while also offering insight into subtle details about specific people, like their tastes and movements and whether they were right- or left-handed. These details help make the past come alive and provide avenues for people to make deep personal connections with historical events and figures. For teachers, objects can enrich their lessons by literally setting the stage with the items that witnessed historical activities and periods. Their students, on the other hand, might find that objects can help turn abstract historical events and figures into tangible happenings and people. This chapter discusses material culture studies and ways to interrogate objects before examining how objects can help inform interpretation.

Storytelling began quite possibly as early as 15,000 bc, with cave drawings of animals and a man. Enduring because of its appeal to the human spirit and imagination, stories illuminate and inspire as well as bridge a gap between fact and fiction. From the time we are little children, stories have taken us on a journey. Whether simple or complex, we use them to remember; we use them to create; we use them to disrupt. But there is a Part Two to the power of a story that can be found in telling it – in the act of becoming the storyteller. In either presenting a narrative or sharing the narrative as the character, one transforms from a learner to a teacher. And in that transformation is found deep understanding and learning. There is a story at every turn in education – in history, in languages, in maths, in science – everywhere. This chapter will discuss the tremendous value of the story, not just in the telling but as the teller.

Acting is a tool that can bring satisfaction to performers and audiences alike, particularly when understanding inspires connections to another person and to a historical character. This chapter outlines the lessons and challenges one may face when building a historical character, particularly when that portrayal is based on the complex history of the United States. For performers of color, race is part of the process. For educators who plan to perform themselves, to prepare students to create history-based performances, or to have students observe professional portrayals, cultural and racial awareness is key. A people's heritage ― with its beliefs, traditions, and even trauma ― cannot be separated from their individual or collective stories. Culture and race represent a crucial part of their narrative and their identity. Drawing from childhood stories of life in the segregation era, the author explains what it meant then and now to “walk another way” in developing racial awareness, sharing how these memories have affected her professional and creative work. This chapter illustrates the multiple considerations involved in presenting characters from different time periods and culture. In particular, portraying characters or telling stories concerning America's history of oppression can impact the audience as well as the performer. The author shares her perspective as an African-American woman, explaining in detail the logistics of performance experience as a whole. She uses examples from her own character development of people of color from the seventeenth through the twentieth centuries to illustrate how the use of research and primary documents contribute to script development.