Students will learn the research process by researching an African American Hero. They will use the Oregon Library Information System's 4 step process:1. Plan2. Find3. Create4. Present

African American History for HIST 244 is a collection of selected readings from African American
History (Lumen), American Yawp, Boundless US History, and US History by Chris Collins for
Skyline College ZTC Early Adopter Program and is licensed under CC BY-NC-SA 4.0, unless
otherwise indicated.

BlackPast.org provides free access to documents, transcripts, timelines, videos, and lesson suggestions. With over 6,000 pages of information, BlackPast.org is the single largest free and unrestricted resource on African American and African history on the Internet today. Through this knowledge, the site aims to promote greater understanding to generate constructive change in our society.This resource highlights teacher-developed lessons for using BlackPast.org in the classroom and links to different sections of the BlackPast.org website.

Accompanying the musical and political changes in Soul music that took place as the 1960s moved forward into the 1970s was a profound shift in African-American identity. Whereas Motown artists had been groomed for mass consumption by white audiences in the mid-1960s, Soul artists increasingly embraced a style much more in sync with their African roots (and in many cases reflecting a more militant political view). These developments paralleled musical changes in which melody was to varying degrees made secondary to an emphasis on rhythm and groove, as it often was in traditional African musical forms. Together, these shifts were emblematic of the growing Black Pride movement, with its characteristic slogan, "black is beautiful." This lesson looks at these social and musical changes, with a focus on James Brown and his seminal proclamation of black pride, "Say It Loud, I'm Black and I'm Proud."

In this lesson, students investigate a collection of musical performances, television interviews, and movie trailers, discussing how black artists of the 1970s, including James Brown, George Clinton, and Curtis Mayfield, addressed black audiences through the music and aesthetics of Funk, casting a light on all that the Civil Rights movement could not do for a racially divided America.

When Reconstruction ended in 1877, southern whites used violence, economic exploitation, discriminatory laws called Black Codes, and political disenfranchisement to subjugate African Americans and undo their gains during Reconstruction. Kansas and other destinations on the Great Plains represented a chance to start a new life. Kansas had fought to be a free state and, with the Homestead Act of 1862, the region offered lots of land at low cost. As a result, between the late 1870s and early 1880s, more than 20,000 African Americans left the South for Kansas, the Oklahoma Territory, and elsewhere on the Great Plains in a migration known as the “Great Exodus.”

A History Of The Holocaust: A Guide For The Community College Student: The Second Edition.

Video by Art21. Where does a painter find her subject matter? With a process that takes her from the streets of Harlem to her studio in DUMBO, Brooklyn, artist Jordan Casteel paints vibrant large scale portraits, making visible the often unrepresented humanity of Black men. At first struggling to find subject matter that could speak to the political realities of police violence and implicit bias, Casteel drew inspiration from her twin brother. "People follow me like I’m a threat," the artist remembers her brother saying, "but they don’t know anything about me." Together Casteel's paintings illustrate the multiplicity of Black male experience; she began with nudes in domestic interiors before expanding to men on the sidewalk, the color and compositions celebrating the visual texture of her Harlem neighborhood. Casteel's work is probing in its tender depiction of Black men who, although often strangers to the artist, gaze directly and intimately out at the viewer. Jordan Casteel (b. in 1989, Denver, Colorado) lives and works in New York. Learn more about the artist at: https://art21.org/artist/jordan-casteel/

Learning About Black Leaders Bingo (Grades 1 and 2)
Identifying contributions of people, past and present is important. We learn to celebrate individuals and the part they play in our lives. / Es importante identificar las contribuciones específicas de las personas, pasadas y presentes. Aprendemos a celebrar a las personas y su rol en nuestras vidas.

In this lesson students will read to understand how Black and Brown men are currently incarcerated in America at a much higher level than any other demographic. Students will evaluate the relationship between slavery and the current criminal-justice system. They will close read two anchor texts from the New York Times 's 1619 Project, i.e., an excerpt from the article “Slavery Gave America…” and an excerpt from the article "The Idea of America." Using these texts, other visuals, and a video as their background knowledge resource bank, students will write to make and support a claim about mass incarceration and the ways in which this practice, much like slavery, significantly conflicts with America’s foundational ideas such as “all men are created equal.”

Slavery to Liberation: The African American Experience gives instructors, students, and general readers a comprehensive and up-to-date account of African Americans’ cultural and political history, economic development, artistic expressiveness, and religious and philosophical worldviews in a critical framework. It offers sound interdisciplinary analysis of selected historical and contemporary issues surrounding the origins and manifestations of White supremacy in the United States. By placing race at the center of the work, the book offers significant lessons for understanding the institutional marginalization of Blacks in contemporary America and their historical resistance and perseverance.

In this lesson, students will investigate the work and legacies of Black and Latinx pioneers often ignored in larger discussions about LGBTQ+ history, by collaborating with other students in analyzing primary source documents. Students will also explore the ways city governments and activists are working to combat the erasure of Black and Latinx trans women and the broader whitewashing of the Gay Liberation Movement.

Students will compare Kendrick Lamar's "Alright" with black protest songs of the past in order to identify common themes and ideas tat artists have used to illustrate black experience in the United States.

In this lesson. students will read statements from Black Lives Matter and watch a clip fron CNN's Soundtracks to explore the sifnificance of the movement and the music made in response to the issues they rally behind. Students will also analyze clips from the music videos of artists Kendrick Lamar and Beyonce Knowles-Carter to understand music's relation to the Black Lives Matter movement.

In this activity, students will compare and contrast the experiences and contributions of Harriet Tubman, Elizabeth Van Lew, and Mary “Bowser” during the Civil War era. Students will conduct a gallery walk (in-person or virtually) to gather information about these three women using a graphic organizer.

William Edward Burghardt “W. E. B.” Du Bois — sociologist, historian, activist, Pan-Africanist, and prolific author — had also, it turns out, a mighty fine eye for graphic design. Born in Great Barrington, Massachusetts in 1868, Du Bois studied at Fisk University, Humboldt University in Berlin, and Harvard (where he was the first African American to earn a doctorate), and in 1897 he became a professor of history, sociology and economics at Atlanta University. Two years later he published his first major academic work The Philadelphia Negro (1899), a detailed and comprehensive sociological study of the African-American people of Philadelphia, based on his earlier field work. The following year, along with collaborators Thomas J. Calloway and Daniel Murray, Du Bois travelled to Europe, firstly to the First Pan-African Conference held in London, and then to the Paris Exposition to present a groundbreaking exhibition on the state of African-American life — “The Exhibit of American Negroes” — which, according to Du Bois, attempted to show “(a) The history of the American Negro. (b) His present condition. (c) His education. (d) His literature.”

In addition to an extensive collection of photographs, four volumes containing 400 official patents by African Americans, more than 200 books penned by African-American authors, various maps, and a statuette of Frederick Douglass, the exhibition featured a total of fifty-eight stunning hand-drawn charts (a selection of which we present below). Created by Du Bois and his students at Atlanta, the charts, many of which focus on economic life in Georgia, managed to condense an enormous amount of data into a set of aesthetically daring and easily digestible visualisations. As Alison Meier notes in Hyperallergic, “they’re strikingly vibrant and modern, almost anticipating the crossing lines of Piet Mondrian or the intersecting shapes of Wassily Kandinsky”.

Kevin Barksdale (Marshall University) and Ken Fones-Wolf (West Virginia University) assembled this collection of essays, mostly from the journal they edit, West Virginia History, to serve as a reader for courses on the Mountain State’s history. In selecting essays, they emphasized pieces that addressed themes from differing perspectives. For example, the first two essays examine the eighteenth-century frontier and Indian-white relations, one from the perspective of Europeans seeking to destroy Native Americans and the other from the vantage of the Cherokee hoping for some security. Among the other topics highlighted in these essays are: the coming of the Civil War, the efforts of women and blacks to negotiate citizenship during Reconstruction, the struggles of immigrants and African Americans during industrialization, the impact of the Cold War, and episodes that might be grouped as part of the culture wars. As such, they offer multiple opportunities for students to compare and contrast the experiences of varying groups of West Virginians throughout the state’s history.