The Cultivating Washington curriculum is intended to be a go-to resource for Washington state middle school educators seeking student-centered instructional materials that make learning about the history of the Pacific Northwest more relevant and meaningful for students.In addition, it is a resource for agricultural education teachers, parents, and community members interested in helping students discover the history and development of agriculture in the state of Washington.

Students learn about the controversial history of a mural in Anacortes, WA, and consider what it would take to create a more inclusive and accurate mural in Anacortes today. Then students learn about the tribes, immigrants, and settlers in the region where they live and how their stories are represented in local murals in public spaces. Students draw on what they have learned to respond to the unit driving question: What decisions and whose stories define Washington state? Then, drawing on local resources such as tribal members, historical societies, and museums, students work in teams to propose a new mural that tells an inclusive story of the people and place where they live.

As part of Washington's Kip Tokuda Memorial Civil Liberties Public Education Program, which strives to educate the public regarding the history and the lessons of the World War II exclusion, removal, and detention of persons of Japanese ancestry, KSPS Public Television and Eastern Washington educators Starla Fey, Leslie Heffernan, and Morgen Larsen have produced Injustice at Home: the Japanese American experience of the World War II Era.

This educational resource--five educational videos and an inquiry-based unit of study--will help students understand Executive Order 9066 and the resulting internment of Japanese-Americans during World War II, the failure of political leadership to protect constitutional rights, the military experience of Japanese-Americans during WWII, and examples of discrimination and racial prejudice the Japanese-American community faced before, during and after WWII.

In addition, students will analyze the short and long term emotional effects on those who are incarcerated, identify the challenges that people living outside of the exclusion zone faced, examine how some Japanese Americans showed their loyalty during the period of incarceration, and learn about brave individuals who stood up for Japanese Americans during this time.

Students begin this unit by exploring the themes of humanity and community as they discuss  the many factors that influence the development of personal identities. They unpack together how we show versus hide different parts of ourselves, and how our identities can be both fixed and ever-changing. Then, students listen to oral histories by Vietnamese Americans to learn how displacement and resettlement have impacted them personally and shaped their outlook on helping others. Using evidence from these firsthand accounts, students answer the question: What can the experiences of displaced people teach us about community, resilience, and humanity? Throughout this unit, students work in teams to create a podcast where they reflect on their collective responsibility to stand in solidarity with displaced people.

Students begin this unit by exploring the themes of humanity and community as they discuss  the many factors that influence the development of personal identities. They unpack together how we show versus hide different parts of ourselves, and how our identities can be both fixed and ever-changing. Then, students listen to oral histories by Vietnamese Americans in Washington to learn how displacement and resettlement have impacted them personally and shaped their outlook on helping others. Using evidence from these firsthand accounts, students answer the question: What can the experiences of displaced people teach us about community, resilience, and humanity? Throughout this unit, students work in teams to create a podcast where they reflect on their collective responsibility to stand in solidarity with displaced people.

In 1862, Congress passed and President Lincoln signed the Pacific Railroad Bill, which granted public land and funds to build a transcontinental railroad. The Central Pacific Railroad would lay tracks from California heading east, and the Union Pacific Railroad would lay tracks from the Missouri River west. The photograph taken in Placer County, "Grading the Central Pacific Railroad," shows some of the construction. Work on the railroad was physically difficult and at times dangerous, and attracting workers was a challenge. The majority of the Central Pacific's laborers were Chinese. A Chinese worker is shown in the image "Heading (top cut) of East Portal, Tunnel No. 8." Both railroad companies actively recruited Chinese laborers because they were regarded as hard workers and were willing to accept a lower wage than white workers, mostly Irish immigrants. As construction progressed, the Central Pacific and the Union Pacific competed to see which could lay the most track each day. A photograph of a sign near Promontory Park, Utah, commemorates the day that Central Pacific crews laid an unprecedented 10 miles of track. The meeting of the two sets of tracks ? the "gold spike" ceremony ? took place on May 10, 1869. Several photographs and drawings depict this historic moment. Now the country was connected as never before: a journey between San Francisco and New York that previously took up to six months now took only days. The photograph "High Bridge in Loop," from Views from a Trip to California, shows a train passing quickly through a mountain pass. The transcontinental railroad allowed people to travel more, farther, and in pleasant conditions, as reflected in the photograph "Commissary Car, 'Elkhorn Club.'" The photograph "Knights of Pythias at the Santa Fe Railway Station, Anaheim" shows an example of the popularity of trains. Even as the transcontinental railroad brought the new country together, it brought change to the world of Native Americans. The tracks ran through a number of tribal territories, bringing into conflict cultures that held very different views of the land and how it might be used and lived on. The painting The First Train, by Herbert Schuyler, depicts three Indians pointing past their encampment at a train in the far distance. The railroad also brought an increasing number of European Americans west. One consequence of this influx was the depletion of the buffalo herds, a major food source for Plains Indians. European Americans would often shoot buffalo for sport from the train; by 1880, the buffalo were mostly gone and Plains Indians had been gathered onto reservations. Millions of acres of open grassland were being settled by the people moving west. Eventually, much of this land became the farmland that fed a growing nation. The transcontinental railroad opened up the West to the rest of the country, even if they never made the trip themselves. A Currier & Ives hand-colored lithograph depicts a train running along the Truckee River in Northern California. The San Francisco publishing firm of Lawrence & Houseworth hired photographers and published photographic tourist catalogs containing views of the West, which they sold commercially. The railroad took hold in popular culture, as shown by sheet music for the song "New Express Galop [sic]." There was even a railroad board game illustrating "Railroads Between New York and San Francisco, California, with Scenes on the Way."