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Research, Writing, and Art: P.S. 312′s Fourth Graders Curate a History of Bergen Beach

Along with Educator Emily Gallagher, BHS Educator Alex Tronolone is working closely with a team of “young curators” at P.S. 312 to uncover the history of their Bergen Beach neighborhood this spring.  The work the students create will ultimately go into three professionally-designed museum panels to be displayed at the school.  BHS’s after-school program “Young Curators” is made possible by a Cultural After-School Adventures (CASA) grant from City Council Member Lewis Fidler.  I’m happy to introduce today’s guest blogger, Alex, and his insights on getting students engaged with history.

CASA Educator Alex Tronolone

Since the beginning of January I’ve been working with 16 incredible fourth graders in Bergen Beach to study their neighborhood and school. When we began the project I don’t think the students were quite clear about what we would be doing. They knew there was something with history, and that it was a “special” after-school program, but they couldn’t picture the end result – a museum exhibit in our school? However, the students’ visit to Brooklyn Historical Society helped bring their project to life since they got to see the actual archival materials firsthand.

On our first class meeting following the trip, we gathered in a circle on their library’s carpet to discuss our findings. We then split into groups of researchers, writers, and artists to begin making progress on the production of our panels. Beginning with this class session, the students took complete ownership of both their roles and their collective project. For example, the researchers transcribed a 17th century bill of sale for the land around Bergen Beach! The researchers also highlighted important information in historic newspaper articles we had looked at as a class and sent them over to the writers to craft the text for our exhibit panels. The writers recorded facts and ideas they had learned about and noted questions where more research had to be done and sent them over to the researchers to find answers. The artists went through our historic photos of Bergen Beach and looked through our research for descriptions to help them imagine the past. They also came up with two art project proposals that they presented to the entire class to debate and vote on.

Students from P.S. 312 examine documents on display at BHS.

The class now has its own momentum that comes from the genuine enthusiasm these young curators have for this project. My students are so engaged they’ve been spending their lunch periods going to the library to do additional research for the project and every week some students ask to take home work to do.

As a former classroom teacher, I am especially enjoying working with public school students in this student-driven learning environment.  When I taught special education in a NYC public middle school, my job as a teacher was really impacted by the external pressures of large class size and test prep.  We spent entire months preparing for test after test, data notebooks, and, if you were really unlucky, a ‘quality review’. Invariably these tests consisted primarily of multiple choice questions – the lowest common denominator of knowledge and assessment. Needless to say, discipline had to be iron. My students would refer to themselves as numbers; corresponding to their state test scores. I dare you not to feel ill when you hear an eleven-year old with special education services describe their academic achievement as, “I’m a one”, or, “I’m a two.”

In contrast, my work with the young curators gets to be participatory, grounded in real historical research, and driven by the students themselves. It’s exciting to think that my CASA students are legitimately enthusiastic about our project. The skills they learn working collaboratively to produce their exhibit will be skills they can use for the rest of their lives. They’re learning to run their groups democratically (you should see them organize themselves!) and to make decisions about what work needs to be done and who will do it. They will have ownership over the knowledge they gain through historical research that can’t be replicated by studying a textbook or preparing for a test. The excitement about historical and archival research…well, maybe that will wane, but for now, their energy and passion has a momentum that makes it easy and a joy to teach.

The P.S. 312 “Young Curators” team.

“Young Curators” at P.S. 276 Dig Into Canarsie’s History

This spring, students from P.S. 276 are working with Educator Emily Gallagher to uncover the history of their neighborhood, Canarsie, through BHS’s after-school program “Young Curators.” This program is made possible by a Cultural After-School Adventures (CASA) grant from City Council Member Lewis Fidler.  I’m very pleased to introduce our guest blogger, Emily, and her experience working with her great team of “young curators.” 

BHS Educator and today's guest blogger, Emily Gallagher

As a Brooklyn Historical Society educator, I’m honored to work with third and fifth graders at P.S. 276 in Canarsie as part of the “Young Curators” after-school program. Each week, we delve into a new aspect of Canarsie’s history and, eventually, we’ll tell the story of Canarsie’s past in our own voice as part of a museum quality installation at P.S. 276.  As a museum educator, I’ve often felt exhilarated after exposing young people to the multiple perspectives of history but, through ”Young Curators,” I’m getting an extra thrill — the thrill of watching very smart, capable children become even more emboldened and impassioned about where they live, who they are, and how they fit into the narrative of our community.

I applied for this position because I was especially inspired by on the program’s focus on local history.  So few of us, as children or adults, have a real connection to the amazing events and experiences that happened in our own buildings and on our own blocks.  I really feel that a more tangible connection to that specific past helps build a better neighbor and a better citizen.  Caring about our neighborhoods’ histories and how they fit into Brooklyn and even broader communities beyond Brooklyn is a direct pipeline to caring about our neighborhoods in the present and in the future.

P.S. 276 "Young Curators" check out a historic atlas of their neighborhood.

During our first “Young Curators” class, I asked the students what came to mind when they thought about their neighborhood of Canarsie in the past.  We quickly realized that even though they spend every day immersed in their community, they were much more familiar with New York City and United States history as a whole.  We had a difficult time pin-pointing the important spots in their neighborhood, or important people in their neighborhood’s past.  Using resources from  Brooklyn Historical Society’s library, we were able to dig in directly.  The students have already examined maps, photographs, and documents in order to uncover their neighborhood’s past.

Flash forward a month into our investigation, and my students are asking very pointed questions.  Instead of referring to “the Native Americans,” they speak with authority about the Canarsee Indians for whom the neighborhood is named. Instead of guessing that the Dutch lived here, they can tell you exactly what the Wyckoff family would be eating in Nieuw Amersfoort, and one student even tears up when thinking about what happened to the oyster beds that used to pepper Jamaica Bay along the waterfront of Canarsie.

The "Young Curators" team during their visit to BHS.

Walking down Flatlands Avenue no longer means dodging cars and looking for the bus stop, but it instead means imagining a different time and a different kind of Brooklyn– and hopefully helps these children, who no doubt have an important role to play in Brooklyn’s future, feel more excited about the role they’ll make for themselves in it.

Cropsey’s Cap: Discovering Brooklyn’s Civil War History

Each semester, the BHS Education Department asks our interns to research at least one object on display and present their findings.  I’m very pleased to introduce the following post by guest blogger, Chelsea Trembly, and her excellent research on “Cropsey’s Cap,” now on display in Inventing Brooklyn

Thanks, Chelsea!

Cropsey’s Cap: Discovering Brooklyn’s Civil War History

Col. William J. Cropsey's cap on display in Inventing Brooklyn. Photo by Chelsea Trembly, 2011.

Sometimes a hat is just a hat – this is not the case, however, for the Union Army Civil War forage cap that is on display in our newest exhibition Inventing Brooklyn.  As part of my ongoing Intern Research Project, I delved into the archives to discover more about this particular chapeau.  Tucked in a shadowed corner of a display box, this felt and leather hat (ca. 1860 – 1869), belonged to a reluctant Union Army soldier who began his military career as a private in the Federal army in 1851 and eventually rose through the ranks in the military to the position of Colonel during the Civil War. 

This soldier was New Utrecht native Colonel William J. Cropsey.  In a re-telling of his military career in 1912 he presents himself as a haphazard, ambivalent soldier.  According to the elderly Colonel Cropsey (who, incidentally, told his story while seated next to another well known Brooklynite, Peter Wyckoff), Cropsey only joined the military to escape the inevitable doom of jury duty.  This headstrong 25 year-old was so desperate to escape a potential “six weeks” of sitting in court that he traded his life of fishing at the Narrows every day for a daily life filled with discipline and military order.

Cropsey’s New York Times obituary states that he served in the 71st Regiment of New York, which was combined with the 2nd Regiment of General Sickle’s Brigade.   His hat imparts a great deal of information about his status.  For example, we know that the number “2” on it represents his Regiment number.  From looking at various illustrated Civil War uniform guides, we also know that the insignia on the front (two swords with blades faced upwards) identify this hat as a Colonel’s cap in the Calvary.  Cropsey’s Regiment was mustered in between June 20 and July 18, 1861 and mustered out on July 30, 1864.  They fought in battles such as Bull Run and Gettysburg.  In fact, given when Cropsey was commissioned Colonel (February 1863), he may have worn this hat during the Battle of Gettysburg (July 1-3, 1863).

We can also learn a great deal from the physical dimensions of the hat – it’s 6 ½ inches tall in the back, and 4 ½ inches tall in the front.  These proportions indicate the hat was of the unique “McClellan” style, named after General George B. McClellan who was a West Point graduate, veteran of the Mexican-American War and mythologized Civil War general who led troops into famous battles in the peninsula of Virginia, as well as Gettysburg and Bull Run.  McClellan was probably first issued this particular style of hat while at West Point, where it was distributed in the 1830s.   This style was not distributed among soldiers in the Federal Army until 1851, the first year of Cropsey’s enlistment. (Remember: Cropsey would not have received this hat until 1863 because that’s when he became Colonel, and the hat’s insignia indicates that it was a Colonel’s cap).

Also, this hat can teach us about patterns of American consumption and taste during the American Civil War. For example, we can tell from the style of this hat that it was modeled after the French forage cap or “kepi.”  In fact, French military dress inspired a number of uniform styles we see in the American military, especially in the early years of the Civil War. 

This Civil War envelope shows an example of a "Zouave" uniform, ca. 1861-1865, Library of Congress, Prints and Photographs, Call Number LOT 14043-6, no. 20.

Perhaps the most striking example was the 5th New York Volunteer Infantry, which wore Zouave-style French uniforms, originally modeled after North African dress (read:  red, M.C. Hammer-style, parachute pants).  In the early years of the war the Union Army ordered 10,000 uniforms from France and also imported uniforms from other places in Europe, a decision that cost a cool $800,000.  

The Union Army accumulated quite a few uniforms throughout the early years of the war.  By 1862 it is documented that the Union Army had over 500,000 pairs of shoes and 600,000 overcoats to its name.   When I stumbled upon this statistic, I immediately thought that it was wrong.   My limited understanding of military dress during the Civil War (prior to this research project) was that soldiers were often inappropriately dressed or shoe-less.  Why, I thought, is there a myth that Civil War soldiers were poorly dressed if there was so much clothing?  After some research, I discovered that these uniforms were not distributed because the Union Army was so disorganized.  Once the Union Army did figure out how to distribute the clothing, the soldiers found that the materials were so “shoddy” that they often fell apart after weeks.  To add insult to injury, the uniforms’ materials were so difficult to clean that often vermin and insects would embed themselves in the fabric, and infest the soldier’s clothing.   To remedy this enormous problem, soldiers often burned their uniforms after being issued a new set of fatigues (an occasion that only occurred once a year; new hats were only issued once every five years).  Luckily for the soldiers, mid-way through the war the Union began manufacturing their uniforms domestically, and apparently the quality of the uniforms improved.

Wondering what happened to Colonel Cropsey?  He retired from the Army during the 1870s and went on to serve in local government in Brooklyn and New Utrecht.

Who’s a Brooklynite? Oral Histories from Inventing Brooklyn

Inventing Brooklyn Postcard FINAL2Inventing Brooklyn: People, Places, Progress, now open at Brooklyn Historical Society, traces the evolution of Brooklyn into the place we know today. From Native American roots and lasting Dutch colonial influences to icons such as the Brooklyn Bridge and the Dodgers, Inventing Brooklyn looks at how various peoples, places, and historical events have shaped the development of the borough. 

Brooklyn’s diversity has long been a point of local pride and continues to define the borough today.  The oral histories featured in the exhibit speak to the diversity of Brooklyn’s people, neighborhoods, and many immigrant experiences. 

Paul Mak  was born in Hong Kong and immigrated here with his family.  He is the founder of the Brooklyn Chinese-American Association, which serves the Chinese-American population of Brooklyn, and specifically Sunset Park.  In this clip, Paul recalls his experience at James Madison High School where he witnessed the influx of Chinese immigrants as a student in the 1980s.

8th Avenue Sunset Park Oral History Collection (1993-1994)

Interview date: March 26, 1993

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Encarnacion Armas, a well-educated and well-traveled resident of Brooklyn, describes her involvement with the Puerto Rican community in Brooklyn in the 1940s.  In this clip, Armas reminisces about moving to Bay Ridge as a teenager and shares her experiences serving the Puerto Rican community.

Puerto Rican Oral History Project (1973-1976)

Interview Date: October 21, 1974

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Milton Wurtzel  was born in Manhattan and grew up in the Bronx and in Stuyvesant Heights, Brooklyn on Kosciusko Street. Wurtzel worked at Lieberman Shoe Factory as a foreman and at a slipper factory before he began his job as a welder at the Brooklyn Navy Yard. In this clip, Wurtzel discusses the ethnic diversity at the Navy Yard during the 1940s.

Brooklyn Navy Yard Oral History Project (ongoing)

Interview Date: February 12, 2009

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Inventing Brooklyn: People, Places, Progress was created by the high school students in Brooklyn Historical Society’s Exhibition Laboratory program.  From archival research to writing labels to selecting these oral history clips, the 2011 Ex Lab students worked closely with BHS staff, consulting historians, and professional exhibit designers over the course of the spring in order to make Inventing Brooklyn come to life.