Main Site | About BHS | Visitor Information | Exhibitions | Education | Library | Publications| Support BHS Press | Contact us | Online Store | Site Map
 

Education

...now browsing by category

 

Museums and the Common Core: What’s Your Role?

Last Tuesday, Brooklyn Historical Society hosted the New York Museum Educators Roundtable (NYCMER) in an event dubbed “Museums and the Common Core: What’s Your Role?” The event was open to NYCMER members and the public and the audience wound up being museum educators from across New York and beyond. Common Core refers to the new Common Core Learning Standards which are being rolled out by the State of New York and the NYCDOE.

BHS President Deborah Schwartz welcomes NYCMER and friends.

The night began with an introduction by our fearless leader, Deborah Schwartz who came to BHS after having been the Deputy Director for Education at The Museum of Modern Art and Vice Director for Education and Program Development at Brooklyn Museum. Deborah’s leadership at BHS always ensures that education is part of the institutional thinking process at every juncture. 

NYCMER Common Core Panel

After Deborah’s intro a panel of people who’ve had hands-on experience working in the implementation of the Common Core gave short “elevator speeches” or explanations about their roles. Moderator Dr. Rhonda Bondie shared a powerpoint presentation which is available here. Jody Madell also shared a powerpoint which is here.

This student response to a Van Gogh painting was popular with the crowd. The slide accompanied a lecture by Karen Rosner of the NYCDOE Office of Arts and Special Projects, which is a component of the Office of School Programs and Partnerships

One way NYCMER looked to connect this event to the national dialogue about the Common Core (which has been adopted by all but two states) was to live tweet the event. You don’t have to be signed up for twitter to see that the hashtag#CommonCore” is replete with links to rich resources for educators.

NYCMER Intern Rebecca Mir Live Tweeting the Event from the Back Row

Throughout the night, Rhonda had us break into pairs or small groups to work through some of the tough concepts around the implementation of the Common Core. What follows are some of the ideas that were shared out by those groups.

 

  • Museum visits would build the seven attributes of college and career readiness.
  • Museums are a great resource for “stuff” that can be the basis for inquiry education
  • Museum educators can adopt a shared responsibility for students’ literacy with classroom teachers across grade levels and subject areas.
  • Museums can allow students the opportunities to make a claim about history, art, science, etc., find evidence to back it up, and share their reasoning.
  • Museums can be part of in-depth, project-based learning that draws on the classroom experience, independent conclusions, and the museum visit experience.
 

  • In support of teachers adopting Common Core, museums provide social spaces and broader settings for all learners, especially independent, inquiry-driven investigation.
  • Museums can support common core by encouraging critical thinking through inquiry-based learning, providing pre and post visit curriculum materials that build skills to support common core and encourage classroom support for on-site museum programs, and create interdisciplinary programs drawing on and incorporating multiple subject areas.

  • The Common Core is a great way to instigate better use of museum environments and encourage museum and school educators to take advantage of the content rich resources that support development of observation, questioning, research, synthesis and analysis, presentations skills, and multiple perspectives and help build deep understanding.
  • Inquiry-based learning leads to deeper and more complex understanding, critical thinking, and observational skills.
  • Common Core is about understanding versus just knowing.
  • Museum educators can help make the connections between our museum collections and the classroom.
 

  • Through professional development activities, museums can introduce curriculum materials and test them on teachers to help ensure that teachers understand how to use them.
  • Literacy is everyone’s responsibility; museums can help students construct meaning rather than absorb information.
  • Museums can collaborate with teachers, inquiry teams, and school communities to be a part of (and contributor to) common core’s implementation.
  • Museums provide a forum to apply the Common Core Standards in multiple literacies.

Different Perspectives from the Panelists Helped Contextualize the Common Core - (L to R) Karen Rosner (NYCDOE); James Short (AMNH); Jodi Madell (Lyons Community School); Cynthia Harris-Frederick (NYCDOE)

Finally, BHS Education Assistant Samantha Gibson took a stab at combining all of these great ideas into one “elevator speech” about museums educators role(s) in helping ensure that the implementation of the Common Core is a success:
As museum educators, our role in the implementation of the Common Core Standards is to adopt a shared responsibility for students’ literacy and education with classroom teachers across grade levels and subject areas.  Museum visits and museum-based classroom activities can be a vital part of in-depth, project-based learning that draws on the classroom curriculum, students’ independent conclusions, and the museum visit experience.
Museums can also support common core by continually encouraging critical thinking skills through inquiry-based learning, developing pre- and post-visit curriculum materials that build skills to support Common Core and encourage classroom support for museum tours and programs.  Finally, museum educators can continue to help make connections between our museum collections and the classroom to promote optimal use of these resources by students and teachers.
Special thanks to Rhonda Bondie and all of the panelists who generously volunteered their time to advance the field. Extra special thanks to BHS Education Intern Alex Kenyon who ran AV throughout the evening all of the great NYCMER board members who helped put the event together.

 

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.

Introducing College Students to the Joys of Archival Research

Faculty learning about library policies. Photo taken by SAFA Intern Alison Bunis

This past week, Brooklyn Historical Society hosted a week-long institute for eighteen college professors participating in the Students and Faculty in the Archives project (SAFA).

As regular readers may remember, this spring BHS commenced the SAFA project, thanks to funding from the U.S. Department of Education’s Fund for the Improvement of Post-Secondary Education (FIPSE). For the next five semesters, SAFA partner faculty from St. Francis College, Long Island University Brooklyn Campus, and New York City College of Technology will bring their first year students to BHS’s Othmer Library to immerse them in our rich historical collections. This upcoming year alone, over 800 students will hone their research and critical thinking skills by working with newspapers, broadsides, slave indentures, maps, atlases, pamphlets, correspondence, diaries, and many other archival materials housed here at BHS.

At the end of the three-year project, BHS will have created a replicable pedagogical model for collaboration between archives and institutions of higher learning. We’ll also have exposed thousands of first-year college students to the joys of archival research.

Before these students descend upon BHS, the SAFA staff (Outreach and Public Services Archivist Robin M. Katz and me, BHS Public Historian Julie Golia) wanted to give partner faculty some time to design their classes and to get to know our collections.  During the Summer Institute, we gave faculty ample research time in Othmer Library.  There they pored over hundreds of different documents.  We were blown away by their ideas, and by the creative ways they are using our collections.

Archivist Matthew Gorham teaches SAFA faculty about searching our catalogs. Photo taken by Robin Katz.

St. Francis College professor Athena Devlin, for example, is using the decade of the 1860s as a lens to introduce her American Studies students to a myriad of materials: diaries, personal correspondence, political broadsides, and much more. Professor Devlin found our recently published Civil War Subject Guide a great help.  In particular, the correspondences between Brooklyn soldiers and their families in collections like the Cranston Papers will allow students a personal glimpse into life in camp and on the home front.

City Tech professor Peter Catapano, teaching American History since 1877, has a long list of subjects that he needs to address in his survey course. He decided to focus on the history of theater in late nineteenth- and early twentieth-century Brooklyn. During their visit, Professor Catapano and his students will examine issues of the turn-of-the-century theater periodical The Opera Glass and contextualize the locations of theaters with our rich map collection.

Leah Dilworth, professor of English at LIU Brooklyn, is teaching Rubbish!, a course that will chronicle the cultural and material history of garbage. One of the collections that Professor Dilworth and her students will use this fall is the Arnie Goldwag Brooklyn Congress of Racial Equality Collection. When we think of the Civil Rights Movement of the 1960s, our minds go to segregation and sit-ins before they go to garbage. But the inequitable collection of waste in neighborhoods with large non-white populations was a key issue championed by Brooklyn CORE.

These are just three of the inventive courses that our faculty began designing during our SAFA Summer Institute. As the students visit our archive in the fall, we’ll report back about their experiences. In the meantime, we hope you’ll be inspired by the SAFA experience and visit Othmer Library to do some archival research of your own.

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

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

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

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

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

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

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.

Ex Lab Preps Students for College

As the Ex Lab students put the finishing touches on their exhibit, Christina Valdez took a moment to share some of the ways working on Ex Lab has helped her prepare for the challenges of college.

Thanks, Christina!

Open to the Ideas of Others Working on Ex Lab

Guest Ex Lab Blogger: Christina Valdez (Cobble Hill School of American Studies)

Guest Ex Lab Blogger: Christina Valdez (Cobble Hill School of American Studies)

My name is Christina Valdez I am a senior at Cobble Hill School of American Studies. This is my third year in Exhibition Laboratory (“Ex Lab”) and this year’s exhibit, Inventing Brooklyn: People, Places, Progress opens this Thursday, June 2nd.

One of the main skills I learned in Ex Lab was to be more open towards people’s ideas. I wrote a panel for one of the exhibits and I was having trouble formulating the words. When one of my colleagues came over to help and give their opinion on my writing, it felt good to know that someone is there to help you when you need it. Their ideas helped me to check my grammar and spelling so that I have a better understanding of what I want to really convey.

Another example was when we all began choosing the design for the exhibit’s promotional postcard. The majority of my colleagues went with one design while I wanted another but, after they explained why many choose another design, it made me realize that I liked the other design as well.

Being open to other people’s ideas will be helpful to me because when I start college in the fall there will be people that have different opinions about various subjects. It is important for me to know that what brings people together is the fact we are open toward ideas and experiences that we may never have dreamed of otherwise. Ex Lab was an experience that I will never forget.

Ex Lab students working together in the Brooklyn Historical Society library.

Ex Lab students working together in the Brooklyn Historical Society library.

All photos in this post by Keiko Niwa.