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This study is a result of working with a first-grade teacher, Ellen Stubblefield, who plans, implements, and evaluates a modified Reggio Emilia approach. She documents students’ learning through visual means. In tandem with a kindergarten teacher, Glenda Watson, early childhood learners question and reflect about their community history and that of Harlem primarily through folk art but also in music, poetry, literature, and architecture. Students inquire about historical events in the Harlem Renaissance and connected it to Hoover, Alabama. They deconstruct art works, replicate their favorites, learn the history of the Harlem Renaissance, map Harlem, write about artists, visit the local museum’s exhibit of folk art and make comparisons to their community. Ultimately, they educated peers and parents about the diversity of the people who made Harlem such a wonderful community. As educators, we learn the most. We see young children can begin historical understanding with an active learning/research approach.

This chapter focuses on visualization. Seeing the humanities differently is one of the amazing benefits of working with tools mentioned within this category. Whether it be more traditional visualizations like images or video or that which is considered a bit more advanced like augmented or virtual reality, the enhanced perspective gained through the use of these tools offers digital humanities scholars unprecedented disciplinary perspectives while helping to shape new research areas, questions, and understanding of humanity and culture. In addition to visualization and issues related to it, this chapter also examines gaming and how games and play are impacting the digital humanities in exciting ways.

This lesson plan is an introduction to the Harlem Renaissance through the award winning, thorough, resource text for youth, Harlem Stomp! A Cultural History of the Harlem Renaissance by Laban Carrick Hill. The Harlem Borough was a place in New York where African Americans migrated and overtly celebrated their cultural capital and rich heritage from the turn of the Twentieth Century through the nineteen forties. Countless artists, writers, poets, musicians, philosophers, and intellectuals contributed to landscape which left an indelible historical identity. Equality and justice characterized the era, continued to influence the country through civil rights, and persists to the present day

This study aims to detail an analysis project of a juvenile collection within an academic library. The analysis became a starting point for the development of a coherent collection policy, and for charting a path toward a better maintained, more used, more diverse, inclusive and representative collection.

The analysis was done by using a catalog-generated shelf list, which revealed specific details about the aged state of the collection and brought to light the lack of attention the collection has been getting in recent years.

The analysis of a collection of children’s books in an academic library revealed a collection long out of date and unable to serve the needs of our user population.

This analysis is specific to academic institutions that have collections of children’s material.

The literature on juvenile collections in academic libraries is relatively sparse. This research details a social justice approach to building and maintaining juvenile collections in academic libraries.

After war, societies can undergo change that extends justice to formerly excluded groups. Using theories of moral exclusion and moral inclusion as a lens, this chapter examines societal change in two consecutive periods after the American Civil War (1861–1865): Reconstruction and Jim Crow. Focusing on the well being of black Americans in the American South, this chapter examines Reconstruction's inclusionary gains and setbacks. It then describes challenges faced by black Americans during Jim Crow, a period of white supremacy and violence, and factors associated with Jim Crow's decline. Applying social psychological theory to these historical periods offers insight into the dynamics of inclusionary and exclusionary change.

Harlem Renaissance Party by Faith Ringgold follows a young boy and his uncle as they visit the “giants” of the Harlem Renaissance. Lonnie and Uncle Bates travel through Harlem to meet historical figures, such as W.E.B. Du Bois, Langston Hughes, Madam CJ Walker and others. They also visit historical venues where Black artists performed. Such venues included the Cotton Club, the Harlem Opera House and the Schomburg Library.

As students study the end of the Civil War and the early 1900s, they should learn about the causes of the Great Migration that led Black artists to flee from the south to larger cities in the north. In addition, Jim Crow Laws and other discriminatory practices prevented Black artists from performing their crafts. The Harlem Renaissance has had lasting effects on arts, music, literature and dance. In addition, students should use credible sources to gather information and documents about historical events and people.

These inquiry-based activities also integrate arts education and history to reach diverse student populations as they gain meaningful experiences interacting with authentic documents.

As students study the end of the Civil War and the early 1900s, they should learn about the causes of the Great Migration that led Black artists to flee the south to larger cities in the north. In addition, Jim Crow Laws and other discriminatory practices prevented Black artists from performing their crafts.

This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art.