11 10 345 https://native-history.sites.grinnell.edu/files/original/0719649852f6ab6ae8eeba48de1fdb47.pdf 5271aab5cc3fc4dfdb30374a3091fa8b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Optional Resource Subject The topic of the resource "Westward Expansion" Creator An entity primarily responsible for making the resource Ellen Scheider, Deborah Michaels Description An account of the resource Source analysis guide Language A language of the resource English Type The nature or genre of the resource Optional Resource https://native-history.sites.grinnell.edu/files/original/e75d1961ef99f65fd83ed3f608a46439.pdf df576aa907e077dc6cbbb08622c6c6a7 Lesson Plan A resource that gives a detailed description of a course of instruction. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50 minutes Objectives How a map looks and what is included or excluded depends on its purpose 
 A map does not have to offer a direct, mathematically scaled image of the land to be valid or useful 
Two cartographers can create very different maps of the same place based on their personal biases 
 Evaluate visual sources for biases Compare and contrast visual sources' messages and biases Connect how a map looks to its intended use Materials Projector or copies of the Lesson 1 powerpoint for each student Copies of the Lesson 1 worksheet for each student Blank paper Markers or colored pencils Lesson Plan Text Introduction to Different Kinds of Maps: 20 minutes • As a class or in small groups, brainstorm a list of the kinds of maps people use and what they are useful (and not useful) for. For example, a road map is great for driving across the state but terrible if you're trying to figure out where it is currently raining. • Ask students to try to figure out who makes the maps that they listed—who is the cartographer? • Introduce the terms Topological and Topographical o Topological—a type of map that shows useful information and relationships between places, but is not scale always to scale or very detailed. o Topographical—a type of map that follows mathematical conventions of scale to try and depict the land as it is from a scientific perspective. • Show students the following maps and ask them to determine which is topological and which is topographical. Prompt them to explain their answers using specific evidence on the maps (Use accompanying PowerPoint, or print it out and distribute the images to small groups) o CTA map of Chicago "L" (Topological—not to scale) o Map of Illinois, 1836 (Topographical—all ground features to scale) o Post Office Map of US Air Mail Routes, 1928 (Topological: Mail Routes overlaid over Topographical) o Racial Characteristics of Chicago Elementary Schools, 1963 (Topological—focus on human use) o Map of Lunar Surface, 1969 (Topographical—ground features to scale) • Revisit the initial brainstorming list and classify their entries as topological or topographical. • Explain that often times, people tend to think of topographical maps as more "scientific," "objective," or "superior," but, as their list shows, they use both every day and need both for different purposes. Unearthing Bias in Maps: 20 minutes • Give students 15 minutes, or as much time as you can spare, and tell them to "draw a map of where you live." If they ask for more specific instructions, do not give them any. Creating this map could also be a homework assignment. • Have students pair up and discuss the following questions, then share a few key findings with the whole group. o When you were making your map, what kind of details did you include? What did you leave out? Why? o What could someone learn about you from looking at your map? (At this point, students could switch papers and make inferences about their peers from their maps) o How did you decide where to place things? o Did you include a scale or a key? Why or why not? o Is your map topological or topographical? How do you know? • Explain that any cartographer includes and leaves out specific things because of their personal biases, knowledge, and purpose. When reading maps as a primary source, you must consider the cartographer's biases and use the map to learn about that person and the life they lived in the past. Closing Activity: 10 minutes • Project or pass out copies of missile range map and accompanying worksheet o Background: This map was used in Kennedy's Cuban Missile Crisis meetings to evaluate the threat posed to major American cities. (https://catalog.archives.gov/id/595351) • Encourage students to read this map like they did their own and consider what they see/think we can learn about the time and cartographer based on this map • The worksheet questions could be used to guide a class discussion, as an exit ticket, or for homework Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 1: Introduction to Using Maps Description An account of the resource In this lesson, students will explore different kinds of maps and examine how the finished products reveal mapmakers' personal views, values, and biases. This lesson will set students up to successfully undertake analytical exercises in subsequent lessons in this unit, or it can be used to teach map analysis in the context of any other unit or study of geography. Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/e3e8408fbe0f67d2de76cb76d1c9b8ef.pdf c5e32d42f6eee87bee6c63eb6ee005fe Worksheet Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 1: Reading Maps Worksheet Description An account of the resource Examine this map, which was made in America in 1962, then answer the questions on the back of this sheet. Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/9b20464a3d2dd02a758d77a0c81c513e.pptx 803ec2aa6d65e6869251451b2b54a5c6 Presentation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 1: Introduction to Using Maps Presentation Description An account of the resource Presentation to accompany Visualizing Expansion Lesson 1 Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/df3ea640d4533987a48eb8bd4e121785.pdf 2118c2f3fa8a5ccd5c2b87c6e8162413 Lesson Plan A resource that gives a detailed description of a course of instruction. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50 minutes Objectives • Students will understand that European maps and knowledge is not superior or more objective than Native American knowledge of space. • Students will understand that European explorers in North America worked directly with Native American guides and cartographers to make sense of their new environment; they did not somehow conquer the land or its people on their own. • Identify traits on maps within Native and European cartographical traditions • Multiple traditions of knowledge came together when Europeans began to settle in North America • Analyze visual sources to learn about early European understandings of the land of North America Materials • Projector or copies of the lesson 2 powerpoint for each student • Copies of lesson 2 worksheet for each student Lesson Plan Text Introduction (10 minutes) • As a whole class, brainstorm students' existing knowledge of North American exploration, and built a list on the board. o What do you know about European explorers in North America? o Where did they go? o What kind of things did they do? o Whowerethey? o What were their interactions with Native Americans like? • Encourage students to identify which narratives around Exploration they're skeptical of, or could be categorized as historical myths. Annotate your initial list with questions or qualifications that come out of this discussion. If students aren't able to identify these on their own, ask them about the feasibility of Columbus "discovering America" when there were already people living there. o What are some thing you have heard about these explorers that we don't totally believe? o Do any of these accounts seem biased towards Europeans or unfair to Native Americans? o What do the people we listed have in common? Who gets left out? Lecture/Discussion: How do Europeans and Native Americans make maps? (10 minutes) • Illustrate mini lecture with accompanying powerpoint (SLIDE 2) • Tell students that, when Europeans and Native Americans came together in North America, Explorers often asked Native Americans for directions and information about the new place, but history doesn't always like to give Native Americans credit for their work or knowledge. Europeans and Native Americans make maps and document land differently, and their mission is to prove Europeans relied on Native American cartographers to understand the land that was new to them by finding evidence in the maps they left behind. • Point out evidence of European traditions of mapmaking in a modern map of Iowa (SLIDE 3) o Solicit observations from students about the map, guide them to observing: ▪ Political boundaries: state and county outlines ▪ Waterways are shown with distinct beginnings and endings ▪ The size of each item is mathematically to scale, it is a miniature version of what you would see from an airplane • Point out evidence of Native American traditions of mapmaking in 1721 "map of Indians to the Northwest of South Carolina" (SLIDE 4) o Solicit observations from students about the map, guide them to observing the following by encouraging them to think about where this map differs from what you would see from an airplane above the region. ▪ Political boundaries: where people generally live is marked by circles ▪ Pathways aren't marked differently if they're rivers, roads, or trails, and every bend isn't important ▪ The size of each item is based on how many people live there, not how much space they take up Model finding Native American traditions in European maps (15 minutes) (SLIDE 5) • "De Soto map" of what is now the Southeastern coast of the United States, 1544 • Describe the source: this map of the Southeastern coast of what would become the United States was created by a member of the Spanish explorer De Soto's team as they explored the region. o Begin by asking students to describe what they see on this map. Work together to identify rivers, mountains, and coastlines o Do we think they encountered Native guides when interacting with this new space? (yes) o What about it looks traditionally European? What doesn't? • Think Aloud: Consider the rivers in the top central section. They do not connect in a way that necessarily makes sense for rivers, especially when considering the rivers in the Iowa map o What on this map do we think is the result of contact with Native American knowledges of the land? o If students get stuck here, remind them of how the Native American cartographer depicted rivers and pathways in the same way, while the creator of the map of Iowa showed each river's beginning and ending point. • Read aloud the following excerpt from De Vorsey article, "Silent Witnesses: Native American Maps" This text can be summarized instead, depending on students' comfort with the academic language and concepts being discussed. (SLIDE 6) o "The reason for these "unnatural" depictions of rivers on the De Soto map is rooted in a basic difference in the ways Europeans and Native Americans treated networks in their mapping traditions. In European maps...Trails or portages would be shown as different and distinct from the rivers in a region. With Native American cartographers, however, such systems were usually shown as combined and undifferentiated. To them the overall transport system was of principal concern- not whether one segment had to be walked, while another required a canoe for passage. Thus, what the European author of the De Soto map depicted...as weirdly forking rivers resulted from his misunderstanding of Indian route maps. In this encounter map we can see the misunderstandings that flowed from fundamental cultural difference" Students analyze early Explorer's maps for evidence of Native American knowledge (15 minutes) • Use worksheet at the end of this plan This exercise can be completed for homework, depending on time • "Cortés's Map," 1524 (SLIDE 7) o If students are getting stuck, remind them of the circles based on how many people live there in the Native American map from the presentation, and prompt them to consider conceptions of scale based on importance versus physical size. • This map of the Aztec capital was included in a letter from Cortés, conqueror of Mexico, and drawn by a member of his team. The rectangular area in the center is a representation of the Great Temple, which only took up two percent of the city's land. o Students should make the connection between the Native American tradition of allotting more space on the map to more important things Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 2: Native American Cartography and European Exploration Description An account of the resource This lesson shows students how Native American knowledge of land and traditions of mapping interacted with European understandings of physical space during initial points of contact and early European exploration of North America. It can be used on its own during a unit on the age of exploration, or with some or all of the rest of the lessons in this unit for a deeper exploration of maps and visual sources in Native American history. Essential Questions: What can maps and art teach us about the past? What does a visual depiction of land reveal about the people who made it? How did Native Americans and white settlers engage with expansion into the Plains differently? How did Native American cartographers interact with European Explorers during early points of contact? Creator An entity primarily responsible for making the resource Ellen Schneider Westward Expansion: Who and How https://native-history.sites.grinnell.edu/files/original/839118e96669391197df2fe6968cf64c.pptx 93dc39c03d76c3b2679b40ca6111eed4 Presentation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 2: European Explorers and Native Cartographers Presentation Description An account of the resource Presentation to accompany Visualizing Expansion Lesson 2 Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/91d3e0f038e042bfc1ee7be309926905.jpg 8bf017052e72f92c1f71c6fe296a94b1 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Map of tenochtitlan Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/1d0366f31c4129eb07dda6eda051636c.png 3027c69bf5eec4454aaf6593538da19c Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Map Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource De Soto Map Creator An entity primarily responsible for making the resource Ellen Schneider https://native-history.sites.grinnell.edu/files/original/872fd7e7fa1cbbd4fce83d1e67d59d5b.pdf bfb68389da851af1574b1465b6256b53 Lesson Plan A resource that gives a detailed description of a course of instruction. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 50 minutes Objectives • White settlers viewed westward expansion as an exciting opportunity and a civilizing mission, but Native Americans were violently removed from their homes and placed in military camps. • Two authors can create very different visual records of one event based on their personal biases Evaluate visual sources for biases • Situate works of art within a familiar historical narrative • Compare and contrast visual sources' messages and biases Materials Projector or copies of the powerpoint for each student Blank paper for each student Lesson Plan Text As a class or in small groups, discuss students' existing understandings of Manifest Destiny, Indian Removal, and assimilation. These understandings may come from previous lessons or general knowledge. Build a concept map or list. (Powerpoint slide 2) o Prompt students to consider regions, time period, reasons, people involved, what else was going on at that time in history, and competing sides in related conflicts o If students don't have much familiarity with the concept, review a short section of the course textbook together. o Ask students where their understandings come from and what kind of sources they learned this from (ex: museums, textbooks, movies, hearing people talk). Note the source next to each example of prior knowledge. o Discuss who created these sources (textbook companies? Disney movies or other pop culure sources? White American historians? Native scholars?) Consider whose perspectives students are familiar with and whose are missing. Generally, people's understandings of these historical moments do not include Native American perspectives. • Introduce students to Ft. Marion: (Powerpoint slide 3) o In 1875, white settlers on the Southern Plains felt like a group of Native Americans were making it difficult for them to live there. The US War Department arrested 72 Native Americans from the Kiowa, Comanche, and Cheynne tribes and took them far from their homes to a military base in Florida called Ft. Marion. o The leader of the prison at Ft. Marion, a man named Richard Henry Pratt tried to civilize them, or make them act more like white people and assimilate to white culture and values, before they were released three years later. o (Powerpoint slide 4)While they were there, a Kiowa man named Etahdleuh, who Pratt was trying to civilize, made a series of drawings documenting his experience, which Pratt typed captions on to and made into a book. o Etahdleuh is pronounced Eh-TAH-dlee-uh • Introduce American Progress o In 1872, a painter from New York named John Gast created American Progress for a travel guide for Americans going west into the Plains region. o It is a very famous painting used in many history books, museums, and documentaries to depict Manifest Destiny. Looking at Images: 20 minutes • Before discussion, give students a full 60 seconds to view the image silently and jot down initial thoughts or questions. Then, use the following questions to spark conversation about each piece. Draw students' attention to specific details and challenge them to support their statements with observations of the pieces. If students get stuck, have them turn to a partner and list as many things a they can see in the image, then come back to discussion. 2 • Project or pass out copies of American Progress and discuss these questions with students as a group or in a jigsaw format. (Powerpoint slide 5) o If this image is in your textbook, first consider what the book has to say about it. o What is going on in this image? o What do you see that makes you say that? o What other details do you notice? o Who are each of the people? How can we tell? ▪  Identify the woman as Columbia, a popular symbol for patriotism and the goodness of American civilization that was used similarly to Uncle Sam. She is named after Christopher Columbus, who the artist's community praised for his past role in expanding European settlement on Native American's land. o How does the artist feel about the different groups of people? How can we tell? o What are Gast's biases? What information that we can trust can we gather from this image? o What does "progress" mean to Gast and his community? (as a formative assessment, each student could write a short statement responding to this question) •  Project or pass out copies of Etahdleuh's drawing from A Kiowa's Odyssey with Pratt's caption and discuss these questions with students as a group or in a jigsaw format. Emphasize that the text comes from a white settler and the image from a Native artist. (Powerpoint slide 6) o What is going on in this drawing? o What do you see that makes you say that? o What details do you notice? o Who are each of the people? How can we tell? o How does the artist feel about the different groups of people? How can we tell? ▪ Look at how they're dressed, who is in color, the imposing nature of the fort in the background, which characters are in motion and who is a static, generic figure. o What are Etahdlehu's biases? What information that we can trust can we gather from this image? o  (Powerpoint slide 7): Pratt's caption text o What are Pratt's (the caption writer's) biases? What information that we trust can we gather from his added text? ▪ Ask students if they believe that the Native Americans were actually Pratt's "friends" and why or why not? He also calls them "prisoners." What does that suggest about their "friendship"? o How has "progress" effected the Native community presented here? (as a formative assessment, each student could write a short statement responding to this question) Wrap Up: 15 minutes (Select one or several of the following activities for in-class debrief or homework) • (Powerpoint slide 8) Create a venn diagram responding to the question "What does this image reveal about white settlers moving into the Plains region?" Prompt students to 3 consider Native experiences, technologies, how white settlers perceived their own actions. • Revisit the initial brainstorming. In small groups or a journal, ask students to reflect on how these images extend, complicate, or refute their previous understandings of Manifest Destiny • Alternative assessment/activity: Give each student a copy of each image. Have them cut out (or circle) a detail from each image that they think are connected somehow (ex: a Native American, a structure built by white settlers, a settler, a piece of technology, the background setting). Then the students should paste the two image parts next to each other and write about how they are connected, similar, and different, and why that might be. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion Lesson 3: Art and Indian Removal on the Plains Description An account of the resource In this lesson, students will compare John Gast's 1872 painting American Progress to Kiowa Indian Etahdleuh's sketches from Ft. Marion, Florida, where he was held with 71 other Native Americans as a prisoner from 1875 to 1878 after their forced removal from the Southern Plains, where they were perceived as a threat to white settlers. These pieces of art offer complex and conflicting perspectives on the "civilizing" of the Plains region. Essential Questions: What can maps and art teach us about the past? What does a visual depiction of land reveal about the people who made it? How did Native Americans and white settlers engage with expansion into the Plains differently? Creator An entity primarily responsible for making the resource Ellen Schneider Date A point or period of time associated with an event in the lifecycle of the resource 1872/1877 https://native-history.sites.grinnell.edu/files/original/e152eff9c84bb4ff1350b9b89c8d1188.pptx fba87bba2ce99528b7f6211d47d50511 Presentation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visualizing Expansion, Contact, and Conflict Lesson 3: Art and Indian Removal on the Plains Presentation Creator An entity primarily responsible for making the resource Ellen Schneider