In this unit, students will trace the development of sectionalism in the United States as it was driven by the growing dependence upon, and defense of, black slavery in the southern states.

In this activity students read three letters written by African-American soldiers during the Civil War to determine why black soldiers felt compelled to join the Union Army.

This collection uses primary sources to explore Incidents in the Life of a Slave Girl by Harriet Jacobs. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

Explore the complex identity of Sammy Davis, Jr. and its impact on his career as a performer in this video from American Masters, Sammy Davis, Jr.: I've Gotta Be Me. As a black man in a predominantly white industry, Sammy struggled to be accepted by both groups. This resource explores how Sammy persevered in a society where race and culture posed many challenges. Support materials include discussion questions, vocabulary, and an identity map activity where students analyze the many factors that shape who we are as individuals and as members of different communities.

During writing workshop, students research, write, revise, and share their own comprehensive biographies of African American jazz musicians.

By examining King's famous essay in defense of nonviolent protest, along with two significant criticisms of his direct action campaign, this lesson will help students assess various alternatives for securing civil rights for black Americans in a self-governing society.

Malcolm X argued that America was too racist in its institutions and people to offer hope to blacks. In contrast with Malcolm X's black separatism, Martin Luther King, Jr. offered what he considered "the more excellent way of love and nonviolent protest" as a means of building an integrated community of blacks and whites in America. This lesson will contrast the respective aims and means of Malcolm X and Martin Luther King, Jr. to evaluate the possibilities for black American progress in the 1960s.

The Civilian Conservation Corps, a New Deal recovery and relief program provided more than a quarter of a million young black men with jobs during the Depression. By examining primary source documents students analyze the impact of this program on race relations in America and assess the role played by the New Deal in changing them.

Life Story: Sarah “Madam C.J.” Breedlove Walker (1867-1919): Entrepreneurship, Philanthropy, and Black Beauty Culture
The story of America’s first self-made black female millionaire and how she built a beauty empire that celebrated and empowered black women.

This photograph is from series is a collection of black-and-white and color photographs of a set of oil paintings "Portraits of Outstanding Americans of Negro Origin" commissioned by the Harmon Foundation. The set originally comprised 22 portraits painted by Betsy Graves Reyneau and Laura Wheeler Waring. Overtime the number of paintings increased to 47.The Harmon Foundation, a nonprofit, private foundation active from 1922 to 1967, helped foster an awareness of African art. African artists would send their artworks to the United States for exhibit and sale. When the foundation ended its activities in 1967, it donated its entire collection of motion pictures, filmstrips, color slides, and black and white prints and negatives on a variety of subjects to the National Archives. Betsy Graves Reyneau (1888-1964) studied at the Boston Museum of Fine Arts shortly before World War I. She continued her studies in Cincinnati, Ohio; Paris, France and Rome, Italy. Following her studies, Reyneau maintained a studio in Detroit, MI for a number of years. Then in 1927, she moved permanently to Europe, only to leave 12 years later due to the rise of fascism.Returning to the United States, Reyneau was shocked by the overt racism that existed in the 1930s. She decided that by using her skills as a portrait painter she could do something that would make a difference in the country's perception of African Americans. Reyneau's determination eventually resulted in a set of portraits commissioned by the Harmon Foundation. The individuals chosen were prominent African Americans who had distinguished themselves by their service to humankind.Learn more on the National Archives website.

In this lesson, students will explore the biography of Mary McLeod Bethune and primary resources related to her life in order to understand the impact she had on other people, and how her example of integrity and principle can affect their own lives today.

Grade Level is 7.6 using the Flesch-Kincaid readability test.

This is the challenging and inspired true story of a little girl who was determined to learn to read, and who went on to be a teacher, the founder of a college, an adviser to statesmen, and a great humanitarian. Mary McLeod Bethune was the fifteenth child of hardworking and god fearing parents. She was the first of their children to be born free. Her ancestry was wholly of African origin, a point of pride throughout her life.

Mrs. Bethune worked untiringly to restore—through education—her people's faith in the magnificent heritage that is rightfully theirs. During the many years of and tribulation, she refused to give up her fondest dream—her own school for Negro children. And, as a shining monument to her hard work and faith, she has given to black youth the thriving institution of Bethune- Cookman College in Daytona Beach, Florida.

Welcome to Music 1300, Music: Its Language History, and Culture. The course has a number of interrelated objectives:
1. To introduce you to works representative of a variety of music traditions.These include the repertoires of Western Europe from the Middle Agesthrough the present; of the United States, including art music, jazz, folk, rock, musical theater; and from at least two non-Western world areas (Africa, Asia, Latin America, the Caribbean, the Middle East, Indian subcontinent).
2. To enable you to speak and write about the features of the music you study,employing vocabulary and concepts of melody, rhythm, harmony, texture, timbre,and form used by musicians.
3. To explore with you the historic, social, and cultural contexts and the role of class, ethnicity, and gender in the creation and performance of music,including practices of improvisation and the implications of oral andnotated transmission.
4. To acquaint you with the sources of musical sounds—instruments and voices fromdifferent cultures, found sounds, electronically generated sounds; basic principlesthat determine pitch and timbre.
5. To examine the influence of technology, mass media, globalization, and transnationalcurrents on the music of today.
The chapters in this reader contain definitions and explanations of musical terms and concepts,short essays on subjects related to music as a creative performing art, biographical sketchesof major figures in music, and historical and cultural background information on music fromdifferent periods and places.

This lesson traces the long history of how African Americans have used music as a vehicle for communicating beliefs, aspirations, observations, joys, despair, resistance, and more across U.S. history.

This collection uses primary sources to explore Negro League Baseball. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

In this activity students research roles as either Irish immigrants or African-American residents in the midst of the New York City Draft Riots that took place in July 1863. Students gather evidence from primary sources to develop their characters, based on actual census records, and then enact a role play debating whether to stay in the city or flee (if they are African American) and whether to participate in the riots or protect their black neighbors (if they are Irish immigrants).

This collection uses primary sources to explore northern draft riots that occurred during the Civil War. Digital Public Library of America Primary Source Sets are designed to help students develop their critical thinking skills and draw diverse material from libraries, archives, and museums across the United States. Each set includes an overview, ten to fifteen primary sources, links to related resources, and a teaching guide. These sets were created and reviewed by the teachers on the DPLA's Education Advisory Committee.

This lesson explores several strands of the musical "DNA" that make up the beat of popular music. Looking to the past, this lesson asks what it means to call music "Afro-Cuban" "Afro-Caribbean," or more broadly, "African-American." Students will use Soundbreakingclips of Santana and Beyonce and the Soundbreaking Rhythmic Layers TechTools to locate in American popular music influences stemming from the African-American church, Latin America and West Africa. Students will then explore the ways "the beat" of this music has, to some listeners, been perceived as "dangerous" while, for others, it is believed that music has been able to challenge obstacles of racism and segregation, bringing people from varied ethnic groups and lifestyles together in ways that words and laws could not.

In this lesson students explore the creative concepts and technological practices on which Hip Hop music was constructed, investigating what it means to "sample" from another style, who has used sampling and how. Then, students experience the technology first hand using the Soundbreaking Sampler TechTool. Students will follow patterns of Caribbean immigration and the musical practices that came to New York City as a result of those patterns, finally considering the ways in which Hip Hop reflects them. Moving forward to the late 1980s and early 90s, what some consider Hip Hop's "Golden Age," this lesson explores how sampling might demonstrate a powerful creative expression of influence or even a social or political statement. Finally, this lesson encourages students to consider the conceptual hurdle Hip Hop asked listeners to make by presenting new music made from old sounds.

In this lesson, students use examples from visual art as well as rap to enter into a "structured academic controversy" that explores the concept of originality.