• Features
  • Reviews
  • Teaching
  • Watch & Listen
  • About

The past is never dead. It's not even past

Not Even Past

Show & Tell: The Video Essay as History Assignment

From the editor: As our thoughts turn back to teaching, Not Even Past turns back to some of our posts from 2013-14 about new and best teaching experiences. (August 15, 2014)

As the school year comes to a close, we end our series of monthly features on teaching history with a creative assignment devised by one of our US History professors. Instead of assigning only written or oral work, Robert Olwell was one of a handful of History faculty who asked their students to make video essays on specific topics related to the course. On this page, Olwell tells us about the assignment and we include some of the best of the videos his students created. Below we link to the instructions Olwell gave to the students. And throughout the month of May, we will post video essays our students produced in other History Department courses. (May 1, 2014)

By Robert Olwell

In the fall of 2013 I taught the first half of the US history survey course (HIS 315K), which offers a treatment of the major themes of American History from 1492-1865. There was nothing unusual in this. I have taught 315K at least once a year (and often twice) since I came to UT twenty years ago. The course is designed as a lecture course, with assigned readings, and four in-class essay exams. The enrollment is generally 320 students. This time however, my enrollment was capped at only 160. The relatively small number allowed me to conduct a pedagogical experiment. In addition to their individual written essay exams, I assigned each of my students the task of working with three classmates to create a short “video essay.” Their task might fairly be described as a producing a brief research report in which they present their findings not on paper but on the screen. My hope was to enlist students’ familiarity and fascination with digital media in the cause of history and pedagogy.

In order to keep control of the project, I made several command decisions. First, I divided the class into forty teams of four students each. I allowed students no choice of partners but simply used the class roll and the alphabet to make the groups (hence team members’ last names often start with the same letter). Second, I gave the groups no choice as to their topic. I created a list of forty topics that I deemed suitable (i.e., could easily be presented in a four-five minute video) and assigned one topic to each group.

As the rubric that I posted for the assignment indicates, by far the most important part of their task was the first one: writing the “script.” In late October, my Teaching Assistants and I poured over the forty, ten-page- long scripts. (Each TA looked at ten scripts and I looked at all of them.) Our aim was to offer historical critiques and suggestions, and to make sure the students were on the right track as regards sources, bibliography, and so on. We acted more as “historical consultants” to their projects than as producers. Having never made or posted a video myself, I could offer them little or no assistance in that regard. Instead, I relied on the students’ own facility with visual and digital media to carry them through. (Having watched my two teen-aged daughters produce videos both as school projects and for fun, I rightly suspected my students would be more than capable of fulfilling this part of the assignment on their own.)

Overall, I would judge the “video essay” project to have been a great success. In their peer evaluations most students agreed; some wrote that it was the most interesting thing they had ever done in a history class. The standard of the finished videos was quite high (the average grade was a B+). There were some difficulties, of course. Some of the groups did not work well together and some students did not pull their weight. The final part of the assignment, peer evaluation, was included to address this possibility. However, most groups did cooperate effectively and I used the peer evaluations as often to reward those students acknowledged by their teammates to have been project leaders, as to punish the slackers.

Would I do it again? Yes, but. Next time, I would probably make the project optional (perhaps replacing one of the written exams), and allow students to make their own teams and choose their own projects.

Here is the assignment sheet and rubric that I handed out to the students.

And here are the six video essays that I deemed the best of the forty produced by my students last fall.

Cahokia 
By Valerie Salina, Jeffrey A. Sendejar, Victor Seth, and Sharmin Sharif

The 54th Massachusetts Volunteer Infantry Regiment (1863-65)
By Madeline Christensen, Nathan Cliett, Rebecca Coughlin, and Corbin Cruz

Anne Hutchinson
By Justin Gardner, Rishi Garg, Yanni Georghiades, and Rachelle Gerstner

The Book Of Negroes
By Will Wood, Anfernee Young, Qin Zhang, and Sally Zhang

Dr. Josiah Nott
By Salina Rosales, Felipe Rubin, and Hunter Ruffin

New Amsterdam
By Evan Taylor-Adair, Oliver Thompson, Kimberly Tobias, and Reynaldo Torres Arellano

Watch for more student videos in the coming weeks.

In the meantime, revisit Blake Scott’s examination of the coming of tourism to the Panamanian rain forest: I am Tourism/Yo soy Turismo

And check out other stories on teaching and learning:

Also by Robert Olwell, You Say You Want a Revolution? Reenacting History in the Classroom

Video assignments by Jacqueline Jones, Students Debating History: Another Look at the Video Essay

Penne Restad and Karl Hagstrom Miller on Teaching

Student Showcase – Faubourg Treme: Fighting for Civil Rights in 19th Century New Orleans

Ahnia Leary
Pin Oak Middle School
Junior Division
Individual Performance

Read Ahnia’s Process Paper

Treme is one of the most iconic neighborhoods in New Orleans. Its dynamic history, culture and music even inspired a critically acclaimed HBO drama. Ahnia Leary wanted to present the story of this vibrant section of the Big Easy for Texas History Day, particularly its long history of racial tension and black activism. Her performance uses jazz music to capture the diverse people, places and stories that make up Treme.

Residents of the Treme section of New Orleans (New Orleans Film Society)
Residents of the Treme section of New Orleans (New Orleans Film Society)

After viewing the documentary, Fauberg Treme: The Untold Story of Black New Orleans, I was both excited and intrigued by the fact that there were Free People of Color in New Orleans who in the 1800s, owned about 80% of the land in the Treme community. Under French and Spanish rule, slaves (primarily from Senegal and Senegambia) could also work to buy their freedom. This unique suburb also included Europeans from many Countries as well as free people from St. Dominigue (Haiti) . My curiosity peaked and I was inspired to find out more about Homer Plessy and the Comite des Citoyens (Citizens Committee) which included writers, business owners, newspaper editors and activists who fought to ensure their right to be free of Jim Crow laws. My interest in the topic increased as I wondered why this history is unknown, the reason for racial hatred and what can be done to get rid of it and heal the past.

Paul Poincy's "St. Claude and Dumaine Streets, Faubourg Tremé," 1895 (Louisiana State Museum)
Paul Poincy’s “St. Claude and Dumaine Streets, Faubourg Tremé,” 1895 (Louisiana State Museum)

The Performance category was chosen because it offers a creative way to present my research. My script was developed using primary source material (translations) and information from historians and interviews. I also prepared a short piano piece with the help of my piano teacher, Olga Marek, providing an example of Spanish influence to early jazz music inspiring Jelly Roll Morton, who lived in Treme.

Finally, the National History Day Theme is: Rights and Responsibilities in History. Free People of Color like Captain Arnold Bertonneau, Paul Trevigne, Homer Plessy and others exhibited extreme courage and personal responsibility in their fight for the rights of people of African descent, to participate fully in America as citizens, living its dream and demanding Color blind justice.


bugburnt

 

Student Showcase – Give or Take: The Indian Removal Act

Kensey Wiggins
Anderson-Shiro Secondary School
Junior Division
Individual Exhibit

The Indian Removal Act was one of the most infamous moments in U.S. history. With the power of the federal government behind him, President Andrew Jackson authorized the removal of eastern Native American communities from their ancestral homelands and relocation to lands west of the Mississippi. Despite their best efforts, these Native tribes eventually lost sovereignty over their land and had to migrate west.

Kensey Wiggins’s Texas History Day exhibit explores the history behind this painful moment of Native American history. But he also sought to evaluate this controversial event from the perspective of Cherokee communities and President Andrew Jackson. Kensey talks about coming up with this topic in his process paper:

Kensey's Texas History Day exhibit on the Indian Removal Act

Kensey’s Texas History Day exhibit on the Indian Removal Act

Ever since third grade, I’ve been leaming about American Indians. It was, and is, a common topic to cover in class. One thing the indians always seemed to be involved in was denied rights, whether it was land rights, rights to live, or individual rights. Because of this, when I saw Andrew Jackson vs. The Cherokees among the sample topics, it was instantly at the top of my choices. I asked my teacher for more information about Andrew Jackson and The Cherokees and soon realized what a great project it would make for this year’s topic.

    Selection from Kensey's exhibit describing the contributions of Cherokee Chief John Ross

Selection from Kensey’s exhibit describing the contributions of Cherokee Chief John Ross

My project relates to the theme in many ways. It focuses on the opposing beliefs about the rights involved with the indian Removal Act. One side believes they are helping the Indians by removing them. They believed they were giving them the right to live how they wanted. While the other side, believed the government was stripping the Indians’ rights and forcing them eff of their homeland. There was, and still is, huge controversy over the Indian Removal Act and whether or not the indians were given rights or if they were having their rights taken away.

bugburnt

 

 

This week’s Texas History Day projects:

A website on an iconic Civil Rights moment

The often forgotten story of deportation and detention during WWII

 

Student Showcase – The “Knock Knock Who is There” Moment for Japan: The Signing of the Treaty of Kanagawa in 1854

By Kathleen Ran

Read the full research paper

In 1854, a fleet of American naval ships arrived in Japan’s Tokyo Bay. The squadron, led by Commodore Matthew C. Perry, was charged with the mission of convincing the Tokugawa shogunate to open commercial and diplomatic ties with the West. Beginning in the mid-17th century, the island’s feudal leaders enforced an economic, political and cultural isolation, allowing no contact with foreigners in order to preserve traditional Japanese society. After a series of tense negotiations between Japanese and American officials, including indications from Commodore Perry that his ships were willing to use force, both sides ratified the Kanagawa Treaty, also known as the Convention of Kanagawa, which officially opened Japan to international trade and diplomacy.

Kathleen Ran’s Texas History Day paper, “The ‘Knock Knock Who is There’ Moment for Japan: The Signing of the Treaty of Kanagawa in 1854,” explores the historical impact of this watershed agreement on Japanese society. She argues that significant political, economic and cultural changes took place as a result:

image
Woodblock print portraying an 1854 meeting between Commodore Perry, his officers and Japanese noblemen, circa 1887 (Image courtesy of the Brooklyn Museum)

 

“The Americans came to Japan and sought access to ports and friendship. They got what they wanted through the Treaty of Kanagawa. The Japanese were reluctant and in some ways were dragged to the treaty table. However, the treaty later turned out to be very profitable to Japan. The Treaty of Kanagawa was primarily responsible for the rapid transformation of Japan from an isolated and feudal empire to one of the world’s most powerful and successful nations.”

image

The opening of Japan stirred a negative reaction from many segments of Japanese society. This 1861 woodcutting reflects such sentiments, depicting a traditional sumo wrestler throwing a foreigner to the ground. (Image courtesy of Wikimedia Commons)

“Before the treaty came into effect, the country was far behind in areas of technology, economics and entirely shunned foreign relations. Now, though, Japan is among the world’s cutting-edge producers of technology and an integral part of the world community. The Treaty of Kanagawa opened the door of Japan and initiated the nation’s transformation from a feudal empire to a modern world power; therefore, it was a turning point in history.”

Kathleen Ran
Junior Division
Research Paper

Ned Kelley – Australian Folk Hero – in the News

Our friends at History in the Making Journal posted this article, “Peace at Last,” about the exhumation, identification, and reburial of Australian outlaw Ned Kelley.

Ned Kelly

Kelley was a late-nineteenth-century outlaw whose larger than life exploits have been the subject of many retellings in films and novels. The son of impoverished Irish convicts, Kelley has been embraced as a symbol of the harsh colonial regime; as someone whose violent life was a response to the official violence of the colonial government. For more insight into the Kelley story, you can read one of the first book reviews we posted here on Not Even Past: Kristie Flannery’s review of Peter Carey’s award-winning novel about Kelley, The True History of the Kelley Gang.

Zimbabwe’s Hanging Tree

by Ruramisai Charumbira

On December 8, 2011, newspapers in Zimbabwe – and Zimbabwe’s diasporas – reported that an unmarked tree in the middle of a busy street in the capital, Harare, had been accidentally knocked down by a city council van. The tree made headline news because urban lore has it that it was the tree upon which “Mbuya Nehanda” (Charwe wokwa Hwata), the late nineteenth-century spirit medium, was hanged by British colonial authorities. Historical evidence holds otherwise, but scholarly and popular debates on Nehanda-Charwe attest to the vigor of her connection with this tree and her larger place in history.

image

Sekuru Kaguvi and Mbuya Nehanda after capture, 1897.

Charwe wokwa Hwata was born in about 1862, and was medium to a revered female spirit of rain and land fertility, the spirit of Nehanda. She is called Nehanda or Mbuya Nehanda for much the same reasons Tenzin Gyatso is called the Dalai Lama. Charwe participated in the 1896-97 uprising against British colonialism in central Zimbabwe, and became a British symbol for the need to “civilize” the Africans. The memory of Nehanda-Charwe in the history of Zimbabwe dates back to 1898 when she was executed. In the 1950s, Charwe (as Nehanda) became a symbol for African Nationalists of the “uncolonized” past that had been destroyed by colonialism. During the anticolonial, liberationist wars of the 1960s-70s, her image was recruited as spiritual guide and nationalist symbol as evidenced by this song from that period.

The song begins:

Mbuya Nehanda died truly wondering

‘How shall we take [back] this land?’

The one word she told us was

‘Seize the gun and liberate yourselves.’

The song is itself fascinating for its blend of history (1896-97) and memory (1960s-70s), as Nehanda became at once an old ancestor, and a current guerrilla fighter, a theme I explore more fully in my book.

What has been fascinating about the recent story of the “Nehanda tree” is not so much the felling of an old tree in the city, but the interpretations of reporters, bloggers, eyewitnesses, and anyone who can access the internet to comment on those news stories and blogs. On my most recent trip to Zimbabwe, in December 2011, friends and family told me about the “tragedy” of Nehanda’s tree in whispers, lamentation, argumentation, and the gamut of expressions much like those found online. The response to the story of Nehanda’s tree knocked over by a mere city council van, are most fascinating because of what they say about the animation of personal and social memories in particular moments in history. This incident has brought to the surface memories of colonialism, conflicts over religion, and especially angst about the present as people graft meaning onto the knocked down tree as representing a turning point (for better and/or worse) for Zimbabwe from here on out. News about this tree and memories of the woman associated with it have raised tensions today because she is seen as a symbol of the hopeful, anti-colonialist guerilla movement of the 1960s-1970s, whose elites have turned into ruthless rulers blinded by the corrupting nature of political power.

The story of the “Nehanda tree” shows that the socio-cultural and political meaning of the symbol of Charwe as “Mbuya Nehanda” vigorously rubs history and memory against each other in Zimbabwe to produce doubts about her place in history, faith that she (her spirit, that is) is still very present and is trying to say something to the country, especially its leadership, Christian inflected attacks on what she stood for (African forms of religious power and spirituality), as well as the need to honor a woman who made it into the history books when so many African women of the past have gone the way of seeds in the wind that land in the desert never to be remembered.

The meaning of this song today – much like the reports and comments on the dead tree – is connected to the ways that the past is grafted onto the present. The “tree of Nehanda,” reveals some of the ways people exercise their citizenship, protesting (and/or supporting) the current state of affairs that are incongruent with “Mbuya Nehanda” the symbol of anti-colonialism turned matron saint of a now unacceptable regime that has reneged on what she died for: the promise of full independence made in 1980 when the country’s black majority gained civil rights in the country of their birth. The reports and comments on “the tree of Nehanda” speak to the ways societies shake the tree of history in order to find meaning in the past.

Translation of the song about Mbuya Nehanda can be found in Songs that Won the Liberation War by Alec J.C. Pongweni

The debates on Zimbabwe are ongoing, see among others:

Ruramisai Charumbira “Nehanda and Gender Victimhood in the Central Mashonaland 1896-97 Rebellions: Revisiting the Evidence” History in Africa,35 (2008)

Mahmood Mamdami, “Lessons of Zimbabwe,” London Review of Books

Scholars discuss Mamdami’s “Lessons,” Concerned Africa Scholars

Sounds of the Past #2

by Karl Hagstrom Miller

Anyone interested in early sound recordings can find a treasure trove at the Library of Congress website.

“In the Baggage Coach Ahead” is a great example of the sentimental ballads that became popular in the United States during the 1890s.  The classic ballads were maudlin tearjerkers, narrative tales of lost love or dead mothers designed to pull at the heartstrings. They featured snappy melodies that lodged themselves in the heads of anyone within earshot.  New York sheet music publishers churned them out by the score, hoping that a few would prove popular with theater audiences and the legions of young women who played the latest hits at the family piano.  The assembly-line composition process marked the industrialization of American popular music.

image

Listen to “In the Baggage Coach Ahead”

Audio Player

http://lcweb2.loc.gov/natlib/ihas/service/stocks/100010776/0001.mp3
00:00
00:00
00:00
Use Up/Down Arrow keys to increase or decrease volume.

“In the Baggage Coach Ahead” from 1896 hits all the requisite stops. The song takes place on the sleeping car on a train, where an inconsolable baby cries in its father’s arms.  Other passengers demand silence, complaining that they cannot sleep.  One woman then suggests that the father take the baby to its mother, a request that set up the song’s kicker.  “I wish I could,” the father replies, “but she’s dead in the coach ahead.”

imageThe song was the most popular composition of Gussie L. Davis, a pioneer in breaking down segregation in the music business.  He was one of a very few African American songwriters who successfully published sentimental ballads during the decade.  Most black writers were either barred from the industry or constrained to writing comic minstrel songs about black inferiority.

The performer, Vernon Dalhart, was a struggling opera singer who moved from Texas to New York around 1911.  He eventually became a popular recording artist for the Edison phonograph company, waxing everything from light opera and minstrel songs to popular hits of the day. imageIn 1925, he re-imagined himself as a hillbilly singer and achieved his greatest popularity with “The Prisoner’s Song,” often touted as the first country record to sell a million copies.

Sentimental ballads such as “In the Baggage Coach Ahead” were popular, in part, because they could help Americans grapple with the dramatic social changes they were experiencing.  Urbanization, industrialization, immigration, the expansion of railroad travel, and the availability of thousands of new consumer goods (including phonographs and commercial theater) brought increasing contact with people, products, and ideas from elsewhere.  Sentimental ballads helped negotiate the intersection of public and private spheres.  Davis’ last verse finds all the mothers and wives on the train helping the lone father sooth his crying child.  It concludes, “Every one had a story to tell in their home of the baggage coach ahead.”  Mothers saved the day and helped transform a public tragedy into a private morality lesson when witnesses shared the story with their loved ones back home.

Embracing “In the Baggage Coach Ahead” and its kin meant not having to choose between public and private allegiances.  Sentimental ballads were commercial leisure that celebrated private domesticity. Listeners could identify with both by singing along with the odes to private virtue echoing from the public stage.

Karl H. Miller’s “Sounds of the Past #1” on Not Even Past

Sheet music cover: Historic American Sheet Music collection, Duke University Libraries Digital Collections
Portraits of Davis and Dalhart via Wikimedia Commons

« Previous Page

Recent Posts

  • NEP’s Archive Chronicles: A Brief Guide Through Some Archives in Gaborone and Serowe, Botswana
  • Review of Hierarchies at Home: Domestic Service in Cuba from Abolition to Revolution (2022), by Anasa Hicks
  • Agency and Resistance: African and Indigenous Women’s Navigation of Economic, Legal, and Religious Structures in Colonial Spanish America
  • NEP’s Archive Chronicles: Unexpected Archives. Exploring Student Notebooks at the Institut Fondamental d’Afrique Noire (IFAN) in Senegal
  • Review of No Place Like Nome: The Bering Strait Seen Through Its Most Storied City
NOT EVEN PAST is produced by

The Department of History

The University of Texas at Austin

We are supported by the College of Liberal Arts
And our Readers

Donate
Contact

All content © 2010-present NOT EVEN PAST and the authors, unless otherwise noted

Sign up to receive our MONTHLY NEWSLETTER

  • Features
  • Reviews
  • Teaching
  • Watch & Listen
  • About