Unit 1
My Story: Student Identity and Narratives
Drafted by Allyson Tintiangco-Cubales, David Leong, and Pete Hammer
Unit Overview
A. What is the Story of Ethnic Studies? Why is Ethnic Studies Necessary?
1. On Strike: A Student-Led Movement (150 minutes)
2. Racial Gallery (50 min)—this could also be repeated or revised for Unit 2 and Unit 5
B. What is My Story? Why is My Story Important?
1. Fragments of History: Teacher’s Document Box (50 min)
2. Here’s My Box: Peer to Peer Interview (100 min)
3. My Life’s Soundtrack (50 min)
4. Eye-dentity Maps (50 min)
Homework Essay: My Story- A written narrative analyzing how race, ethnicity, and culture define them at
this point in their lives.
C. What are Our Families’ Stories? How and Why Do Our Stories Connect?
My Family, My Self: Family Oral History Project
Day 1:
Day 2 and 3:
Day 4
Day 5
Day 6 to 8
Day 9
Day 10 to 12
Family Oral History Project Introduction
Each student creates a portfolio titled “My Family, My Self” that includes
-A family tree for at least three generations
-A podcast of an oral history interview of an older member of the family
-A paper on the life of their family member
-A digital and oral presentation summarizing their family history for at least
three generations
My Family Tree (100 min-with homework)
Starting with What you Know:
Meaningful Questions and Creating a Space for Storytelling (50 min)
-Creating Questions
-Doing the Interview
-Transcribing
-Creating a Podcast
Home Wasn’t Built in A Day: Constructing the Stories of Our Families (50 min)
Readings:
Grandma & Granddaughter by Ursula Fung
Yemen by Jamaal Ghanem
(Students from Galileo Academy of Science & Technology, 2006)
Model Oral History Essays by High School Students
Oral History Paper
-Draft should be due a day or two before the presentations begin.
-Final draft should be due on one of the last days of this unit. (Both in class and
for homework)
Creating a Powerpoint Presentation (50 min)
Oral Presentations: Activities on how to connect the oral histories (10 minutes per
student)
1
Unit Purpose
PROBLEM
The stories of people of color and ethnic families/communities have not always been represented
in the curriculum of America's system of education. The struggle for a full and representative
inclusion continues and is central to a democratic society. These identities, issues, and
histories/herstories have been overtly and covertly neglected and excluded in the educational
system and academic scholarship. This has contributed to a multitude of social, political,
economic, psychological problems that have plagued ethnic peoples, such as poverty, violence,
colonial mentality, and the lack of political power.
The struggle for inclusion has led to groundbreaking resistance. The Third World Strike at San
Francisco State University in 1968 was a sociopolitical movement that changed the face of
education. This movement established the first School of Ethnic Studies (now College of Ethnic
Studies) in 1969 with the departments of African American Studies (now Africana), American
Indian Studies, Asian American Studies, and La Raza (now Raza). The institutionalization of
ethnic studies at San Francisco State University was a catalyst for the development of ethnic
studies programs and departments throughout the nation and demanded that our voices be heard
and our stories, told.
Since the establishment of ethnic studies forty years ago, one of the major goals of the movement
was to develop ethnic studies in K-12 public schools. Although ethnic studies has grown at the
college and university level, there is still a lack of inclusion in K-12 curriculum. To insure that we
address this problem, this unit aims to provide a space to study the history of ethnic studies, the
identities of the students, and the stories of their families.
TOPIC(s)
A.
B.
C.
D.
History of ethnic studies and the centrality of race, ethnicity, and culture
Student narratives
Family narratives
Connecting narratives and creating community
CONTENT
Learning Goals
1.
Students will understand the concept of Ethnic Studies and the centrality of race, ethnicity,
and culture to the topics the course will cover.
Students will understand the role of oral history in Ethnic Studies, including how oral
histories are used to maintain cultures.
Students will learn the history of how race, ethnicity and culture have affected their family for
the last three to four generations and at least three historical events that influenced the family.
Students will identify common patterns in the family histories presented by students in the
class, particularly patterns of race, ethnicity, and culture.
Students will understand how a wide array of other factors intersect with race, ethnicity, and
culture to define individual identity, including religion, class, gender, age, and sexual
orientation.
2.
3.
4.
5.
SKILL
Learning Goals
1.
2.
3.
4.
5.
Historical Literacy: Students will learn the oral history research process, including the
development of questions, interview etiquette, note-taking, and analysis of the information
gathered.
Historical Literacy: Students will learn to look for patterns in data (common themes in the
family histories that students in the class present).
Historical Literacy: Students will apply analytical concepts to define their personal
identities.
Language Literacy: Students will develop narrative writing skills (narrating the formation of
their identity).
Language Literacy: Students will develop oral presentation skills (presenting their family
histories).
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6.
Technology Literacy: Students will develop cutting-edge digital presentation skills.
LEADERSHIP
Learning Goals
Students will learn how to the build a community by sharing their personal family histories and
making connections to their classmates’ histories.
UNIT
CONCEPTS
Definition, Description, and/or History of the Concept
Activity/Project
that Highlights
the Concept
ETHNIC
STUDIES AND
HISTORY
WHAT: What is Ethnic Studies?
On Strike Movie
and Activity
Ethnic Studies is dedicated to the study of race, ethnicity, and culture. Ethnic
Studies is a response to the charges that education has generally been focused
on a Eurocentric perspective. Ethnic Studies tried to remedy this by trying to
study people of color on their own terms, in their own language,
acknowledging their own values. Ethnic studies particularly highlights the
experiences (struggle and survival) of “Third World” peoples in the United
States, people of color, or racially oppressed peoples in the United States.
WHO:
Whose stories are taught in Ethnic Studies?
Ethnic Studies can include any racial, ethnic, or cultural group. The focus in
this course is on groups that have not been adequately covered in American
history, including but not limited to: African Americans, Native Americans,
Latina/o Americans, and Asian Pacific Americans
WHERE AND WHEN:
The School of Ethnic Studies at San Francisco State College – the first ethnic
studies program in the nation – [established in the Fall of 1969] was one of
the demands that was actually met as a result of the San Francisco State
Student Strike. The establishing of the School as “Ethnic Studies” was a
compromise away from “Third World Studies” that the Third World
Liberation Front and their student and AFT (American Federation of
Teachers) faculty allies had demanded. Though the School of Ethnic Studies
was very obviously the product of radical student, faculty and community
activism… (Excerpt from Inspiration, Influence, and Intrigue: The Long
Reach and Hidden Impacts of Filipino American Studies, Unpublished paper
2008)
WHY:
Why is Ethnic Studies important?
The stories of people of color and ethnic families/communities have not
always been represented in the curriculum of America's system of education.
The struggle for a full and representative inclusion continues and is central to
a democratic society. These identities, issues, and histories/herstories have
been overtly and covertly neglected and excluded in the educational system
and academic scholarship. This has contributed to a multitude of social,
political, economic, psychological problems that have plagued ethnic peoples,
such as poverty, violence, colonial mentality, and the lack of political power.
Ethnic Studies is important because it’s aims is provide an education that is
relevant, empowering, and central to it’s vision is self-determination and
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social justice.
How:
How is Ethnic Studies taught?
Ethnic Studies is interdisciplinary and can be taught in many ways. This
course will include teaching methods from History, Social Studies, English,
Creative Arts, and Psychology. This course aims to be student-centered,
interactive, and will use problem-posing teaching methods, along with
projects where students will be encouraged to develop and compare their
narratives of their families and communities. This Ethnic Studies course also
aims to provide opportunities for students to gain both academic skills and a
sense of civic and community engagement.
For more detail, refer the handout on the History of Ethnic Studies by Daniel
P. Gonzales, one of the strikers and founders of ethnic studies at San
Francisco State University.
LIBERATION
Freeing of oneself or a group of people from oppression.
On Strike
COUNTER-
Narrative is a story. History is usually presented from one perspective, the
grand narrative or metanarrative. Counternarratives challenge the assumption
that there is only one way to present history. A perspective that is oftentimes
neglected or forgotten. Drawing from the work of D. Solorzano (2005), R.
Delgado (1989), and R. Lawson (1995) counterstorytelling is described as
“both a method of telling a story of those experiences that have not been told
(i.e. those in the margins of society) and a tool for analyzing and challenging
the stories of those in power and whose story is a natural part of the dominant
discourse—the majoritarian story.”
“What is Ethnic
Studies?”
Discussion
This sociohistorical/cultural construct often dictated by the state and by the
mass media that artificially divides people into distinct groups based on
characteristics such as phenotype, physical appearance, heritage, ancestry, and
national origin. Racial categories subsume ethnic groups. Race, as an idea,
was developed during the 17th and 18th centuries by European pseudoscientists who were building on work that divided the plant and animal
kingdoms into various classifications. These scientists classified certain body
types and skin colors into separate “races,” such as Negroid, Caucasoid, and
Mongoloid. These ideas were never neutral, however, as all of these systems
of racial classifications (from divisions of humanity into three groups up to
more than fifty) assumed a hierarchy. It is not a coincidence that these
systems were developed hand in hand with justifications for slavery,
imperialism, and colonialism.
On Strike,
Racial Gallery
NARRATIVE
AND
COUNTERSTORYTELLING
RACE
Racism is the systematic subordination of members of targeted racial groups
who have relatively little social power in the United States (African
Americans, Latino/as, Native Americans, and Asian Americans), by the
members of the agent racial group who has relatively more social power
(Whites). This subordination is supported by the actions of individuals,
cultural norms and values, and the institutional structures and practices of
society (Adams, Bell, and Griffin, 89). When we think about racism, we can
look back at hundreds of years of acts of racism. The term “racism,” however,
did not actually appear until the 1930s.
NATIONALITY
Identity that describes one’s citizenship or one’s allegiance to a nation or
4
Racial Gallery
government. This term is often misused to refer to one’s race, ethnicity,
and/or culture.
ETHNICITY
CULTURE
A dynamic (always changing) social construct in which people are grouped
together by shared language, religion, culture, national or regional origin,
political and economic interests, and historical experiences, among others.
People are grouped together either by state constructions of ethnicity or by
their own desire to identify with others who share the same culture, values,
traditions, language, and experiences.
Many people confuse nationality with ethnicity. However, nationality just
means citizenship. Even that is no longer as fixed as it once was as many
countries, including the Philippines, are now allowing dual citizenship in our
increasingly “transnational” society.
Culture (from the Latin cultura stemming from colere, meaning "to
cultivate")[1] generally refers to patterns of human activity and the symbolic
structures that give such activities significance and importance. Cultures can
be "understood as systems of symbols and meanings that even their creators
contest, that lack fixed boundaries, that are constantly in flux, and that interact
and compete with one another"[2]
Racial Gallery
Race Gallery
and Oral History
Project
Culture can be defined as all the ways of life including arts, beliefs and
institutions of a population that are passed down from generation to
generation. Culture has been called "the way of life for an entire society."[3]
As such, it includes codes of manners, dress, language, religion, rituals, norms
of behavior such as law and morality, and systems of belief as well as the art.
A critical cultural discourse includes views of how culture is both static and
dynamic through the understandings of:
1. Cultural Past/Preservation: How we connect between culture and history.
The efforts of reclaiming and maintaining one’s cultural heritage but also
being critical about culture is defined and who has defined it for us.
2. Cultural Politics: How culture has been devalued, appropriated,
commodified, and in some cases destroyed through colonialism and
imperialism. How culture is related to ethnicity, race, and racism.
3. Cultural (re)Presentation: How culture is represented through literature,
media, and popular culture. How media can be used to stereotype and
essentialize cultural meanings. How media can be rearticulated to develop
our own (re)presentations.
4. Cultural Practice/Praxis: How we theorize cultural practices and how
culture is formed and transformed.
5. Cultural Production and Pedagogy: How we create and reproduce culture.
How art and literature can produce new cultural meanings. How classrooms
play a role in either oppressing culture or become a space for cultural
liberation.
6. Cultural Power: How we use cultural work as a form of activism and
service.
COMMUNITY
A community does not have to be a place where a person lives; it can be
spread out over a city, a country, or even the world. A community is a place
that people build and a place they interact-sometimes physically and
sometimes virtually. Sometimes a 'real' community does not even exist, but is
'imagined': a commonly shared historical or cultural belief bonds its members
together...The concept of community and the reasons why people choose to
identify themselves with a particular community is tied in with complex
5
Document Box
and
Oral History
Project
issues of identity: how we define ourselves, how we define and interact with
others and how others define us…It also defines who we are, supports our
beliefs, gives us friends, and helps us to belong. (From
http://www.youthlinks.org, accessed 8-23-06).
IDENTITY
Identity is not the same as heritage, though many people often conflate the
two ideas. Identity is more often about who an individual identifies with
rather than what an individual identifies as. Therefore, a person of mixed
Filipina/o and Thai heritage may identify first as an Asian American because
she feels more in common with other Asian Americans than with either the
Thai or Filipina/o American communities. A person of mixed heritage is
likely to have a sense of identification with more than one community, so
different identities may be fore-grounded at different times.
- The collective aspect of the set of characteristics by which a thing is
definitively recognizable or known.
- The set of behavioral or personal characteristics by which an individual is
recognizable as a member or group.
- The quality or condition of being the same as something else.
- The distinct personality of an individual regarded as a persisting entity;
individuality. (Dictionary.com)
Document Box,
Here’s My Box,
My Life’s
Soundtrack, Eyedenity Maps, My
Story, Oral
History Project
ORAL HISTORY
An oral history is a collection of personal testimonies or stories of events that
occurred in people’s lives. Oral history is also the practice of passing down
these stories by verbally sharing them with other people. Oral history is one of
the most important ways in which we learn about our family and community
history. In many cultures, people relied on the tradition of storytelling when
there was no written language or when their native language was prohibited
from being recorded. Oral histories were often the only means to record
historical events, experiences of people, and the cultural teachings. It is an
important way of remembering the lives and experiences of those people who
are often not in textbooks, movies, and TV. We can also learn about how
people felt and responded to historical events through analyzing how people
remembered certain events and experiences. It is also a way of learning more
details about the historical events and “cultural” practices we have already
learned about through the lectures and literature in this course.
Document Box,
Home Wasn’t
Built in a Day,
Pod-cast, Oral
History Family
Project
6
Unit 1.A Lesson Plans
What is the Story of Ethnic Studies?
Outline of Lesson Plans
What is the Story of Ethnic Studies? Why is Ethnic Studies Necessary?
1. On Strike: A Student-Led Movement (150 minutes)
2. Racial Cartoons (50 min)
3. Racial Portraits (50 min)
ON STRIKE: A STUDENT-LED MOVEMENT
Description: This lesson plan will introduce the History of Ethnic Studies and the student movement led
by the Third World Liberation Front at San Francisco State University in 1968. They will view posters
and a film that documents the history of the movement that led to establishing ethnic studies nationwide.
They will be asked to critically analyze the purpose and necessity of this movement while also making
connections to their current educational needs.
Lesson Plan Materials:







“On Strike!” Movie
1968-69 Poster Powerpoint provided by Daniel P. Gonzalez
Handout-1 on the History of San Francisco State Student Strike
Handout-2 on the What is Ethnic Studies
Worksheet on the On Strike Movie
Poster Paper
Markers
Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
ETHNIC STUDIES
See unit concepts for definition.
LIBERATION
See unit concepts for definition.
SOCIAL
MOVEMENT
A large group of people (or community) fighting against a
common enemy and for a common purpose. (Artnelson
Concordia, Tibak Training 2006)
Acting upon to change the wrongs in society.
ACTIVISM
STRIKE
To stop working or attending a school/college/university as a
collective form of protest against injustice.
7
Idea for pre-teaching
or front-loading the
concept.
Poster Gallery, On Strike,
Writing Assignments
Poster Gallery, On Strike,
Poster Gallery, On Strike,
Writing Assignments
Poster Gallery, On Strike,
Writing Assignments
On Strike
PART 1: CULTURAL ENERGIZER
Poster Gallery: Students will be asked to view the political posters of the 1968 Student Strike at San
Francisco State University led by the Third World Liberation Front. This can be done either powerpoint
or reproductions of the posters.
Step 1
As the students walk in, play a song that was popular in the 1960’s or 1970’s to set the mood.
Step 2
Either have a looping slide show of political posters, photos, newspaper clippings projected onto a
screen or poster replicas hanging throughout the classroom to give the feel of a political meeting
space. ( a slideshow adapted from a presenation by Daniel P. Gonzales will provided on wikispaces)
Step 3
After about 3-5 minutes after the students have settled into the classroom ask the students to take out a
piece of paper and write down 3 words that represent the images that they see.
Step 4
Facilitate a brainstorm on the board with the word “movement” in the middle and write their words as
they each share one on their list. Ask them to try not repeat words.
At the end of the brainstorm, try to connect their words to the main concepts for the day.
Step 5
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
On Strike: Students will be provided with handout about the San Francisco State Student (partially
adapted from a document written by Daniel P. Gonzales, a professor of Asian American Studies in the
College of Ethnic Studies at San Francisco State University).
Step 1
Pass out Handout 1- On Strike- A Student Led Movement. Give them about 15 minutes to read the
handout.
Step 2
Have them circle words or statements that are or seem important or significant to the answer. Have
them underline words or statements that they do not understand.
List the words on the board and begin to define what they mean. Go through the Who, What, Where,
When, Why, and How with the students about the strike to make sure that they understand the purpose
of the strikers.
Step 3
Step 4
Have the students take out a piece of paper and have them do a freewrite for 10 minutes, in their own
words, the meaning social movement.
The key question of this writing exercise is, If the strike at San Francisco State University was a social
movement, what do you think social movement means?”
Step 5
Ask some students to share what they wrote.
Using the students word, try to come up with a collective definition of social movement. Then share
the definition in the main concepts:
Step 6
Social Movement: A large group of people (or community) fighting against a common enemy and for
a common purpose. (Artnelson Concordia, Tibak Training 2006)
Ask the students,
“If we agree that this is meaning of social movement, who or what is the common enemy and what is
the common purpose of the third world liberation front.”
8
Try to focus on the demands in the first part of the lesson plan. It is important to name the common
enemy and common purpose in conceptual terms versus pointing the finger at individuals or white
people in general.
Common Enemy- Racism
Common Purpose- Eliminate Racism
Step 7
Pass out the On Strike Movie worksheet which basically ask students to write in their words, the Who,
What, Where, When, and How of the movie.
After they have completed this discussion, play the On Strike movie. It is about 20 minutes long.
Dependent on your allotted class time this entire lesson plan could take between 2 or 3 class sessions.
Step 8
Step 9
Step 10
After they watch the movie, which often brings out a lot of emotions, allow them an opportunity to
process what they experienced. Have them explore the multiples ways that we process information.
Give the students a few minutes to finish up their handout. Make sure they complete the last question
on the handout.
Then break them up into groups of four.
Have each group draw a silhouette of a person on poster paper. Instruct them to write answers to the
following within the each section of their silhouette. Each person should contribute answers in each
part of the silhouette:
Head: Something that made them think
Heart: Something that made them feel
Hand: Something that made them want to act
Feet: Something that made them want to walk away-or something they disagreed with
Step 11
Step 12
Step 13
Step 14
Step 15
Step 16
Step 17
Step 18
Step 19
This should take about 20 minutes.
After they complete their silhouette, have each group share what they experienced with the movie.
At the end of the exercise, connect the similarities and differences of the silhouettes.
Have the students end with writing an essay that builds on their earlier paper on the handout. Have
them re-read the handout and ask them to pick out one quote that they want to expand on. Show them
how to cite the quote and how to use it in an essay. Then given them 20 minutes to write an essay
answering, “What is the social movement that started ethnic studies? Why is it important to learn
about this movement? And How is social movement relevant to our lives?” This can also be assigned
for homework.
After the students turn in their essays, make sure to conclude with a discussion centered around the
questions they were asked in their essay.
Pass out the What is Ethnic Studies? Handout. Have them circle words or statements that are or seem
important or significant to the answer. Have them underline words or statements that they do not
understand.
Break up the students into 5 groups. Assign each group a different part of the handout: Who, What,
Where and When, Why, and How.
Have each group read their section and discuss how their section is different than their other history
courses that they have taken. They should have 15 minutes to do this.
Then have each group share what they discussed to the larger group. (This can also be jigsawed.)
End with having the students write a journal about what they believe ethnic studies is all about
including what they learned in this lesson plan.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
9
Conclude with having the students write a journal about what they learned in this lesson plan with regard
to the history of ethnic studies. Then lead a discussion about the following:
Problems/Questions of the Day: What is the story of ethnic studies? Why is it important to learn
ethnic studies?
Connection: How is ethnic studies relevant to our lives? Have the students remember the cultural
energizer with the powerpoint of posters, and ask them, “ If you could create your own poster that would
express the meaning of ethnic studies, what would be the statement that you would try to represent?”
Assessment: What were the effective parts of this lesson plan and why? What parts could be improved
and how?
RESOURCES AND NOTES

Resources
SF State College of Ethnic Studies Website: http://www.sfsu.edu/~ethnicst/home3.html
Barlow, William and Peter Shapiro. An End to Silence: The San Francisco State Student Movement in the 60s. New
York: Pegasus, a division of the Bobbs-Merrill Company, Inc., 1971.
Gonzales, Daniel. P. Inspiration, Influence, and Intrigue: The Long Reach and Hidden Impacts of Filipino
American Studies, Unpublished Paper, 2008.
Hare, Nathan . “A Conceptual Proposal for a Department of Black Studies.” In Shut It Down! A College in Crisis:
San Francisco State College: October, 1968–April 1969, edited by William H. Orrick, Jr. Washington, D.C.: the
U.S Government Printing Office for The National Commission on the Causes and Prevention of Violence, 1969.
Hirabayashi, James A. “Ethnic Education: Its Purposes and Prospects.” Paper presented at the Second Annual
Conference on Emerging Programs, University of Washington, Seattle, 1974.
San Francisco State University, Asian American Studies Department. Dreams, Realities, and Challenges in Asian
American Studies. San Francisco: Asian American Studies Department, 1998.
Smith, Robert, et al. By Any Means necessary: The Revolutionary Struggle at San Francisco State. San Francisco:
Jossey-Bass, 1970.
Louie, Steve and Glenn Omatsu , eds. Asian Americans: The Movement and the Moment. Los
Angeles: UCLA Asian American Studies Center Press, 2000.
Orrick, Jr., William H. Shut It Down! A College in Crisis: San Francisco State College: October, 1968–April 1969.
Washington, D.C.: the U.S Government Printing Office for The National Commission on the Causes and Prevention
of Violence, 1969.
Tam, Alice. “The San Francisco State College Strike of 1968-1969: Through the Eyes and Voices of Asian
Americans.” The Yellow Journal 9/10, no. 9 (Spring 2000) : 145-146.
Umemoto, Karen. “Asian American Students in the San Francisco State College Strike, 1964-1968.” M.A. diss,
University of California, Los Angeles, 1989.
Whitson, Helene. Strike!: A Chronology, Bibliography, and List of Archival Materials Concerning the 1968-69
Strike at San Francisco State College. Educational resources Information Center, 1977.
Whitson, Helene and others. On Strike! Shut It Down! A revolution at San Francisco State: Elements of Change.
San Francisco: Rapid Copy Center of the J. Paul Leonard Library, 1999.
10

Notes
Make sure to watch the On Strike video prior to showing it to the students to know what parts you should
emphasize.
Background Information for Teacher:
History of Ethnic Studies
Adapted from a handout created by Professor Daniel P. Gonzales,
Asian American Studies Department, San Francisco State University
In Pin@y Educational Partnerships: A Filipina/o American Studies Sourcebook, Volume II (2008)
1.
What is Ethnic Studies?
Ethnic studies is an academic discipline dedicated to the study of race, ethnicity, and culture. It evolved in
the second half of the 20th century partly in response to charges that traditional disciplines such as
anthropology, history, English, ethnology, Asian Studies, and orientalism were imbued with an inherently
eurocentric perspective. Ethnic Studies tried to remedy this by trying to study people of color on their own
terms, in their own language, acknowledging their own values.
In the United States, the discipline of Ethnic Studies evolved out of the civil rights movement in the late
1960s and early 1970s, which saw growing self-awareness and radicalization of people of color such as
African-Americans, Asian Americans, Latino Americans, and American Indians. Ethnic Studies
departments were established on many campuses and grew to encompass African American Studies, Asian
American Studies, Raza Studies, Chicano Studies, and Native American Studies. The first strike for Ethnic
Studies occurred in 1968, (led by Third World Liberation Front, a joint effort of the Afro-American Student
Association, Mexican American Students Confederation, Asian American Political Alliance, Pilipino
American Collegiate Endeavor, and Native American Students Union at San Francisco State University); it
was the longest student strike in the nation's history, and resulted in the establishment of a School of Ethnic
Studies, when President S.I. Hayakawa ended the strike by taking a hardline approach, appointed Dr. James
Hirabayashi the first dean of the School (now College) of Ethnic Studies at San Francisco State University)
[1]), and increased recruiting and admissions of students of color in response to the strike's demands.
Courses in Ethnic Studies tried to address the criticism that the role of Asian Americans, Blacks, Latinos
and Native Americans in American history was undervalued and ignored because of Euro-centric bias.
Ethnic Studies also often encompasses issues of gender, class, and sexuality. In general, an "Ethnic Studies
approach" is loosely defined as any approach that emphasizes the cross-relational and intersectional study
of different groups. (Source: wikipedia)
2.
What was the political and global context in which ethnic studies was created?
Ethnic Studies arose from the discourse and political action on race,
class, gender, and civil rights in the United States. The polarized
American Left/Right debates of the late 1950s through the early 1970s
were centered on civil rights and the Vietnam War amidst contentious
social and political change. From the end of World War II, anti-colonial
nationalism became a global phenomenon fueled by democratic and
socialist militancy. The United States was engaged in neocolonial
activity in Latin America, Asia, and Africa. Conservative, “reactionary,”
“hawkish”(pro-war) foreign policy was favored by the American
11
majority while progressive legal and political activists (“doves”) gained
strength at home against conservative “establishment” resistance.
3.
Why was ethnic studies created?
The formation of Ethnic Studies as a general academic construct was the result of:
a. frustration with the continuing historical contradictions between American social and
political ideals and the reality of racism, sexism, poverty, and injustice;
b. critical race and class analysis of higher education in the United States from the position
of civil rights and Third World consciousness, values, and criteria of the post-World War
II era of anti-colonial nationalist movements; and
c. student-initiated activism premised on democratic inclusion, social justice, and selfdetermination.
Many mainstream commentators cite racism and the struggle against it as the superior
justification for the creation of Ethnic Studies. (Hirabayashi, 2) Others cite the practical and
theoretical irrelevance of traditional Eurocentric education from the perspective of Third
World-conscious Americans as the major rationale for Ethnic Studies. Better sources—
usually writers who participated in or were close witnesses to the actual construction and
implementation of Ethnic Studies at San Francisco State University—cite the drive to define
their cultural and political identities as the engine that motivated the quest for educational
relevance.
The central paradigm (philosophical framework) of Ethnic Studies was cultural pluralism:
many cultures coexisting within a larger social, economic, and political framework.
(Hirabayashi, 2) Using cultural pluralism as the main organizing construct allowed for the
accommodation of divergent rationales for the formation of ethnic studies, while encouraging
the growth and forward motion of the ethnic-specific departments on their separate agendas.
4.
How was ethnic studies created?
Under the leadership of Jimmy Garrett, Benny Stewart, and Jerry Vernardo, the Black
Students Union (BSU) at SF State requested the establishment of a Black Studies department
in 1966. The organization chose to rename itself from the Negro Students Association, as it
was founded in 1963. (Orrick, 78) A few courses with black content were developed but were
offered as experimental classes in various departments rather than as an integrated, permanent
curriculum.
Dr. Juan Martinez was a charismatic Chicano historian and
dynamic speaker who encouraged students to unite across
racial and ethnic lines and take radical action to seize power
and restructure the college to serve their needs and the needs
of their communities. The frustration of the BSU and the
TWLF with the administrations of Presidents Summerskill
and Smith, self-described liberals—each of whom would
resign under pressure—gave rise to the formation in 1968 of
the Third World Liberation Front (TWLF) coalition of SFSC
Associated Students organizations. The first two
organizations to join the coalition were the Philippine
12
American Collegiate Endeavor (PACE) and the Mexican
American Student Confederation (MASC).
In April 1968, Dr. Nathan Hare wrote “A Conceptual
Proposal for a Department of Black Studies,” a salient
sociopedagogical rationale for Black Studies. Dr. Hare
criticized “tokenism:” the corporate/establishment political
practice of hiring individuals with “non-white” racial
minority characteristics and backgrounds as proof of an
apparent position against racism. He also analyzed liberalarts values and academic standards as racist—exclusionary
in effect, if not intent—while underscoring the absolute
necessity of community involvement and “collective
stimulation”, using black/African culture as both content and
medium of learning. Hare concluded by emphasizing the
relevance of a Black Studies curriculum to students and the
community, and the ultimate purpose of black studies:
graduates applying black studies back to benefit their work
in their community to effectively address and resolve real
issues and problems there.
His reasoning was supported and adapted by the other ethnic-based organizations of the
TWLF in their pursuit of the establishment of American Indian, La Raza, and Asian
American Studies departments. The Hare rationale for Black Studies became the central
argument for the establishment of the School of Ethnic Studies.
The BSU called for a general boycott of classes on November 6, 1968 after having served
notice to President Smith of 10 original demands, including the hiring of more black and
Third World faculty, the establishment of a unified Black Studies department, and the
admission of all black applicants for admission to the college. The TWLF subsequently added
five more demands including the establishment of an independent School of Third World
Studies.
The conservative “Faculty Renaissance” of SFSC was aligned with the Board of Trustees of
the entire State College system, the majority of the state legislature, and then Governor
Ronald Reagan in staunch authoritarian opposition to any accommodation of student
demands. (Barlow and Shapiro, 228-236) President John Summerskill resigned during the
volatile prelude to the strike. President Robert Smith would resign during the strike.
Despite denials by the Governor and Mayor Joseph Alioto of San Francisco, SF State
students—including some who were not even active participants in the strike—were victims
of unnecessary, often gratuitous, and sometimes extreme violence at the hands of both local
and state police. For example, police at a nonviolent sit-in demonstration in spring 1968
struck PACE leader Alex Soria, causing a bloody head injury that required emergency
medical treatment.
The discovery of guns and explosive devices on campus
gave full rationale to the hard line law-and-order stance that
increased the popularity of Governor Reagan, first to
national then to international levels of heroic conservative
status. After his unilateral appointment as replacement for
13
the resigned President Smith, S. I. “Sam” Hayakawa
mirrored the Reagan stance and thereby earned the praise of
conservatives worldwide as an uncompromising law-andorder administrator—with apparent racial minority “color”
credentials—though he had little to do with the actual
management of the campus. Hayakawa had no qualms about
bringing police onto the campus. (Barlow and Shapiro, 248255)
In spring 1969, the SFPD, the principal police presence, and visiting police units from other
jurisdictions used “experimental” non-lethal weapons including long clubs that mimicked
Feudal Asian swords, martial arts weapons, tear and pepper gas. During the second half of the
strike, SWAT (Special Weapons and Tactics) teams and riot control squads from throughout
the Western states came to SF State to “train” for “crowd control” and mass violence. Many
of the martial arts weapons employed by the SFPD through the 1970s were subsequently
found to be too injurious and were barred from police use.
For the duration of the strike, over four-and-a-half months, sporadic violence was reported by
the news media. Several frustrated attempts at the negotiation of major issues between the
two sides leading to gradual movement toward compromise and resolution began in February
1969. The TWLF Central Committee and a “select committee” of local community leaders
with authority to negotiate an end to the strike came to agreement on several demands.
Though President Hayakawa never signed the final draft of the agreement, the agreement was
implemented.
4.
What were the goals and beliefs of ethnic studies? (Define)
Self-determination/inclusion:
Self-determination is the right and power of a people to make decisions and to take action
consistent with their own best interests.
The founders of Ethnic Studies believed that inclusion in social and political processes via selfrepresentation was a fundamental principle of democracy.
Self-determination is a correlative element of representation that was necessary to counter the
long history of misrepresentation of Third World people in the social institutions of the West,
particularly the academe.
Community Advocacy:
Ethnic Studies was envisioned as a forum for presenting the primary experiences of Third World
people, their perspectives on those experiences, and the social, economic, and political needs of
Third World communities. Ethnic Studies faculty members were expected to be advocates for and
representatives of the needs of communities where they had primary experience.
Connection of the Community to the Academy and Community Service:
Consistent with the values held by the student founders of Ethnic Studies and as stated by
Dr. Nathan Hare in his rationale for Black Studies, active community involvement by
14
students and faculty is a necessary component of Ethnic Studies. Dr. Hare saw that the
application of Black Studies by graduates to address and resolve community issues and
problems was the ultimate goal of their program. That value position was shared by all of the
departments of Ethnic Studies.
What are current mission and goals of San Francisco State’s College of Ethnic Studies?
In our teaching, scholarship and creative work, we specifically analyze structural forms of oppression and
address the intersections of race, ethnicity, and other forms of identity and social status. Our work affirms
comparative and transdisciplinary approaches to national and diasporic questions. The primary aim of the
College of Ethnic Studies is to actively implement a vision of social justice focusing on social inequalities
that exist on the basis of race and ethnicity. Therefore our teaching, encouragement, and mentoring of
students and student organizations have the goal of developing long-term leadership skills, knowledge of
self, and collaborative activist abilities within and between communities of color and indigenous peoples.
In 1968-69, students of the black student union and third world liberation front, staff and faculty, as well
as members from the larger Bay Area community, organized and lead a series of actions to protest
systematic discrimination, lack of access, neglect, and misrepresentation of histories cultures and
knowledge of indigenous peoples and communities of color within the university's curriculum and
programs. Their specific demands included the establishment of our departments - Asian American
Studies, Black Studies, La Raza Studies, Native American Studies - in Ethnic Studies. These demands
reflected a respect for the diverse intellectual traditions and cultural expressions of the scholars, activists,
and artists of communities of color and indigenous people throughout the U.S., and a fierce commitment
to the concept of self-determination through education.
The faculty, students, and staff of the college recognize and affirm the principles of community-based
research and teaching, student leadership and activism, and the serf-determination of communities of
color and indigenous peoples on which the college was founded. This affirmation includes respect for the
holistic and integrative educational models, epistemologies, ecologies, and world views of our diverse
communities and peoples.
Reference: SFSU College of Ethnic Studies Website: http://www.sfsu.edu/~ethnicst/home3.html
Bibliography:
[Note: Original sources based on research, interviews, and observations made at or near the actual
time of the strike and the implementation of Ethnic Studies were favored over more recent,
retrospective writing, including those by Karen Umemoto and Glenn Omatsu.]
Hare, Nathan (1968). “A Conceptual Proposal for a Department of Black Studies.” In Shut It
Down! A College in Crisis: San Francisco State College: October, 1968–April 1969,
edited by William H. Orrick, Jr. Washington, D.C.: the U.S Government Printing Office
for The National Commission on the Causes and Prevention of Violence, 1969.
Hirabayashi, James A. “Ethnic Education: Its Purposes and Prospects.” Paper presented at the
Second Annual Conference on Emerging Programs, University of Washington, Seattle,
1974.
15
Orrick, Jr., William H. Shut It Down! A College in Crisis: San Francisco State College: October,
1968–April 1969. Washington, D.C.: the U.S Government Printing Office for The
National Commission on the Causes and Prevention of Violence, 1969.
Barlow, William and Peter Shapiro. An End to Silence: The San Francisco State Student
Movement in the 60s. New York: Pegasus, a division of the Bobbs-Merrill Company,
Inc., 1971.
Settlement of the Demands of the Third World Liberation Front
No.
1
Demand
That a School of Ethnic Studies for the ethnic
groups involved in the Third World be set up
with the students in each particular ethnic
organization having the authority and control
of the hiring and retention of any faculty
member, director, or administrator', as well as
the curriculum in a specific area study.
2
That 50 faculty positions be appropriated to the
School of Ethnic Studies, 20 of which would
be for the Black Studies program.
That, in the Spring semester, the College fulfill
its commitment to the non-white students in
admitting those who apply.
That, in the fall of 1969, all applications of
non-white students be accepted.
3
4
5
That George Murray1 and any other faculty
person chosen by non-white people as their
teacher be retained in their positions.
Settlement
a. The College would endeavor to establish a School of
Ethnic Studies to begin operation in the Fall Semester
1969. The College will need additional funding for this
purpose.
b. The School will equal existing Schools of the College in
status and structure.
c. The college would establish a community board to
recommend faculty appointments to the President.
a. Allocation of faculty positions to the School of Ethnic
Studies will follow upon Spring planning and resources
acquired by the College.
a. One hundred twenty-eight E.O.P. (Educational
Opportunity Program) students were admitted for the
Spring 1969 semester.
a. The College agreed to admit approximately 500
qualified nonwhite students for the Fall 1969 semester
and was actively recruiting such students. There were
also to be about 400 non-white students as special
admittees.
b. The College committed itself to funding and staffing
for an Economic Opportunity Program (E.O.P.).- Now
the Educational Opportunity Program.
c. The College agreed that parallel admissions standards
are necessary for Third World people if the College is to
fulfill its educational responsibilities in an urban
environment.
a. This decision would be referred to the community
advisory board.
The suspension of English instructor (and Black Panther Minister of Education) George Mason Murray on November 1, 1968,
was the catalyst for five months of confrontation and tension. George Murray was a graduate student in English and had been
hired to teach special introductory English classes for minority students admitted to the college under a special program.
1
16
Further Resolutions
1. That a committee of students, faculty, and staff, ethnically mixed, be formed immediately to advise the College on
how to deal with the charges of racism at the College. A first task for this committee will be to recommend
procedures for dealing with claims of racism within the college.
2. That the procedure for appointing an ombudsman be started again and pressed to as rapid a conclusion as
possible.
3. The College shall establish, through its Academic Senate and the Council of Academic Deans, a small committee
to expedite decision-making and action concerning all aspects of this agreement.
4. In recognition of the urgency of the present situation, we recommend that the Chancellor and Trustees expedite in
every way possible the consideration of any requests for special resources presented by the College President which
arise from the extraordinary needs of the College at this time.
5. In instances where differences of interpretation occur in the precise meaning of any part of this agreement, final
and mutually binding decisions upon all parties shall be made by a three-man group composed of one person named
by the President of San Francisco State College, one person named by the Dean of the School of Ethnic Studies and
the Chairmen of the various Ethnic Studies Departments, and a third person selected by these two.
6. Staffing and admission policies of the School of Ethnic Studies shall be non-discriminatory.
7. Police should be withdrawn immediately upon the restoration of peace to the campus.
8. The state of emergency on campus should be rescinded immediately upon settlement of the strike, together with
the emergency regulations restricting assemblies, rallies, etc.
9. The College shall resume planning for a Constitutional Convention and for a student conference on the
governance of the urban campus.
10. The students and the administration together recognize the necessity of developing machinery for peaceful
resolution of future disputes, arising from conditions or needs outside the terms of this agreement.
11. The student organizations signatory to this agreement and the College agree that they will utilize the full
influence of their organizations to insure an effective implementation of this agreement.*
*The above points are condensed from the March 20, 1969, document of resolution, signed by representatives of the
Third World Liberation Front, the Black Students Union, and the members of the Select Committee
This Handout was adapted from The San Francisco State College Strike Collection Introductory Essay by Helene Whitson
handout created for the PEP Sourcebook by Dan Gonzales
17
RACIAL GALLERY
Description: This lesson plan will introduce the concepts of race, ethnicity, and culture. Through a
preliminary look at how these concepts are imbedded in our psyche, we will begin to uncover the
relationship between oppression and resistance.
Lesson Plan Materials:




Photos of People from all different racial and ethnic backgrounds-draw from pop culture
references (hardcopy or digital)
Racial Cartoons (hardcopy or digital)
Poster Paper
Markers
Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
RACE
See unit concepts for definition.
RACISM
The systematic subordination of members of targeted racial
groups who have relatively little social power in the United
States (African Americans, Latino/as, Native Americans, and
Asian Americans), by the members of the agent racial group
who has relatively more social power (Whites). This
subordination is supported by the actions of individuals, cultural
norms and values, and the institutional structures and practices
of society (Adams, Bell, and Griffin, 89). When we think about
racism, we can look back at hundreds of years of acts of racism.
The term “racism,” however, did not actually appear until the
1930s.
RACIAL
HIERARCHY
The racial hierarchy developed integrally with the concept of
race implies that one racialized group is the closest to God or
perfection—those defined as “white.” It is this hierarchy that
causes difficulty for people of mixed heritage, as the hierarchy
means that one group is always considered above another group
so that a person of mixed heritage will be seen as forever torn
between a lower group and a higher group—the worst situation
being if the person has a “white” parent, because if he or she has
any heritage “of color” they cannot, by definition, be “ white.”
ETHNICITY
CULTURE
NATIONALITY
OPPRESSION
See unit concepts for definition.
See unit concepts for definition.
See unit concepts for defintion
An unjust or cruel exercise of power or authority.
Institutional Oppression: Unfair and unjust policies or laws
passed by the government, schools, the judicial systems,
military, and law enforcement. These institutions are used to
18
Idea for pre-teaching
or front-loading the
concept.
protect the privileges of elites, or people in power, by
withholding privileges enjoyed by the elite and/or basic civil
rights from people who don’t have access to institutional power
and keeping less powerful people divided. These systems are
enforced by mass media, police, schools, and family values
Interpersonal Oppression: Internalizing systemic or
institutional oppression, which, in turn, negatively affects your
behavior towards others.
Internalized Oppression: Internalizing oppressive messages
you see or hear in mass media, in national/state/local
governments, or in such institutions as your church and family.
You begin to believe, accept and live out stereotypes, lies and
misinformation about yourself and your community.
RESISTANCE
PART 1: CULTURAL ENERGIZER
Celebrity Gallery-What’s Their Race?: Description
Students look at photos of celebrities to describe
Step 1
Put the five photos of pop culture/political icons:
Barack Obama
Rob Schneider
Kimora Lee
Oprah Winfrey
Christina Aguilera
Vin Diesel
Keanu Reeves
Jessica Alba
Lou Diamond Phillips
Rihanna
Tony Parker
MC Solarr
Alexander Dumas
And … TEACHER
photo
_______________ (race)
_______________ (ethnicity)
_______________ (culture)
_______________ (nationality)
Step 2
Step 3
During the first ten minutes, students look at the photos and write the following for each image: 1)
race; 2) ethnicity; 3) culture, and 4) nationality.
Have students volunteer responses with the class. Pay attention to the different ways in which race,
ethnicity, and culture intersect and disagree with what we expect. For instance, Barack Obama is
multi-racial and multi-ethnic, and is persistently seen as a foreigner despite the fact that he was born in
Hawaii. Additionally, we can guess about race and ethnicity through sight, but usually can’t SEE
people’s culture and nationality.
19
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Racial Cartoons: Description
Step 1
Step 2
Step 3
Step 4
Step 5
Show the film Race the Power of an Illusion: The Story We Tell.
Discuss the ways in which 1800s scientists used science to try and justify the racial divisions and
categories they came up with.
Show racist political cartoons. At each one, discuss which group is being represented, how they’re
represented, and why “white” America perceived them that way.
Have students write how the racist political cartoons make them feel, both political cartoons about
their race, as well as political cartoons of other race as well.
Discuss the context and changes between the racist depictions of yesteryear and if they see it as a past
thing or something that is ongoing. Emphasize that different groups have been viewed as racially
different than “whites”, and that has historically provided the basis for discrimination and violence.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
In the last five minutes, discuss how race is only one component of who we are. It has often been applied
to people without their consent, and used to justify mistreatment.
Problems/Questions of the Day: How does race shape who we are?
Connection: Discuss: the ways race, culture, ethnicity, and identity are not interchangeable; how
we are oftentimes labeled with race, culture, and ethnicity by others; and how all of them
contribute to who we are.
Assessment: What were the effective parts of this lesson plan and why? What parts could be improved
and how?
RESOURCES AND NOTES

Resources

Notes
Include Handouts and Worksheets.
20
Unit 1.B Lesson Plans
What is the My Story?
Outline of Lesson Plans
What is My Story? Why is My Story Important?
1. Fragments of History: Teacher’s Document Box (50 min)
2. Here’s My Box: Peer to Peer Interview (100 min)
3. My Life’s Soundtrack (50 min)
4. Eye-dentity Maps (50 min)
Homework Essay: My Story- A written narrative analyzing how race, ethnicity, and culture define them at
this point in their lives.
FRAGMENTS OF HISTORY: TEACHER’S DOCUMENT BOX
Description: Students examine “artifacts” from teacher’s lives to develop historical thinking
skills and an awareness of what creates identity.
Lesson Plan Materials:

Box/packet with
o Childhood artifact
o Family artifact
o Professional artifact
o Academic artifact
o Hobby/personal interest artifact
Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
Idea for preteaching or frontloading the concept.
IDENTITY
RACE
GENDER
SEXUAL
ORIENTATION
CULTURE
PART 1: CULTURAL ENERGIZER
Who are we?: Students examine their teacher’s appearance to guess about what s/he is like, and look at
the difference between observations and inferences.
Step 1
Step 2
The teacher briefly describes the differences between “observations” (what we can see) and
“inferences” (what we think it means/why it matters).
Students pair up and write down their observations, matched with their inferences.
21
Step 3
After five minutes, have students share.
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Teacher’s Box: Students examine artifacts a teacher has selected to represent his/her identity. This is
done to demonstrate some of the different aspects that form our identities. Additionally, students learn the
process for the next lesson, in which students make their own boxes.
Step 1
Step 2
Step 3
Step 4
Divide the class into groups of 4-5 students. Distribute boxes to the groups.
Students have the remainder of class to examine the boxes.
Using the Teacher Box Worksheet, students will write what they infer about their teacher,
making sure to include why they infer that.
At the end of class, explain what each of the artifacts is, and what they mean to you.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Lead a discussion about the following:
Problems/Questions of the Day: Who are we? How do we know?
Connection: Who we are is a reflection of the people around us, the things that we do, and our
experiences. What would students choose to have reflect themselves? Preview the following days’
assignment on creating their own artifact boxes and interpreting each other’s.
Assessment: What were the effective parts of this lesson plan and why? What parts could be improved
and how?
RESOURCES AND NOTES
Make sure that you have the boxes assembled prior to class. To foster a full discussion and investigation, each box
should contain different materials. Each box should still be from the same aspects of the teacher’s life (academic,
professional, etc.). However, they should have different academic information, and different professional
information. Also, make sure to label each artifact so students can compare them more easily.
Examples of artifacts may include:
Childhood artifact
Family artifact
Professional artifact
Academic artifact
Hobby/personal interest artifact
Baby photo/childhood toy/etc.
E-mail to relative/family photo/etc.
Credential/paycheck/etc.
Report card/old school essay/etc.
Hobby magazine/movie ticket/etc.
Notes from Barbara Blinick:
I usually start with a lecture/discussion on how we learn/know history. In that discussion students throw out the
usual suspects: letters, journals, photographs, documents, driver's licenses, etc. That is where we get the list of
items they can include. I also allow a limited number of artifacts (sports
medals, etc.). I ask them to bring 10 documents, but no more than two of the same type of document (letters, for
example), just to get a variety. Of course, the day before I assign the activity, I model it for them. Last year I did
22
make multiple boxes of my own docs, so they could work in small groups instead of having me walk them through
it in class. That worked much better. Ideally each collection of documents would be the same but lead different
groups to different conclusions, so they could see how historians fight over meaning. OR, you could add documents
and without labeling it, create "revisionist" histories so that students would get additional documents that might
change their interpretations. Hmmm, good idea!!! Obviously, what I bring heavily influences what they bring. The
suggestions is to make very clear they cannot just empty out their wallets the day of the activity. Not
only would that violate the "no more than two of the same document" rule, it is boring. They also have to bring the
documents in some kind of bag, box, or envelope (also helps with completion of the document collections).
23
Names:
Date:
Period:
Teacher Box
Artifact
What we infer
24
Why we infer it
HERE’S MY BOX: PEER-TO-PEER INTERVIEW
Description: Students create their own “artifacts” boxes and examine each others to learn about
each others’ identities.
Lesson Plan Materials:

Student Box Worksheet
Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
Idea for preteaching or frontloading the concept.
IDENTITY
RACE
GENDER
SEXUAL
ORIENTATION
CULTURE
PART 1: CULTURAL ENERGIZER
Teacher’s Box Recap: Students examine their teacher’s appearance to guess about what s/he is like, and
look at the difference between observations and inferences.
Step 1
Step 2
Step 3
Ask for a student volunteer to summarize the meaning of “observation” and “inference”.
Ask for a different student volunteer to describe the process yesterday to look at the teacher’s
artifacts and make inferences.
Transition into the activity by describing the next two days’ assignment.
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Student Boxes: Students plan and create their own identity boxes. They exchange them and practice
inferring information about their partners. Then, they debrief and check to see if their inferences were
correct.
Step 1
Step 2
Step 3
Step 4
Students have one day to plan what which artifacts they will present to their partners to
represent themselves. Suggest to them the same categories their teacher used: Childhood
artifact, Family artifact, Professional artifact, Academic artifact, and Hobby/personal interest
artifact.
As homework, they must compile their artifacts to be ready for use the following day.
Using the Student Box Worksheet, students have 30 minutes to analyze one another’s boxes to
infer how they identify themselves.
Afterwards, students have 10 minutes to discuss with their partners what each artifact was
intended to represent, and what the other person inferred from it.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
25
Lead a discussion about the following:
Problems/Questions of the Day: Who are we? How do we know?
Connection: Who we are is a reflection of the people around us, the things that we do, and our
experiences. What did students choose to represent themselves? Did their partners infer what
they intended? Why? Why not?
Assessment: What were the effective parts of this lesson plan and why? What parts could be improved
and how?
RESOURCES AND NOTES
26
Names:
Date:
Period:
Student Box
Artifact
What we infer
27
Why we infer it
MY LIFE’S SOUNTRACK
Title: Description
Lesson Plan Materials:

Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
Idea for pre-teaching
or front-loading the
concept.
PART 1: CULTURAL ENERGIZER
Title: Description
Step 1
Step 2
Step 3
Step 4
Step 5
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Description
Step 1
Pass out L.I.F.E. Packet 2
 Make sure everyone has a packet and writing tools
 L.I.F.E. Packet 2 is designed for the participants to share the songs that motivate and
inspire them to think and describe about the themes of L.I.F.E.
Step 2
Go Over the Acronym of L.I.F.E.




Leadership
Identity
Future
Empowerment
Describe and emphasize a connection of how these themes/elements are critically
infomative sense of self consciousness and awareness in various perspectives of one’s
28
story/narrative.
Take a brainstorm list of artists/groups/songs that the participants are really inspired by as
they listen to them.
 Ask the students “why” does that musician or song emobdy that them
 “What” is significant about that song that you feel or relate to…
Step 3
Step 4
Go over each theme one at a time.
 10-15 Minutes per Theme.
 As you go over each theme share one of your own experiences related to the theme or ask
any students to share their reflections.
 As students are sharing a song Create a Play list for Each them that will be represented
by 4 different Butcher Papers.
** If there is time participants can start designing their shoes**
Conclusive Dialouge:
As the workshop concludes reflect on L.I.F.E. Ask the sutdents that sometimes the way we
feel and dream are expressed/inspired through our favorite songs. Let the participants know
that in the next class everyone will receive a PlayList of inspirational theme songs of L.I.F.E.
that everyone was able to share in class today.
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
Step 11
Step 12
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Connection:
Assessment:
RESOURCES AND NOTES

Resources
Adapted from a Lesson Plan Developed by Jonell Molina in the PEP Sourcebook, Volume II (2008).
29

Notes
30
MY EYE-DENTITY
Title: Description
Lesson Plan Materials:

Lesson Plan
Definition and Rationale for choosing this word,
VOCABULARY phrase, or concept
Idea for pre-teaching
or front-loading the
concept.
PART 1: CULTURAL ENERGIZER
Title: Description
Step 1
Step 2
Step 3
Step 4
Step 5
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Description
Step 1
Do an Utak Bagyo (Brainstorm) on identity on the board.
Some of the words that will probably come up are:
Race, Ethnicity, Parents, Music, Friends, Neighborhood, and Gender/Sex.
Step 2
Begin the Identity Map or I-Map Exercise. Give the students the following instructions, and pass out
construction paper and pens. You may also want to give the students other supplies to create a more
three-dimensional I-Map. This can also be printed onto a T-shirt (you would have to instruct students
to bring plain T-shirts to class, or provide them with T-shirts and T-shirt paint). If you turn this into a
T-shirt activity, make sure to bring some examples of the identity T-shirts such as those made by
Wendell Pascual, who designed Downright Pinoy, or designs by Ed Habacon from Tribal Pinoy, or
from Glenda Macatangay’s clothing/art company called Cocoa.
31
Instructions:
Create an I-Map. Make a list of words that you associate with the development of your identity. The
focus is on the development, rather than just one word that you identify with. Identities are infinitely
complex.
After coming up with a list of words, draw an identity map with these words that show how you
formed your identity. It is important to see the influences and decisions that you have made about your
identity through this map. You will have 20 minutes to work on your maps.
Step 3
Show the students an example of your own map. You should prepare one prior to executing the lesson
plan. You can also show the example in this lesson plan.
Step 4
When the students are done, have them share their maps with the class. You may have to choose only
a few students to share if you do not have enough time, or you can let them present the next day.
Step 5
After students have shared their I-Maps, facilitate a concluding discussion on what they learned about
their identity.
Begin the Identity Map or I-Map Exercise. Give the students the following instructions, and pass out
construction paper and pens. You may also want to give the students other supplies to create a more
three-dimensional I-Map. This can also be printed onto a T-shirt (you would have to instruct students
to bring plain T-shirts to class, or provide them with T-shirts and T-shirt paint). If you turn this into a
T-shirt activity, make sure to bring some examples of the identity T-shirts such as those made by
Wendell Pascual, who designed Downright Pinoy, or designs by from Glenda Macatangay’s
clothing/art company called Cocoa.
Step 6
Instructions:
Create an I-Map. Make a list of words that you associate with the development of your identity. The
focus is on the development, rather than just one word that you identify with. Identities are infinitely
complex.
After coming up with a list of words, draw an identity map with these words that show how you
formed your identity. It is important to see the influences and decisions that you have made about your
identity through this map. You will have 20 minutes to work on your maps.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Connection:
Assessment:
RESOURCES AND NOTES

Resources

Notes
32
33
Unit 1.C
What are Our Families’ Stories? How do our Stories Connect
Outline of “My Family, My Self” Project
Day 1:
Day 2 and 3:
Day 4:
Day 5:
Day 6 to 8:
Day 9 and 10:
Day 11 to 15:
Family Oral History Project Introduction
Each student creates a portfolio titled “My Family, My Self” that includes
-A family tree for at least three generations
-A podcast of an oral history interview of an older member of the family
-A paper on the life of their family member
-A digital and oral presentation summarizing their family history for at least
three generations
My Family Tree (100 min-with homework)
Starting with what you know:
Meaningful Questions and Creating a Space for Storytelling (50 min)
-Creating Questions
-Doing the Interview
-Transcribing
-Creating a Podcast
Home Wasn’t Built in A Day: Constructing the Stories of Our Families (50 min)
Readings:
Grandma & Granddaughter by Ursula Fung
Yemen by Jamaal Ghanem
(Students from Galileo Academy of Science & Technology, 2006)
Model Oral History Essays by High School Students
Oral History Paper
-Draft should be due a day or two before the presentations begin.
-Final draft should be due on one of the last days of this unit. (Both in class and
for homework)
Creating a Powerpoint Presentation (50 min)
Oral Presentations: Activities on how to connect the oral histories (5-7) minutes per
student)
34
DAY 1
INTRODUCING THE “MY FAMILY, MY SELF” PROJECT
Description: In this part of the unit, students will be introduced to the History of
Lesson Plan Materials:


Packet that Outlines the “My Family, My Self” Project
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Title: What is an Oral History?
Step 1
Step 2
Step 3
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Detailed description of the activity.
Lesson Steps:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day: Why is an Oral History Project Important?
RESOURCES AND NOTES


Resources
Notes
35
What is Oral History?
Oral history is a collection of personal testimonies or stories of events that occurred in people’s lives.
Oral history is also the practice of passing down these stories by verbally sharing them with other people.
Why Is Oral History important?
Oral history is one of the most important ways that we learn about the lives of our ancestors, family
members, ourselves, etc. In many cultures, people relied on the tradition of storytelling when there was no
written language to record historical events or the experiences of the people. Also, many times in books
or movies, the experiences of some people are left out of the story. Oral history is an important way of
remembering the lives and experiences of those people not often heard. It is also a way of learning more
details about historical events we have already learned about through reading.
Grading:
You will be graded on the following three parts of the Oral History Project:
1.
2.
3.
Oral History Paper
Oral History Visual Representation
Oral History Presentation
If you have any questions about the Oral History Project or for additional help, ask any PEP teacher at
school or through email. Please work with your mentor to complete this project.
To begin your Oral History Project, follow these steps:
36
Step One: Identify your interviewee
Select one member of your family who will be the subject of your Oral History Project. This person
MUST BE over 30 years old. It is a good idea to pick someone who will be open and willing to share
information about her/his past.
Step Two: Personal Oral History
Interview your family member about three significant events in their life as a Filipina/o American. Ask
your family member if she/he would be willing to participate in your project. Ask her/him questions you
formulated on the “Interview Question Sheet” and any additional questions you feel would be good to
ask. Then, transcribe the interview. In other words, type out the entire text of the interview, including
everything you said and/or asked, and all of the responses of your interviewee. You will now have a
transcript, an entire, complete record, of the interview to work with and quote from. This might take a
while, but the transcript is especially useful when you want to read exactly what your interviewee said.
Step Three: Write your paper
After your have interviewed your family member, you must write a paper in the form of a story that gives
your readers insight into that person’s life. The three significant events should be contextualized in
Filipina/o American History (use the notes you have taken in class and from readings that can be provided
by your mentor).
Although you are writing a story, your paper should still be structured in an organized fashion. We will
review in class the proper way to construct your paper.
Step Four: Create a Poster
Your poster should include pictures relevant to your family member’s history. You can also include text,
words, images, or drawings that relate to their three significant events that make up their personal oral
history. Remember to take great care with her/his pictures, as they may be old and have great sentimental
value. If she/he will not allow them to be glued to your poster, it is a good idea to make color copies and
use these instead.
Step Five: Present your oral history
You will be given 5-7 minutes to present your story and poster to the class. Your classmates will be given
the opportunity to ask questions at the end of your presentation.
37
Oral History Project Sample Events and Questions
Sample Significant Events:
Immigration (Act of 1965)
WWII
Huk Rebellion
Education
People’s Power
Brain Drain
Family Settlement
Anti-Filipino Sentiment, Racism
Gender Roles, Double Standards
Wedding, Marriage
Starting a Family
Sponsoring Relative to Immigrate
American Influence in the PI
Employment (First Job in US)
Poverty in the Philippines
Occupational Downgrading
Leaving Family in the Philippines
Overseas Contract Working
Living with Relatives
Family Conflicts
Religion
American Dream
Language
Generational Conflict
Chain Migration
Race Relations
Sample questions:



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



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




Why did you/your family come to the U.S.? What did you expect? What were your goals
(economic, social, and political)?
What status did you use (1965 Immigration Act Third Preference, World War II, 1952 McCarran
Walter Act, etc.) to enter the U.S.?
What did you know about America? Did you have friends and family here already? What were
your goals in America? What were your dreams? Did your expectations match your realities?
What was your childhood like? Did you grow up in the city or the country? Were you rich,
middle class, or poor? How much education did you and your family have?
What did you do for a living? What job do they have, and is it the job they dreamed of? Did they
have difficulties getting a job?
What kinds of gender roles did your parents promote? Was there anything you could not do
because you were a woman/man?
Did you experience racism/sexism, and how did you react?
How do you identify yourself racially/ethnically/culturally?
What have been the main events that have affected their lives?
Why did they choose to settle in the city in which they now live?
How did he/she meet his/her spouse or partner? How many children does he/she have? What
kinds of values and traditions did you want to pass down to your children?
What is the role of religion in your life?
What kind of community involvement do you engage in?
Has his/her overall experience been positive?
38
Oral History Project
Interview Question Sheet
This sheet is designed to help you create questions you will ask a family member during the interview
portion of the Oral History Project. At the end of class each day, you will be given time to write down
questions that you will ask your family member about three significant events in their life. Remember that
you will have to contextualize their experiences in Filipina/o American History. Use another paper for
additional questions you might want to ask.
Background Information
1.
2.
3.
4.
5.
Significant Event #1________________________________________________
1.
2.
3.
4.
5.
Significant Event #2________________________________________________
1.
2.
3.
4.
5.
Significant Event #3________________________________________________
1.
2.
3.
4.
5.
39
DAY 2 AND 3
ROOTS TO FRUIT: FAMILY TREE
Description: Students create a family to develop an understanding of where they come from.
Lesson Plan Materials:





Family Tree Organizer Worksheet
Sample family tree (overhead, on LCD projector, or hard copies)
Butcher Paper
Art supplies (markers, color pencils, crayons)
Glue/gluesticks
Lesson Plan
Definition and Rationale for choosing this
VOCABULARY word, phrase, or concept
FAMILY
Idea for pre-teaching or frontloading the concept.
Who we love, and who loves us. Who is important
to us, and nurtures us. In most cases, our immediate
and extended relatives.
PART 1: CULTURAL ENERGIZER
Family Brainstorm: Students think about the meaning of the word “family”, and how people have
different interpretations of it depending on their family circumstance.
Step 1
Step 2
Step 3
Students have 60 seconds to discuss with their partners the meaning of the word “family”.
Ask for students to volunteer responses. Emphasize that people have different definitions of the word
family, usually depending on their family structure, and that different student family structures are
equally valid and valued in the class.
Transition into the assignment.
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Making Family Trees: Students will their own family trees. This will help them uncover the history of
their family before they do the oral history of their family member.
Step 1
Step 2
Step 3
Step 4
Step 5
Distribute the Family Tree Organizer Worksheet. Model for students how to complete it.
Students have until the beginning of class the next day to have the worksheet completed. They should
make sure to ask their family members for information to complete it. If some information is
unavailable, that’s okay, but they should think about why that information isn’t available during the
upcoming oral history project. They may also bring in photographs for their family tree for extra credit.
Show the sample family tree so students know what their finished project will look like. Emphasize to
them that the worksheet only covers their direct ancestors, but that the family tree should include aunts,
uncles, cousins, nephews, nieces, etc.
For the first 40 minutes of the second day, students draw their family tree on butcher paper.
In addition to their extended families, they should include the information from the Family Tree
Organizer (ethnicity, occupation, etc. for their direct ancestors). Additionally, they should include when
their family came to the United States, and to San Francisco. If this was within the last 3 generations,
40
Step 6
Step 7
they can indicate on the family tree. If this was longer ago, they should write separately when that
happened.
With ten minutes left in the class, have students circulate and look at each others’ family trees.
Due the beginning of class the next day, students are to write ½ page explaining: a) what they learned
about their families from creating a family tree; and b) what they learned from looking at others’ family
trees.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day: Who are we? How do we know?
Connection: Students’ family trees are a quick way to describe and understand about who a
person comes from. The next week or so will be looking at oral histories to gain a more profound
understanding of their family’s experience.
Assessment: What were the effective parts of this lesson plan and why? What parts could be improved
and how?
RESOURCES AND NOTES
It is critical to emphasize that not everyone’s family is the same. Students who are adopted, don’t know who a
parent is, those with step- and half-siblings, could very easily feel isolated and like outcasts with improper
instruction. Make sure to mention that family trees do not and should not all look the same, and that no one family
tree structure is “correct” or superior.
Also, “housewife” or “mother” or “stay-at-home father” are nothing to be ashamed of as an occupation. It requires a
huge amount of work, and should not cause a sense of lesser identity.
41
DAY 4
STARTING WITH WHAT YOU KNOW: CREATING AN
INTERVIEW
Lesson Plan Materials:



Packet that Outlines the “My Family, My Self” Project
Handout on “The 10 Tips on Great Interview Stories” by Kimberly Powell
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Interview Circle: In this exercise, the students will interview the teacher. This will help the students
develop open ended questions for their oral history interviews.
Step 1
Ask the students to write down a question that they want to ask you (the teacher). Their question must
fulfill the following criteria:
-Not be offensive
-Cannot be answered by a yes or no
-Encourage the teacher to tell a story
Step 2
Put the questions in a jar or hat.
Tell the students that their questions will be chosen and answered at random.
Step 3
Step 4
Have the students create a circle with their seats. Place your (teacher’s) chair in the middle.
Choose a question from the jar and read it aloud.
Ask the students if this question fits the criteria mentioned in Step 1.
If it fits, then answer the question.
Then ask if the students have a follow-up questions.
Continue this exercise for 20 minutes.
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Peer-to-Peer Interviewing: Students will create questions that they would want someone to ask them
and they will interview another student in the class with those questions.
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Ask the students what they learned about asking questions to you (teacher). Find out which questions
brought out the most detailed stories.
Have the students pull out a piece of paper and ask them to think of one event in their life that
contributed to their identity today. Have them write about the event for 5 minutes. Then ask them to
write about how that event has affected their identity for 5 minutes.
Then have the students reread their reflection papers.
Ask them to develop three questions that their paper could answer.
These questions should also fit the criteria used in the question development for the teacher interviews.
After the students finish writing their questions have them get in to pairs.
Have one of the student interview their partner with their own questions for 5 minutes. Then instruct
42
Step 7
Step 8
Step 9
Step 10
them to compare their answers to their own that they wrote in their reflection paper.
Now, reverse the process and have the other person ask their questions.
After they have both interviewed each other have them share out. Ask them to identify what makes a
good question. And have them give examples. Also ask them what makes up a good interview.
Have the students work in their pairs to come up with questions that they will ask in their oral history
interviews with their family members. (5 minutes)
Have some of the students share out. List on the board some the interview questions that they came up
with.
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day: What makes up a good interview? What types of questions
make up a good interview? Why is important to construct good questions?
Assessment: Did you learn how to create good interview questions? What about this lesson
plan/process did you find useful and engaging?
Connection: Why is it important to start with what you know about a person and yourself when
you begin to construct questions for an interview?
43
Handout/Homework:
Top 10 Tips for Great Interview Stories
By Kimberly Powell, About.com
1. Stay Engaged
People are generally much happier to share their stories when they feel that you are truly interested in what they
have to say. Maintain eye contact and really listen as they speak. Show interest by leaning forward, nodding, using
appropriate facial expressions, or occasionally asking relevant follow-up questions.
2. Don't Be Afraid of Silence
Don't let periods of silence fluster you. The whole point of an interview is to allow your family member to tell her
story. When she pauses she may just be thinking or remembering; it can take time to call up memories of events she
hasn't thought of in years. Instead of jumping right in with the next question each time there is a pause, give your
interviewee a little time to see if she has anything else to add before moving on.
3. Ask the Right Questions
The best interview stories come from questions that ask when, why, how, where and what, instead of just requiring a
"yes" or "no" response. Along with that, you may also want to ask how the event made your interviewee feel.
Emotions are a big part of your family's story and something you won't generally learn from documents and records.
When you ask a series of questions at once, chances are that the interviewee will only answer the first or the last.
Keep your questions brief, and present them one at a time.
4. Follow up on the Good Stuff
For any event or account brought up during the interview, follow up with additional questions to find out not only
what the person did, but also what she thought and felt about what she did. You should also try to establish where
your interviewee was and what they were doing at the time of the event. This helps you to learn how much of what
they are telling you is first-hand knowledge, and how much is based on the stories of others.
5. Be Yourself
If you're relaxed, then it's more likely your interview subject will be relaxed as well. Don't worry about fumbling a
few questions or "doing it right." This will only show that you're human and help to put your subject at ease.
6. Don't Interrupt
Don't interrupt a good story because you have thought of a new question or want to clarify a point. Instead, jot down
your questions on your notepad so you will remember to ask them later. Even if your subject gets off track a little,
let them finish their story before steering them back on topic.
7. Get Personal
Some of the best stories come from the personal questions - the ones that are slightly embarrassing, sensitive, or
elicit laughter or tears. The thrill of first love, an embarrassing memory from school, the feelings you had as you
were shipped off to war. These are the questions that can be hard to ask, but they are also the ones that will give you
details you've probably never heard before. Keep these types of questions for after you've established a rapport with
your interviewee, however.
8. Don't Challenge
Don't challenge stories or accounts that you think might be inaccurate. Your interviewee may just have a different
perspective, and a challenge may put her on the defensive or even shut down the interview. Everyone wants to feel
they are believed. If you know of or have heard another version of the story, you may want to tactfully mention this
and give your relative the opportunity to respond.
9. Bring Props
It's amazing how many memories and stories an old photograph can elicit, so just imagine the stories an entire album
or home movie may bring to mind. Look for anything that might help job your interviewee's memory of places,
events and people. If you don't have any such props of your own, then ask your interviewee if she has any family
photos or heirlooms to show you. For photos, ask when and where the photo was taken, the reason or event, and who
the people in the photograph are. For family heirlooms ask questions such as: How was it used? Who made or
purchased it? Who gave it to them? Also, ask if there are any stories or special memories associated with the object
or photo.
10. Try a Group Approach
Some of the best stories come when a group of relative, old friends, or military buddies get together and start
reminiscing, so use this to your advantage. Set up a video camera in the corner of the dining room at Thanksgiving
or set up a group of chairs at the family reunion. Then ask a question or two to get the stories started and let it build
44
fom there.
Any family interview should be considered an ongoing conversation, rather than a one-time gig. This doesn't mean
you need to schedule a formal interview once a year, but you should try to use every opportunity to ask questions
and gather new stories. You'll likely learn something new every time you ask. I still do, and I've been asking
questions of my family members for over 20 years!
Prepare for the Interview
While it may seem silly to create a plan for talking to your own family members, it is something which will greatly
improve your chances for success. Take the time to make an appointment with your family member, prepare for the
interview and decide on a list of questions, ranked in order of importance. Send the interviewee a list of your
questions or summary of the topics you want to cover in advance, if possible. This gives them time to think about
people and events that may not have occurred to them in a long time, and can often improve the actual interview.
Be prepared for your visit with a notebook, several sharpened pencils and a cassette or video recorder (including
extra tapes and batteries) if you plan to use one. An oral or video record of the interview is a big plus as it means
you can spend more time developing a rapport with your interviewee and less time scribbling madly. Do not plan to
record the interview if this really makes your relative uncomfortable, however. You should also bring your pedigree
chart (those gaps of missing information may spark memories), family photos and other information which you have
collected about the family. You can also collect oral histories from distant relatives via letter, phone or even email!
45
DAY 5
HOME WASN’T BUILT IN A DAY: CONSTRUCTING STORIES OF
OUR FAMILIES
Description: In this part of the unit, students will be introduced to the History of
Lesson Plan Materials:


Packet that Outlines the “My Family, My Self” Project
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Title:
Step 1
Step 2
Step 3
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Detailed description of the activity.
Lesson Steps:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Assessment:
Connection:
Possible Test Questions related to this lesson plan:
RESOURCES AND NOTES

Resources
46

Notes
Include Handouts and Worksheets.
DAY 6 TO 8
WRITING THE ORAL HISTORY PAPER
Description: In this part of the unit, students will be introduced to the History of
Lesson Plan Materials:


Packet that Outlines the “My Family, My Self” Project
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Title:
Step 1
Step 2
Step 3
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Detailed description of the activity.
Lesson Steps:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Assessment:
Connection:
Possible Test Questions related to this lesson plan:
RESOURCES AND NOTES
47


Resources
Notes
DAY 9 AND 10
CREATING A POWERPOINT PRESENTATION
Description: In this part of the unit, students will be introduced to the History of
Lesson Plan Materials:


Packet that Outlines the “My Family, My Self” Project
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Title:
Step 1
Step 2
Step 3
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Detailed description of the activity.
Lesson Steps:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Assessment:
Connection:
Possible Test Questions related to this lesson plan:
RESOURCES AND NOTES

Resources
48

Notes
DAY 11 AND 12
SHARING OUR STORIES
Description: In this part of the unit, students will be introduced to the History of
Lesson Plan Materials:


Packet that Outlines the “My Family, My Self” Project
Examples of Oral Histories
PART 1: CULTURAL ENERGIZER
Title:
Step 1
Step 2
Step 3
PART 2: COMMUNITY COLLABORATION AND CULTURAL PRODUCTION
Title: Detailed description of the activity.
Lesson Steps:
Step 1
Step 2
Step 3
Step 4
Step 5
Step 6
Step 7
Step 8
Step 9
Step 10
PART 3: CONCLUSIVE DIALOGUE/CRITICAL CIRCULAR EXCHANGE
Problems/Questions of the Day:
Assessment:
Connection:
Possible Test Questions related to this lesson plan:
RESOURCES AND NOTES


Resources
Notes
49
Include Handouts and Worksheets.
50