Sandra K. Friday
Objective: Students will practice making observations that answer the Essential Questions laid out on the landscape graphic organizers (see samples of these in Appendix A.) Where appropriate, they will record the evidence that supports these observations. Since the focus of the unit is to sharpen students' visual, understanding, and communications skills by looking through Gordon Parks' camera lens, this exercise will challenge them to practice on one of his photographs so that ultimately they will be able to write the story of the subjects in the photograph.
As students describe the
composition
of the photo, they will note that there are three forms, (two children and a doll), on the left side, balanced by the rectangular heating grate on the right, over the little boy's shoulder. If they squint, they will see that the forms become a blur and the balance in the photo is more evident. The children and doll are clustered, sitting on the floor, up against the wall that in a way serves as a barrier to whatever might lie beyond. Parks has obviously crouched to take this photo, for the angle of the lens is just slightly above the children. Therefore, as we view them, they are further tucked into the corner created by the floor and wall.
The outstanding
prop
in this photo is the white doll with fine facial features and long, flowing hair, a white or pastel dress, and one shoe missing.
The
condition of the room
is decrepit with chipped paint, and dingy, chipped plaster around the heat grate in the wall. The wooden floor has had hard use and there are no rugs. The
condition of the doll
is best described as dog-eared. Its hands look dirty, the sole of the one remaining shoe seems cracked. What once must have been an elegant doll is now somewhat marginal.
The children are scantily
dressed
indicating that it must be summer, but the little girl's tank top looks as if it may be too small and somewhat threadbare around the edges. Their quasi-naked little bodies against the dingy wall and floor convey an over-all impression of disenfranchisement.
It may be challenging for my students to wrestle with the
significance of the proximity
of the children to the doll. While the children are leaning into the doll that, juxtaposed to them, seems somehow other-worldly, and the little girl has her arm around it, possessing it physically, this may be as close as these children get to the lifestyle and society that the white doll represents. Here students are being challenged to consider symbolism and irony that is also present in "American Gothic," the first Parks' photograph we will view and study.
Because Parks tags this photo with the year he took it, 1942, and because the photo prior to this one includes these same children with their grandmother, and they will have done some research on what was happening in this country in 1942, it will only be necessary here to review what they have learned about
this historical period
in this country.
As to what
emotion is expressed in their faces and body language
students may observe that the little boy is looking down and his head is slightly tilted down as well. He is not smiling. The little girl is looking at the camera as she cuddles the doll, but her vague smile seems tentative. There is something old or resigned in her facial expression. Their bodies seem huddled in the corner.
The next two entries on the graphic organizer are to:
write a caption
for the photo, and
write
a brief dialogue
between the children, (this could also include a student asking them questions).
Finally, students are asked
what they feel
looking at this photo, especially after completing the entries prior to this one. This should allow for a wide range, from emotions to comments, and questions.
Once students have completed this organizer, they will be ready to
write the story to go with
the photo
, including the socio-economic, cultural, and historical context of the children. The final challenge will be to reflect on and discuss how this photograph breaks down racial barriers.
Lesson plan # 2: Answering the Essential Questions for "Gordon Parks directing The Learning Tree," 1965
Objective: Students will practice making observations that answer the Essential Questions laid out on the landscape graphic organizers (see samples of these in Appendix A.) Where appropriate, they will record the evidence that supports these observations. Although the focus of this unit is to sharpen students' visual, understanding, and communication skills by looking through Gordon Parks' camera lens, in this exercise students will actually be looking at Parks,
himself
, in a color photo taken by his son, Gordon, Jr., but they will follow the same process that they are using for all of Parks' photographs to prepare them to write the story of the subjects in the photo.
As students record the
composition
of this color photo, they will see, slightly to the right of center, an airborne platform holding two men and a huge movie camera that dominates the center, with a third man barely visible behind it. Arching over the man on the right, the camera man, and the camera is a large patio-size umbrella, I assume to protect against bad weather. The entire background behind Gordon Parks is brilliant blue sky brushed with wisps of cirrus clouds. Gordon Parks, Jr. took this photo standing on the ground, enhancing the elevation of the platform and men.
Students will make observations about the colors that appear in this photo, noting that red shows up on the megaphone, on the camera stand, and in the stripes of the umbrella, perhaps not intentionally but adding interest to the photo. The men are wearing light tan pants and Parks' collar on his sheepskin jacket is light tan. The other visible man is a white man, wearing a navy sweater, similar in color to the other color in the umbrella. Men, camera, and umbrella stand out, and appear to soar, in the royal blue sky.
While the massive movie camera in this photo is an impressive
prop
and states clearly the business of these men, the megaphone that Parks is holding to his mouth at that moment testifies as to who is in charge. And the open space of sky to the left of Parks gives him room, using his megaphone, to direct whoever is on the ground. While this is actually part of the composition of the photo, it plays into the dynamics of the story. Another prop, while it is part of Parks' clothing is the cowboy hat he holds in his other hand, adding to his overall image, along with his muddy cowboy boots.
The
condition of the items
from the platform where the men are perched high in the air, to the actual movie camera, striped umbrella, and the megaphone, seems first-rate.
The men's
clothing
is in
excellent condition
, Parks in a sheepskin jacket, tan jeans, brown cowboy boots with a cowboy hat in his lap; the other visible man wears tan khaki pants, a navy blue crewneck sweater over a shirt, and low-cut rubber boots over his shoes. Both men's boots are muddy. All that is visible of the third man's clothing behind the camera is a royal blue jacket.
The
significance of the proximity
of the men and items to one another seems pretty clear. While three men are clustered on the compact platform of what must be a crane, and one of the men is running the camera, the man with the megaphone, Parks, is in charge, while the other fully visible man may be assisting him.
The
historical time period
of this photo is shortly after the publication of Parks' autobiographical novel,
The Learning Tree
that was published in 1963, during the racially turbulent '60's. There were no black movie directors at the time, making Parks' undertaking as film director of his own novel unprecedented.
Students may notice that the
emotion expressed
by the men's body language is one of seriousness. Their lofty position of responsibility requires that they are attentive and observant, and that they also instruct and guide, especially Parks, with his megaphone.
Students are now ready to create a
caption
for the photo. It is not out of the question that someone might suggest, "Gordon Parks soars as director of his movie,
The Learning
Tree
."
When students write the
monologue
or
conversation
they might create what Parks is shouting through his megaphone. Because Parks has commented on his autobiographical novel in interviews, students might research a few of these on the Internet to find out what
The
Learning Tree
is about and get some ideas what Parks is saying to his actors. In fact, someone might be willing to read the novel for extra credit and make a presentation to the class.
As to
what they feel
looking at the photo, students might think about what they felt looking at the children huddled on the floor with the doll, and then think how this photo makes them feel. They might even go back and look again at the children with the Doll to remind them how they felt about that photo, and then revisit this photo.
Once students have completed the graphic organizers for this photo, they will be ready to
write the story
of the people in it, including the socio-economic, cultural, and historical context. Once they have written their story, the final challenge will be to reflect on and discuss how this photograph breaks down racial barriers.
Lesson Plan # 3: Answering the Essential Questions for "Pilots Gambling in the Ready Room, "1943
Objective: Students will practice making observations that answer the Essential Questions laid out on the landscape graphic organizers (see samples of these in Appendix A.) Where appropriate, they will record the evidence that supports these observations. Since the focus of the unit is to sharpen students' visual, understanding, and communication skills by looking through Gordon Parks' camera lens, this exercise will challenge them to practice on one of his photographs so that ultimately, they will be able to write the story of the subjects in the photograph.
As students describe the
composition
of the photo, they will observe five figures clustered around a table in the foreground and in the background the horizontals and verticals of two large windows, flanking a blackboard across the back of the wall that reads "FLIGHT OPERATIONS" at the top. The blackboard, separated into columns and subheadings can be seen, reading: Pilot / Land / Mission / and Remarks.
Some of the writing under the subheadings is legible. While the blackboard serves as a backdrop and a barrier to a degree, the windows open up the room to the outside.
Among the
props
in the photo, Parks' dark hat that is part of his war correspondent's uniform, rests on the table in the foreground, adding interest, contrast, and perspective (
HPA
, p. 68). Also on the table, there are ashtrays, and matchbooks. One pilot is shuffling cards. Perhaps the card game serves as a diversion for the men whose real mission is written on the blackboard behind them. Three men are wearing leather flight helmets with goggles atop their heads, and inflatable life vests. One appears to be wearing a pilot's jump suit. In the foreground to the right of Parks' hat there is a large knife in a sheath resting on a parachute pack. Some of the pilots' names are legible chalked in on the blackboard behind the men. Even though the men are playing cards, there is an urgency in the details of the photo: a parachute, the pilots actually wearing their helmets, goggles, and inflatable life-vests.
The
condition
of the ready room, as it is called, seems stream-lined for its purpose: blackboard and table. If there is furniture besides the chairs in which a couple of men are seated, it is not visible. Through the window on the right, a cross is visible on the side of what might be an ambulance, further clarifying the danger the men's mission.
The men's
clothing
is clearly that of military pilots. Three are wearing leather flight jackets and two have on what must be flight fatigues. Their regulation clothing and gear appears in top-notch condition.
The
proximity
of the men to one another and to the items is very close, with everything at the ready for the moment they must run out the door to their planes. Even the fact the one man is sitting one the table and two are leaning into the table, actually standing, implies that they expect to leave momentarily. This is hardly a casual, laid-back game of cards.
As to the
historical time
of this photo, we know from Parks that it was taken in 1943, in the throes of WW II, and with some research, students will learn that this was the first time black men were trained as fighter pilots, albeit, segregated. Students will discover that these Tuskegee airmen were part of the famous "Tuskegee Experiment," giving black men a "separate but equal" opportunity to prove themselves as fighter pilots. As I pointed out in my narrative, they had to fight for the opportunity to train as pilots so they could fight for democracy abroad. Ironically, it was denied to them at home.
The
emotions expressed
in their faces and body language seem serious, and while they are playing a game of cards, they are anything but relaxed. Their serious facial expressions and tentative body language are consistent with the ambulance through the window and the fact that these are fighter pilots at the ready.
A
caption
for this photo might be, "Black fighter pilots in WWII gambling on more than cards." One might say that they were gambling that they were as good as any white fighter pilot, and they were gambling with their very lives.
Students will write a brief
dialogue
among the men, perhaps a card game interspersed with talk of the mission they are about to fly. This could also be an opportunity for a student to interview these men.
Finally, students will respond to the most subjective questions;
what do you feel
looking at this photo, now that you know about these men and their double mission of fighter pilots and trail-blazers for equality?
Armed with the responses and information on the graphic organizers, students will
write the story of these men
, including the socio-economic, cultural, and historical context. These stories and the graphic organizers will prepare the students for the challenge of reflecting on and discussing how this photo breaks down racial barriers.