This 5-day curriculum teaches digital storytelling and media literacy skills through engaging youth to think critically on issues relevant to their life and future. This unit is guided by the question, "How does media contribute to positive social change?”

The ocean's resources are slowly being depleted. This curriculum examines the issue of overfishing and its impact on both the environment and human life. In developing sustainable solutions, the students address the driving question: "How can we as youth, sustain the future of the world's ocean through our actions today?"

The Wasted: Don't Trash the Earth curriculum asks students to examine the impact of the waste we locally and globally produce and seek creative solutions to reduce this wastefulness by answering the driving question: "How can we, as youth, rethink waste?"

How do we, as youth, learn from the conflict in Rwanda to strengthen media access and quality in our own communities? In this program, students will explore the role of the media in Rwanda, before, during, and after the genocide and explore how to expand media access, quality, and equity in their communities and around the world.

Social change, at its core, does not come from one event or incident, but the long, sustained work of individuals and groups in numerous sectors of society. How do we, as youth, participate in sustaining positive social change in our communities?

How can we, as youth, build a sustainable future while meeting the energy needs of today? The Path to Sustainable Energy (PaSE) curriculum explores sustainable energy as students investigate place-based energy resource and consumption issues, gather resources, and build leadership skills to identify and take action on shared challenges and impacts of energy usage.

As the situation in Syria worsens and the number of Syrian refugees increases, the Reimagine Syria curriculum addresses this need to understand the conflict and how this conflict has and will impact a generation of young Syrians. Through media and conflict analysis, students develop knowledge and skills to better understand the multiples ways conflict affects them and are able to address the driving question: "How can we, as youth, develop productive solutions to conflict in our communities?"

The Tech Camps curriculum explores the use of technology and sustainable design to address environmental challenges in local and global communities. How do we, as youth, use technology to create solutions for climate change issues affecting our local and global communities?

Youth worldwide are in danger due to small arms and conventional weapons. How do we, as youth, participate in the global debate on gun control?

The Water Challenge curriculum introduces students to the international water crisis and the ways they can get involved in making a difference.

This project will work as a guide for a micro-teaching session.It's only a draft. 

Evidently a companion to "The Globe Man Listening to Webster's speech on the Specie Circular" (no. 1838-3), the small, bust-length caricature of Democratic editor Francis Preston Blair shows him looking even more cadaverous and morose. The title refers to the defeat of Van Buren's Independent Treasury Bill in 1838. The print was registered for copyright on July 6, 1838, soon after the bill was voted down late in the second session of the Twenty-fifth Congress.|Entd . . . 1838 by H.R. Robinson . . . Southn. Dist. of N.Y.|Printed & publd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-4.

A small, bust-length caricature of Washington "Globe" editor and Van Buren adviser Francis Preston Blair. The print was probably issued in the spring of 1838. In May of that year the Specie Circular, an extremely unpopular order issued by the Jackson administration in December 1836, directing collectors of public revenues to accept only gold or silver ("specie") in payment for public lands, was repealed. The print's title may refer to Daniel Webster's lengthy March 12 speech condemning the Independent Treasury Bill and other aspects of President Van Buren's fiscal program. The print may to be a companion piece to "The Globe-Man After hearing of the Vote on the Sub-Treasury Bill" (no. 1838-4). Both are probably attributable to Napoleon Sarony on the strength of their marked resemblance to Sarony's characterization of Blair in "A Globe to Live On!" (no. 1840-42).|Entd . . . 1838 by H.R. Robinson . . . Southern District of N. York|Printed & pubd. by H.R. Robinson, 52 Cortlandt St. N.Y.|Probably drawn by Napoleon Sarony.|Title appears as it is written on the item.|Weitenkampf, p. 54.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1838-3.

Prominent Democratic party publicists Francis Preston Blair and Amos Kendall are portrayed as Siamese twins, joined at the mid-section, and standing on a large globe. Blair (left) was the influential editor of the Washington "Globe" newspaper. Kendall resigned his cabinet post as postmaster general on May 16, 1840, to undertake editing of the "Extra Globe," a party organ issued during the presidential campaign. The "Extra" is the ligament that joins him and Blair in Sarony's cartoon. Blair exclaims, "Amos: You are an Atlas! and can support the Globe!" Kendall replies, "Yes! Frank, and "can" make the Globe support me." The latter's confirms the widespread rumor that Kendall shared considerably in the campaign paper's profits. He holds in his left hand a paper with the words "List of Subscribers 100,000 Office Holders." Kendall used thousands of federal postmasters to distribute the "Extra Globe." Whigs also maintained that some 100,000 public employees were forced to contribute a portion of their salaries to support the campaign.|Printed & published by H.R. Robinson, 52 Cortlandt St. & Pennsa. Avenue Washington D.C. (imprint supplied by Weitenkampf).|Signed: N.S. (with logo of a barrel; Napoleon Sarony]|Title appears as it is written on the item.|Weitenkampf, p. 61.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-42.

A patriotic device adorning the cover of a song arranged and adapted from "God Save the King." The device is based on the official seal of the United States. An eagle with outstretched wings holds arrows and olive branches. Behind its head is a field of stars, and a streamer reading "E Pluribus Unum" is draped around him.|N. York, published for the proprietor by G. Endicott, 359 Broadway.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1835-1.

An illustrated sheet music cover for a Unionist song, "God and Our Union," composed by Leopold Meignen with words by Louis Dela. The illustration features four maidens, each representing a section of the United States--North, South, East and West. The maidens stand around an altar and point to a scroll, the "Constitution of North America," which they unroll. Rising from the altar are two Corinthian columns supporting an arch, over which is draped a large American flag. Atop the arch sits an eagle. In the space between the columns appears a large, gleaming anchor, symbol of hope. The scene is surrounded by dark clouds through which an eye appears. The vigilant eye was a familiar Masonic symbol, and a device adopted by the Wide-Awake Clubs of 1860. (See "Free Speech, Free Soil, Free Men," no. 1860-14.) Here it probably refers to the song's assertion of divine watchfulness over the Union.|Entered . . . 1860 by Beck & Lawton. |Philada. Published by Beck & Lawton, S.E. Cor. 7th & Chestnut St. Boston by Oliver Ditson & Co. N. York by S.T. Gordon. H. Cartwright in Wheeling. Cincinnati by John Church.|Schnabel & Finkeldey lith. 218 Walnut Street. Philadelphia.|Title appears as it is written on the item.|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1860-2.

Caricature of the Ullysses S. Grant as being inebriated and trying to walk from a lamp pole labeled "2nd term" to lamp pole labeled "3rd term": a policeman in a doorway says, "Will he make it?"|Copyright by Mat Hastings.|Published by Hastings & Hannerty, 215 N. 4th St., St. Louis, Mo. Copyright secured.|Signed in stone: Mat Hastings del.|Title appears as it is written on the item.|Forms part of: American cartoon print filing series (Library of Congress)

Martin Van Buren's New York political favorites are represented as piglets suckled by a giant sow "The Empire State." The artist's pointed reference is to the exploitation of New York State by the President and his supporters. The piglets nursed by the sow bear the names "The Regency" and "Tammany Hall" (popular names for the state and city Democratic machines respectively), "Weigh master General," the names of various patronage positions and of banks friendly to the administration, and the "Safety Fund." On the left other piglets, representing applications for bank charters and government offices and "The Times," await the sleeping sow's attention. Van Buren (left) and a stout Dutchman (a stereotyped character often used to represent New York State) look on. Van Buren: Was ever man blest with such a fine old sow and litter of pigs! They have made me the greatest man in the Union, and even follow me every where! Dutchman: Myn Got dey will suck de very life's blood out of dat old sow, I never seen pigs suck so in all myn life. Got for damn such a breed! Myn Vrow would not have dem on de farm.|Printed and published by H.R. Robinson, 48 & 52 Cortlandt St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 51.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1837-15.

A comic scene anticipating a Whig victory in the upcoming presidential election. The date is 1845, after an election supposedly decided on the Texas question, the tariff issue, and Democratic identification with Jacksonian policies. The artist ridicules Democrat James K. Polk's advocacy of the annexation of Texas as misguided aggression. In addition, the title's use of the phrase "Going to Texas," contemporary code for embezzling, may be a swipe at the political spoils system associated with the Democrats since the Jackson administration. Incumbent President John Tyler also comes under attack for corruption. The scene is outside the White House. On a "Loco Foco" donkey Polk and running-mate Dallas, heavily armed and equipped with military packs, are about to depart for Texas. Dallas holds a flag with skull-and-crossbones and the motto "Free Trade," a symbol of antiprotectionism. Around the donkey's neck is a feed barrel full of "Poke berries." Before the donkey stands Andrew Jackson, offering his trademark hat and clay pipe, and crooning: I give thee all, I can no more, / Though poor the offering be, / My hat and Pipe are all the store, / That I can bring to thee! / A hat whose worn out nap reveals / A friendly tale full well, / And better far a heart that feels, / More than Hat and Pipe can tell! At this the donkey brays, "Eehaw!" and Polk bids Jackson, "Goodbye General! It is all day with us. I am a gone Sucker!" Dallas exclaims, "D--n Clay!" Behind the donkey stands John Tyler, with lowered head, reflecting, "It is very odd, that after all my treachery, and the unscrupulous efforts of office holders and political dependents, this is my reward! If I had not laid by enough for a rainy day, I should slope for Texas too!" On the ground nearby lies a sign reading: For Sale A lot of hickory Poles will be sold cheap to close the concern. enquire of Polk & Dallas." From the steps of the White House Henry Clay waves and calls out, "A pleasant journey to you Gentlemen! may your shadows never be less!" Below the title is a narrative, purportedly excerpted from the Tyler administration organ the "Madisonian" of April 1845: All wept particularly when the old chieftain approached and holding his hat and pipe in one hand and the other placed on his heart, with tremulous accent interrupted occasionally with a cough, sang the above lines, an impromptu composed by himself to the well known tune of my heart and Lute, even the sagacious Tyler was subdued and sank into a fit of melancholy abstraction; the Donkey brayed encore.|Entered . . . 1844 by J. Baillie.|Lithd. & pubd. by James Baillie 118 Nassau St. N.Y.|Signed with initials: E.W.C. (Edward Williams Clay).|The print probably appeared late in the campaign, as the Library's impression was deposited for copyright on October 22, 1844.|Title appears as it is written on the item.|Weitenkampf, p. 83.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1844-47.

Political cartoons friendly to Van Buren were the rare exception during the 1840 campaign. Here the artist parodies the exploitation by Whig politicians of populist candidate William Henry Harrison. Martin Van Buren stands on the bank of a stream wishing the Harrison party "a quick voyage, take care you dont spill your valuable cargo." Harrison appears as a donkey wading in the shallows with a barrel of "Hard Cider" tied to its tail, carrying senators Henry Clay and Daniel Webster and Virginia representative Henry A. Wise on his back. Harrison: "I feel very much like a donkey!" Webster: "I say Wise do you think we have enough hard cider to last us to the Hedd of Navigation!" Wise: "Oh Webster dont be frightened we have plenty lashed on to the stern. What say you Clay!" Clay: "I'm content!" The image is clumsily drawn, but otherwise resembles Edward Williams Clay's work. There may have been some use of transfer paper in the lithographic process.|Drawn by Edward Williams Clay?|Published by John Childs, 90 Nassau St. New York.|Title appears as it is written on the item.|Weitenkampf, p. 67.|Forms part of: American cartoon print filing series (Library of Congress)|Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1840-49.