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"He Wants a Change Too" (1876)
Propaganda about racial stereotypes used in the Reconstruction Era
How do racial stereotypes in the media create and reinforce “in” groups and “out” groups in a society?
![Print shows an African American man standing with a rifle, while in the background other African Americans lay dead and buildings burned. Quotes in the block on left call for meeting force with force.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/1876_HeWantsaChangeToo_FH2125840.jpg?h=ddcac193&itok=TG4pdX3A)
Pardon/Franchise Engravings by Thomas Nast
Wood engravings by Thomas Nast depict the tension between the demands of healing and justice during the Reconstruction era.
![Centerfold prints show Columbia considering why she should pardon Confederate troops who are begging for forgiveness when an African American Union soldier with an amputated leg does not have the right to vote.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/1865_PardonFranchiseColumbiaShallItrustthesemenandnotthisman_FH2125825.jpg?h=5d059bf2&itok=rLpFJ0P6)
"Of Course He Votes the Democratic Ticket" (1876)
A political cartoon by Thomas Nast from Harper’s Weekly depicts the intimidation techniques that the Democratic Party used to suppress the votes of Black Southerners in the election of 1876.
![This cartoon depicts the intimidation techniques that the Democratic Party used to suppress southern black votes in the election of 1876.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/Civil_Rights_1876_OfCourseHeVotesDemocraticTicket_FH140924.jpg?h=048697cd&itok=yGulA3CJ)
"Of Course He Votes the Democratic Ticket” (en español)
Wood engraving by Thomas Nast from Harper’s Weekly (1876)
![This cartoon depicts the intimidation techniques that the Democratic Party used to suppress southern black votes in the election of 1876.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/Civil_Rights_1876_OfCourseHeVotesDemocraticTicket_FH140924.jpg?h=048697cd&itok=yGulA3CJ)
Somali Drought
A Somali soldier provides security as newly displaced Somalis gather at a camp in the Garasbaley area on the outskirts of Mogadishu, Somalia, March 28, 2017.
![A group of people in a camp in Somalia.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/2017_DisplacedSomalis_FH2117411.jpg?h=c9f93661&itok=QBQlm-zX)
Venezuelan Migrants in Peru
Venezuelan citizens wait to receive temporary residence status at the immigration office in Lima, Peru, August 21, 2018.
![A woman sitting in a full waiting area looks at her passport.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/2018_ImmigratioinOfficeinLima_FH289808.jpg?h=c9f93661&itok=j9-Gqh5y)
Za'atri Refugee Camp in Jordan
According to the UNHCR, 79,225 people lived in the Za'atri Refugee Camp in Jordan, near the Syrian border. All of them fled from Syria to escape the brutal civil war.
![Aerial view of the Za'atri refugee camp in Jordan near the Syrian border.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/2013_Aerialviewofzaatriregugeecamp_FH2174138.jpeg?h=3d552d23&itok=rgzLfH5S)
Activists C. P. Ellis and Ann Atwater
C. P. Ellis, a former Ku Klux Klan member, and Ann Atwater, a community activist, formed an unlikely partnership after being assigned as co-leaders of a group of citizens navigating court-ordered school desegregation in Durham, North Carolina, in the 1970s.
![C.P. Ellis, a white man, and Ann Atwater, a Black woman, sit together holding hands.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/ActivistsCPEllisandAnnAtwater_FH229560.jpg?h=cfed2447&itok=wa0fFJ55)
Glenn Ligon, Untitled - Four Etchings [A]
In this white on black etching, Glenn Ligon repeats "I do not always feel colored," a phrase from Zora Neale Hurston's essay "How It Feels to Be Colored Me."
![Black ink etching on white paper with the words "I do not always feel colored" written repeatedly. The ink gets smudged and illegible toward the end](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11335_Medium_res.jpg?h=38731381&itok=Jh7iUy6T)
Glenn Ligon, Untitled - Four Etchings [B]
This black-on-white etching quotes Zora Neale Hurston's essay "How It Feels to be Colored Me."
![A black ink etching on white paper with the words, "I feel most colored when I am thrown against a sharp white background" repeatedly printed. The words smudge and get blacker at the end](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11336_Medium_res.jpg?h=a6843db5&itok=YsJY4iEp)
Glenn Ligon, Untitled - Four Etchings [C]
In this black-on-black etching, Glenn Ligon uses Ralph Ellison's quote from the prologue of his novel, Invisible Man (1952): "I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus side-shows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only themselves, or figments of their imagina-"
![Black on Black etching that says, "“I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me.”](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/D11337_Medium_res_0.jpg?h=c978a40d&itok=rRnW4TXY)