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Facing History’s unique approach combines adaptable teaching materials, professional learning, and ongoing support to equip teachers with the tools and practices they need to help students fully engage in their learning. Our continuously growing collection of resources are designed to promote academic rigor, social-emotional learning, and create connections between the complexities of history and today.
![Students in library working on computers](/sites/default/files/styles/scale_480/public/2022-06/NewEngliand_Classroom_2017_FH256215.jpg?itok=p4JAMIWN)
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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)
The Artist and His Mother by Arshile Gorky
This image, which is on the cover of Facing History's publication Crimes Against Humanity and Civilization: The Genocide of the Armenians was painted by the artist Arshile Gorky. It is based on a photograph of Gorky and his mother, Sushan der Marderosian, taken in 1912. Although Gorky is generally identified as an American artist, he was born Vosdanig Adoian near the city of Van in what was then the Ottoman Empire. A few years after the photograph was taken, Gorky and his mother were victims of the Armenian Genocide. While he survived, Gorky remembers his mother dying in his arms. As an artist Gorky returned to the subject of the 1912 photograph many times throughout his career.
![Painting of artist Arshile Gorky and his mother.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-09/GenocideOfTheArmeniansArshileGorky.jpeg?h=83a548ea&itok=vPFn3ux0)
Healing and Justice Anticipation Guide
This handout asks students to engage with some of the dilemmas that Americans faced after the Civil War by taking positions on various statements.
![Ruins in Charleston, South Carolina](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-07/Civil_Rights_Ruinsfromthefire1861_Charleston_1865_FH21222.jpg?h=f3a37c6e&itok=jW37ikF4)
Creating a Plan for Reconstruction
This handout serves as a guide for students as they make a plan for Reconstruction that balances the goals of healing and justice.
![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)
Viewing Guide for "The Political Struggle"
This handout provides questions that guide students' viewing and prompt discussion on the video "The Political Struggle."
![A photograph of Andrew Johnson.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/03751u.jpg?h=8c44f663&itok=SOBBoTvF)
At the River I Stand
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This film reconstructs the events that led to the climax of the Civil Rights Movement.
![](/sites/default/files/brightcove/videos/images/posters/image_1332.jpg)
Words Matter
Reflect on the power of the words that we attach to people through an Anishinaabe woman’s memory of being called an “Indian” while growing up in Canada (Spanish available).
![Hands raised in the air by group of people](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/Holocaust_2016_GroupBelonging_FH229369.jpg?h=c9f93661&itok=O6H7UmzG)
Civil Rights Historical Investigations
Use this resource to help students study three major moments in the development of the civil rights movement in the United States from the 1950s to the 1970s.
![African-American protesters picketing against Boston school segregation in 1963.](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/neu_111423.jpeg?h=3884fb6d&itok=IyOyFLKA)
Exploring Civil Rights and Migration: 18-week Curriculum Outline
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Recommended for 7th and 8th-grade, this outline provides an instructional pathway for middle school educators to teach an 18-week curriculum exploring membership, belonging, and the power of individual and collective choices.
![Students working together in a classroom](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/20150813_TreyClark_0826.jpg?h=10d202d3&itok=yhllecYr)
Eyes on the Prize Study Guide
This guide provides a framework for using the landmark documentary film Eyes on the Prize as a tool for teaching the civil rights movement.
![Eyes on the Prize Study Guide Cover](/sites/default/files/styles/dynamic_stack_296_1x/public/2022-06/Eyes_on_the_Prize.jpg?h=6e507e0f&itok=UWKQoO9Q)