POSSIBLE INSTRUCTIONAL APPROACHES
TO UTILIZING IN CLASSES
THE PAN AMERICAN UNITY MURAL LOCATED AT
CITY COLLEGE OF SAN FRANCISCO



I. ARTISTS AND THE ACADEMIC DISCIPLINE OF HISTORY

II. THE IMPORTANCE OF CHRONOLOGY IN TERMS OF THE PAN AMERICAN UNITY MURAL

III. FOUR EXAMPLES OF RELEVANT TOOLS OF HISTORY WHICH CAN BE APPLIED TO THE PAN AMERICAN UNITY MURAL
  • A. PORTALS TO THE PAST
  • B. CRUCIAL ROLE OF CHANCE ELEMENTS
  • C. CONNECTIONS
  • D. HISTORY HAUNTS
IV. A PORTAL TO THE PAST: PERSONAL MEMORIES EVOKED BY THE PAN AMERICAN UNITY MURAL--TREASURE ISLAND

V. ROLE OF CHANCE ELEMENTS IN THE CREATION OF THE PAN AMERICAN UNITY MURAL

VI. CONNECTIONS: THE CONTINUING LOCAL IMPACT OF THE S.F. DIEGO RIVERA MURALS
  • A. WORKS PROGRESS ADMINISTRATION (NEW DEAL REFORM MOVEMENT)
    1933-1948
  • B. COMMUNITIES IN SAN FRANCISCO CREATING THEIR OWN MURALS
    1960-Present
  • C. STUDENT UNION--CITY COLLEGE OF SAN FRANCISCO
    1998
VII. HISTORY HAUNTS--ANTI-COMMUNIST "FRENZY" IN THE UNITED STATES 1947-1957
  • A. PACIFIC STOCK EXCHANGE ALLEGORY OF CALIFORNIA
    1931
  • B. S.F. ART INSTITUTE THE MAKING OF A FRESCO, SHOWING THE BUILDING OF A CITY
    1931
  • C. A SITE FINALLY FOR THE PAN AMERICAN UNITY MURAL AT CCSF
    1961
VIII. THE PAN AMERICAN UNITY MURAL: A GATEWAY TO THE LIVES OF SOME INTERESTING PEOPLE
  • A. PAULETTE GODDARD
  • B. DIEGO RIVERA
  • c. FRIDA KAHLO
  • D. TIMOTHY FLUEGER
  • E. DUDLEY CARTER
  • F. JOSEPH STALIN
  • G. ADOLPH HITLER
  • H. BENITO MUSSOLINI
  • I. CHARLIE CHAPLIN

TWO ARTISTIC INTERPRETATIONS OF THE IMPACT OF THE 3D INDUSTRIAL REVOLUTION
  • A. CHARLIE CHAPLIN
  • B. DIEGO RIVERA