3:35 - 11:30

First, from 3:35-11:30 in the session, it helps teachers and students see what the research process might look like in creating history for public consumption, In doing so, it raises important questions about the “entertainment” value of history, what types of presentation and interaction are most valuable, what information should included and excluded, how much information should be visible on each part of the digital media presentation, and several other questions speciSically about how to choose the women included in the exhibit.

11:30 - 26:48

The second component that will be useful for both teachers and students is from 11:30- 26:48, and it allows the listener to think about how subjects are selected for a public history project. The listener learns more about the goals of the panelists in creating the exhibit, and how they went about trying to achieve those. This portion helps the listener to better understand the selection process for the women included in the exhibit and the motivations for choosing a broader cross-section of women’s history than just the well-known, “badass” women of history. One panelist counters the oft-quoted phrase, arguing that well-behaved women DO make history, and they’re an important part of the story. This section also more fully explains the “tags” that the panelists refer to throughout the session.

26:48- 49:10

The third component that may be useful for teachers and students is listening to the iteration process described by the panelists. From 26:48- 49:10, the panelists discuss the process of shaping the exhibit based on the feedback of both adults and young people as they experience the exhibit. It is helpful in illuminating the titular question of the session, and gives further insight into what the goals of the exhibit were. This portion also continues the explanations of the “tags” and the logistical challenges of presenting an exhibit that isn’t centered on a timeline, while providing opportunities for people (students especially) to Sind a speciSic biography, topic, or era within an exhibit that isn’t oriented by chronology.

The video interview with the panelists would also be helpful for teachers and students. It is an extension of how they chose the women who were included and how we move past the “pop history” phenomenon that focuses on the “Sirsts” and “bests” rather than the full story of women in history. It’s also a helpful reminder that as important as it is to study women in history, as one panelist says, “Women don’t emerge in the story; they’ve been there all along.” Seeing women as an integral part of the narrative, especially in eras where they have not been recognized traditionally, helps tell a more complete version of history.