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Welcome to my channel. Learn how to make an easy origami jumping frog (traditional model) Tutorial by SL DESIGN ________________________________________________________________ Support my channel! -  https://www.paypal.com/donate?hosted_... ________________________________________________________________ In this tutorial you'll learn how to make an origami Jumping Frog step by step. This is a very fun action model that really jumps! Press its back with your finger and release to let it jump! It's very easy to fold and doesn't require special paper (even printer paper works well). It's a good model for beginners, even if you have never tried origami before! #Origami #Jumping #Frog 

 ► DIFFICULTY LEVEL: simple

 ► MY PAPER: 15cm x 15cm origami paper 

 I hope you understand everything and enjoy your jumping frog. Don't forget subscribe my channel ... ________________________________________________________________Learn To Make These Other Awesome Models!: 

 How to make a bamboo stick gun - https://youtu.be/gyrZ2CkHr-U 

 A kite in five minutes = https://youtu.be/JMSJz5AyTug 

 A kite that anyone can make in 5 minutes.= https://youtu.be/lBbg6-tqM-A

how to make flyover= https://www.youtube.com/watch?v=AwxCG... 

 happy new year 2021 = https://www.youtube.com/watch?v=gYcpK... 

 MY CHANNEL - https://www.youtube.com/c/SLDESIGNDL 

Host of the web series “Ask a Slave,” Azie Mira Dungey talks in her interview about how public historians can learn from her project. As she discusses her work as an interpreter at Mount Vernon, Dungey points out the importance of using public history to “better facilitate those difficult conversations,” such as the conversations about slavery she faced each day. Based on what I saw at Montpelier, the interpretive staff there has not shied away from facing the tough questions about the site’s history. In fact, their recent interpretation of the enslaved community’s role at Montpelier through tours and exhibitions demonstrates their desire to better facilitate those difficult conversations. “The Mere Distinction of Colour” provides a nuanced view of the enslaved community, connects their experiences with modern issues, and invites guests to meaningfully reflect. This exhibit is one of many elements at Montpelier that collectively demonstrate their balance of civic engagement, social justice, and activism in historical interpretation.

Cauvin describes these methods of interpretation along a timeline, civic engagement being a more traditional goal of public history and social justice and activism being contemporary goals. Montpelier finds balance between these. Interpreters offer background on James Madison, his work in politics and government, and how his ideas shaped our Constitution and other founding documents. In this sense, the site encourages guests to become civically engaged in understanding the political history of America. At the same time, the site includes reconstructed slave quarters in the South Yard, “The Mere Distinction of Colour,” and an overall narrative deliberately inclusive of Montpelier’s enslaved community. These elements all tell the story of an underrepresented, legally oppressed, minority population that has often been left out of historical interpretation despite a significant presence in American history. This, combined with Montpelier’s effort to include the voices of the descendent community, demonstrates the site’s additional emphasis on social justice and activism. By partnering with those descended from the enslaved community at Montpelier, interpreters can tell a more complete story of the site and further facilitate difficult conversations. 

Villa Bryk’s essay on historical house museums brings up a number of points relevant to interpretation at Montpelier and in public history sites as a whole. This quotation in particular listed three distinct features of a historical house museum that make it a unique site, and I’ll go over how each of these features apply to the representation of the enslaved community at Montpelier.

First, Villa Bryk states that historical house museums give visitors an in-depth and close-up look at their inhabitants. This much is easy to see at Montpelier. A variety of rooms shown in tours offer a look at how all the inhabitants of Montpelier in the 1820s lived, not just the Madisons. For the most part, each room had some indication or mention of the enslaved community. For example, Paul Jennings and his life as an enslaved person were discussed in the dining room in great detail.

Second, historic house museums bring historical characters to life by “generating emotion and empathy.” Emotion and empathy are key here– it’s easy for an average white American to hear about slavery and feel shame, guilt, and sadness. It’s harder for an average white American to be confronted with the real nuance of slavery and understand their emotions. “The Mere Distinction of Colour” exhibition did a masterful job of bringing the enslaved community at Montpelier to life in a tasteful and thorough manner. Because of this careful interpretation, it’s possible for visitors as far removed from slavery as many of us were to understand the fundamental dehumanization, exploitation, and terror imposed on an innocent people during American slavery.

The New York Times’ 2017 op-ed on the legacy of our founders used James Madison’s case to demonstrate the falsehood of the dichotomy still used to distinguish between the founders as either slaveholders or abolitionists. It describes this categorization as “simplistic and misleading” because it ignores figures like Madison who espoused abolitionist ideals, but failed to put them into practice and owned slaves himself. 

This reading really came to life as I was walking around the South Yard. I could tell from Madison’s house that he devoted his whole life, personal and professional, to the freedom and fair governance of all Americans. This much was evident from his masses of volumes on Enlightenment theory and the quantity of work strewn about each room. But juxtaposed with the presence of slave quarters, it was hard to see how Madison justified his reality with his beliefs. Perhaps, as many history students I’ve heard from have claimed, Madison was a product of his time, unable to maintain his household and status without owning a great number of slaves. On the other hand, would it not have been just as easy to own a smaller estate and tend to the property himself if he was the staunch abolitionist he claimed to be?