Described by the author Monica Ali as a building that 'sparks the imagination and sparks conversations', 19 Princelet Street, now a Museum of Diversity and Immigration, captivated the imagination of teacher David Waters. He was struck by the building's potential not merely for exploring the diverse histories of migrant communities…

What is a sense of period? And how can pupils' sense of period be developed? Questions such as these have troubled history teachers for many years, often revolving around debates over the role played by empathy and imagination in coming to know a period on its own terms. Rather than adopt a comparative approach, Dan Smiths decided in his…

Year 9 think they know a lot about the First World War. After all, they read Michael Morpurgo's novel Private Peaceful in their English lessons all the way back in Year 7, they have seen Blackadder so many times they can recite it, and in the centenary year of the war's outbreak, they can hardly avoid it on television. But their view of…

Paula Worth presents in this article a means of challenging students' tendency to generalise even when they know that they should not. How can teachers encourage their students to say something meaningful about the past while avoiding making unwarranted generalisations? Worth takes teachers through the process of planning her own enquiry…

Paula Worth draws on three professional traditions in history education in order to build a lesson sequence on the Crusades for her Year 7s. First, she draws on the growing tradition of classroom practice using historical scholarship, not only to inform the teacher's knowledge but to deepen her pupils' direct acquaintance with scholarly…

Ten years ago, two heads of department in contrasting schools presented a powerfully-argued case for resisting the use of level descriptions within their assessment regimes. Influenced both by research into the nature of children's historical thinking and by principles of assessment "for" learning, Sally Burnham and Geraint Brown…

When Michael Fordham was introduced to Dr Seuss's "Butter Battle Book" he immediately recognised its potential value in the classroom as a popular interpretation of the Cold War. Wanting his Year 9 pupils to explain how and why the past has been interpreted in different ways he shows the potential pitfalls inherent in asking pupils…

Rachel Foster shows how her own study of cultural history led to a new dimension in her planning. She wanted to show her students not only that historians are interested in many different kinds of topic, but that they ask different kinds of question about those topics. Foster also wanted her students to examine how civic traditions and rituals…

What do 14 Year 7 students, an art teacher, a history teacher and the Victoria and Albert Museum have in common? They are all part of the "Stronger Together" Museum Champion project run by The Langley Academy and the River & Rowing Museum and supported by Arts Council England, designed to engage students, teachers and museum staff…

McDougall found learning about Stephen and Matilda fascinating, was sure that her pupils would also and designed an enquiry to engage them in "the anarchy" of 1139-1153 AD. Pupils enjoyed exploring "the anarchy" and learning about it enhanced their knowledge and understanding of the medieval period considerably. However, McDougall argues, story…

"Never again" is the clarion call of much Holocaust and genocide education. There is a danger, however, that it can become an empty, if pious, wish. How can we help pupils reflect seriously on genocide prevention? Elisabeth Kellaway, Thomas Spillane and Terry Haydn report teaching strategies that focused students' attention on what…

Why do we teach about the Holocaust and about other genocides? The Holocaust has been a compulsory part of the English National Curriculum since 1991; however, curriculum documents say little about why pupils should learn about the Holocaust or about what they should learn. Tamsin Leyman and Richard Harris decided to use the opportunity presented…

Helen Murray, Rachel Burney and Andrew Stacey-Chapman show how they strengthened three goals of their practice--secure knowledge, narrative shapes and conceptual analysis--by securing strong connection between them. The curricular focus that drew all this together was "historical continuity", a property crucial to narrative, but often…

Alison Stephen, who has wrestled for many years with the challenges of teaching emotional and controversial history within a multiethnic school setting, relished the opportunity to link her school's teaching of the Holocaust with a comparative study of other genocides. As she reports, her aim was to not create a hierarchy of suffering or…

Five years ago, in "Teaching History 132", Harris and Haydn drew attention to the fact that while the vast majority of Key Stage 3 students claimed to enjoy history and even to regard it as a useful subject, relatively few of them were able to explain why they thought it was so important. Geoff Baker set out to address this issue, in…