March 2015

Volume 53, Number 3
Contents of the online edition

Interim Editor: Shatha Almutawa
Editorial Assistant: Jacob Ingram

From the President

The Gift of Mentorship
By Vicki L. Ruiz

From the Executive Director

History and Civics
By James Grossman

From the Vice Presidents

The C3 Framework
By Elaine Carey

News

Crossing Borders, Bridging Generations
By Shatha Almutawa

Member News

AHA Activities

A Glimpse into the AHA Council
By Andrew Rotter

Expanding the O'Connor Film Award
By Dana Schaffer

AHA Council, Divisions, and Committees for 2015
Compiled By Liz Townsend

129th Annual Meeting

Understanding Ferguson
By Sarah Fenton

Harnessing the Expanding Past
By Stephanie Kingsley

National History Center

An Update on Congressional Briefings
By Amanda Moniz

Letters to the Editor

The Last Artifact of the World Trade Center
By Michael Burke

On "Doing History Digitally"
By J. B. Owens

Standing with Historians of Japan
By Alexis Dudden

In Memoriam

Otto H. Olsen
By Joseph P. Reidy and Michael K. Honey

Charles Chatfield
By Molly M. Wood

Endnote

Democracy, Liberty, History
By Shatha Almutawa

Advocacy

Working towards the Restoration of Federal Funding for History, Civics, and Social Studies Education
By Lee White

Advocating for the Arts and Sciences in American Higher Education
By John Churchill

AHA Committee on Women Historians Brainstorming and Mentoring Session
By Debbie Ann Doyle

The Tightrope Called Academia: Women and Work-Life Balance
By Maria Bucur

The Digital Historian

A Free and Open Alternative to the Traditional History Textbooks
By Joesph Locke and Ben Wright

Experience-Based Learning

Strike While the Iron is Hot
By T. Kurt Knoerl

Viewpoints

The Future of American History
By Steve Hochstadt

Francophone Historians of the United States
By Greg Robinson

Revealed%20Truths%20and%20Myths%20II.tif

On the Cover

The painting on the cover, Revealed: Truths and Myths #2, was created by visual artist Joyce Owens. Owens writes, “My idea was to put a black face on a Renaissance painting to illustrate that the white aesthetic originates (and is perpetuated) through art. That if African Americans are not shown in positive visual images, in paintings, photographs and movies, etc. we will not exist in history except as how others choose to represent us. The Renaissance-inspired figure wears an African mask. What if African culture were as revered internationally as European culture and its imagery? Would people of the African Diaspora be accepted as the standard for beauty?”

Owens is an associate professor and curator at Chicago State University in Illinois. You can see more of her art in Steve Hochstadt’s article and at www.joyceowens.com.