In recent years, teachers and heritage professionals have wrestled with the question of when and how to provide alerts about materials that students or users might find difficult to navigate. This is the first in a three-part Active History series on the subject of content warnings that elaborates the crucial processes and approaches that inform this work.
Source: Students in a classroom at Carleton University, 1961. National Film Board. Phototheque. 1971-271, TCS 01186, Library and Archives Canada.
Jo McCutcheon
…to foster an optimal learning environment, we need to pay attention to emotions and how the learner is feeling, as learning cannot take place in the absence of emotion.
Myas Imad[1]
As a researcher and teacher who has read exceedingly difficult archival material and as someone who has openly sobbed in the middle of the reading room at Library and Archives Canada after finishing a work of fiction and in a few cases, after reading government reports and documents, I came to realize how important it is to carefully consider assignments, readings, and topics covered in class and explicitly warn students in the syllabus, on lecture slides, and before discussing some of these topics about the difficult material we encounter as historians and researchers.[2] I have learned over the past several years that content warnings, and a consideration of triggers are part of a pedagogical framework that can provide a learning and teaching environment that can support all students.[3]
The process of teaching and learning is dynamic and often challenges us to carefully consider our approaches on an ongoing basis. When I reflect on some past experiences of teaching difficult material, I feel that I did not always have the framework or understanding at the time to fully support the diversity of challenges inherent in my courses, beyond the course content. Looking to other professions, I noted the work that was taking place to provide a trauma-informed approach, and I wanted to review the whole of my classes to see how I could provide an overall approach in this vein. This post is a reflection of what I have learned and what I am working on.
Join us in building the Active History project! ActiveHistory.ca invites propositions for blog posts, thematic series, and other contributions that highlight new research and histories that matter today. We welcome proposals from all historians, whether they work in institutions or in the community, who would like to expand the audience for their work while presenting it in an accessible format. We are particularly interested in recruiting for the following three roles: 
Aaron: 
In 1889, three brothers Harry, Albert, and Sam Warner (these are their Anglicized names) emigrated to the United States from Poland, which was then part of the Russian Empire. In 1892, they welcomed another brother, Jack, who was born in London, Ontario. As the twentieth century dawned, the four brothers started to show films in Pennsylvania and Ohio before founding an entertainment company in 1904. After moving to Los Angeles, the Warner Brothers established their first studio on Sunset Boulevard in Hollywood. On April 4, 1923, the brothers formally incorporated as 
Much of Black history, and Black women’s history is erased, undocumented, or misconstrued through dominant white claims, but through these Black produced creations – the photo, the Dawn, CLACP, Black oral histories – we learn that the player’s ancestors self-emancipated, the women were politically active, their men worked as railway porters, and that Black people in Canada needed to possess a newspaper to stir up change. From the photograph we gather that Black women came together, sometimes in pearls, to play ball. 