previously published 1 as part of my accountability to the stories I have heard and witnessed in my work with Indigenous girls, and the spaces and sites of truth-telling in which my writing is mobilized including the political, the theoretical, and the
<em>Re-searching</em> Sexualized Violence with Indigenous Girls in Canada
“Sisters Rising” is an Indigenous-led, community-based research study focused on Indigenous teachings related to sovereignty and gender wellbeing. In this article, I reflect on the outcomes of re-searching sexualized violence with Indigenous girls involved with “Sisters Rising” in remote communities in northern British Columbia, Canada. Through an emergent methodology that draws from Indigenous and borderland feminisms to conduct arts- and land-based workshops with girls and community members, I seek to unsettle my relationships to the communities with which I work, and the land on which I work. I look to arts-based methods and witnessing to disrupt traditional hegemonic discourses of settler colonialism. I reflect on how (re)storying spaces requires witnessing that incorporates (self-)critical engagement that destabilizes certainty. This position is a critical space in which to unsettle conceptual and physical geographies and envision alternative spaces where Indigenous girls are seen and heard with dignity and respect.
While the Indigenous youth suicide crisis in Canada is widely acknowledged, there is little scholarly attention given to writers who reflect on this from the perspective of being suicide survivors. In this article, I consider the play, And She Split the Sky in Two, by Aleria McKay, a youth survivor from Six Nations. I explore how her work functions as an anti-colonial text that re-envisions the suicide crisis at Six Nations through mourning the gendered, affective, systemic, and spatial legacies of colonial violence. McKay’s characters are learning to tell their own stories to completion, depathologizing experiences of despair and entrapment. This work provides a girl’s perspective on the long slow process of staying alive to create a different future.
Gilmore, Leigh, and Elizabeth Marshall. 2019. Witnessing Girlhood: Toward an Intersectional Tradition of Life Writing . New York: Fordham University Press. In Witnessing Girlhood: Toward an Intersectional Tradition of Life Writing , Leigh
Empathy and Projection in the International Slavery Museum, Liverpool
Silke Arnold-de Simine
The moving image has become ubiquitous in museums that deal with traumatic, violent, and difficult histories and could be described as "memorial museums." This article investigates exhibition practices in the International Slavery Museum, Liverpool, in which large-scale video installations provide evocative recreations of traumatic experiences that are designed to unsettle and disturb visitors, providing them with a visceral and vicarious experience that calls for witnessing and "empathic unsettlement." It also queries the assumption that the capacity for empathy forms the basis for responsible moral agency, and whether museums aiming to encourage social responsibility should rely on such technologies.
Brandt's Ostpolitik, the German-Polish History Textbook Commission, and Conservative Reaction
Prior to the late 1960s, German history textbooks lacked coverage of Poland and depicted Germany's eastern neighbor with negative images. The 1970s and 1980s, however, witnessed positive changes to the contents of German school textbooks—particularly with respect to their descriptions of Poland and German-Polish relations. How and why did Germany promote a more reflective view of history and correct negative descriptions of the Poles in German history textbooks between the 1970s and 1980s? This article addresses this question by focusing on the influence of Brandt's Ostpolitik and on the activities of the German-Polish History Textbook Commission. The article also shows how contemporary conservative reaction was not powerful enough to reverse these positive changes to German history textbooks.
Creativity and Black Girlhood
Crystal Leigh Endsley
, and is reminded of the power of invoking the memory and context of so great a cloud of witnesses. While the use of these rituals suggests harmony and coherence in the group, Brown lets us know that SOLHOT is a collective but its members are not always
—a relentlessly recurring image and the unconscious bodily response to conditions that bear psychic resemblance to the original experience. “Trauma and the Girl,” written in response to the story called “The Prop” describes a girl witnessing what appeared to be a
Barbara Roche Rico
using a girl’s epistemological perspective to effect a systematic dismantling of clichés in American fiction—witness the ironic relationships between the received notions of a better neighborhood and the behavior of the self-appointed gatekeepers of
Coetzee or the Possibility of Differend as Ethics
masculinity’s hegemonic tenets, Matias’s book is anything but unstable; indeed, reading it is a calm and clear process. As Matias draws us into Coetzee’s trilogy, we as readers witness how multiple questions arise in terms of the politics it espouses, with