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Natalie Clark

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

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Imagining Alternative Spaces

<em>Re-searching</em> Sexualized Violence with Indigenous Girls in Canada

Anna Chadwick

“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.

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Margot Francis

of artistic engagement to witness her past and imagine alternative futurities is consistent with widespread efforts at re-storying that, as Anishinaabeg writer Leanne Betasamosake Simpson says, allows youth to “interrogate the space of empire, by

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A Call to Action

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

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Dayna Prest

—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

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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

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Nirmala Erevelles

, for example, being buried neck deep in mud during a solar eclipse, having heavy stones placed on her girlish body, and witnessing disabled children being shackled in chains while undergoing an exorcism. While it is easy for a reader from the Global

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“I Hope Nobody Feels Harassed”

Teacher Complicity in Gender Inequality in a Middle School

Susan McCullough

gets to touch you which way and I see that lacking right now in terms of the student to student. Individual teachers made efforts to speak to both boys and girls about the behaviors they witnessed, but during the time that I spent at FDMS no

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Tehmina Pirzada

. In many of her drawings, Nazar portrays Gogi as a participant or a witness in a highly dramatic situation advocating for social justice while navigating a variety of urban settings ranging from schools to hospitals, from roads to parks, and from

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Marie Puysségur

into the lens and lip-syncing the lyrics as the audience bears witness to her performance, as Isabelle McNeill (2018) observes. Girlhood and Fish Tank are interwoven with doubles and mirrors—another trope of filmic girlhood that points to themes