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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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Katy Lewis

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

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The "Moving" Image

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.

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The Politics of Historical Memory in Germany

Brandt's Ostpolitik, the German-Polish History Textbook Commission, and Conservative Reaction

Yangmo Ku

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.

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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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Stephan Jaeger

: as witnessing and as experiencing the past. 5 Whereas original artifacts, such as bombs, tanks, or rockets, first function as authentic witnesses, they can also assist in evoking the feeling of historical authenticity in visitors. 6 The third