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Emily Bent

Abstract

Stories about girl activism circulate as exceptional narratives of individual girl power causing intergenerational partnerships and community collaborations to become invisible and apparently unnecessary to girl activist efforts. At the same time, practitioner-scholars attest that sharing authentic stories about intergenerational feminist praxis is difficult to do since it requires us to write with intentional vulnerability exposing the failures and tensions inherent to girl activism networks. In this article, I provide an autoethnographic exploration of the intergenerational processes involved with organizing Girls Speak Out for the International Day of the Girl at the United Nations. I draw inspiration from Lauren J. Silver's methodological remix of youth-centered activism, and in doing so, reassess the impact and experience of leveraging girls’ political voices in spaces of normative power.

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Making It Up

Intergenerational Activism and the Ethics of Empowering Girls

Emily Bent

partnerships with girls? To what extent can feminist practitioner-scholars and girl-centered organizations resist the “spectacularization of girls” ( Projansky 2014: 5 )? Conducting research on girls in activist networks challenges us to rethink the discursive

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Negotiating Girl-led Advocacy

Addressing Early and Forced Marriage in South Africa

Sadiyya Haffejee, Astrid Treffry-Goatley, Lisa Wiebesiek, and Nkonzo Mkhize

activism. She suggests that effectively partnering with girls requires disruptions of generational power, with practitioner-scholars learning to “make it up as they go along” (105). Similarly, Dana Edell and colleagues (2016) also remind us to be

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Kylie Message, Eleanor Foster, Joanna Cobley, Shih Chang, John Reeve, Grace Gassin, Nadia Gush, Esther McNaughton, Ira Jacknis, and Siobhan Campbell

’ reformist credentials (xxvii). Evidence that this skepticism has been defied and an era of museum activism is upon us, the volume affirms that an “irreversible shift” has occurred to transform the way practitioners, scholars, and museum visitors “think about

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Jafta Masemola's Master Key

Experimental Notes on Azanian Aesthetic Theory

Athi Mongezeleli Joja

Towards the end of apartheid, many art practitioners, scholars, and activists were preoccupied with variations of the question, ‘what defines South African expressions?’ From participants in the historic 1987 Amsterdam conference, Culture in