Show Less
Restricted access

Critical Youth Studies Reader

Preface by Paul Willis

Edited By Awad Ibrahim and Shirley R. Steinberg

This book won the 2014 AESA (American Educational Studies Association) Critics Choice Award.

This reader begins a conversation about the many aspects of critical youth studies. Chapters in this volume consider essential issues such as class, gender, sexuality, race, ethnicity, cultural capital, and schooling in creating a dialogue about and a conversation with youth. In a society that continues to devalue, demonize, and pathologize young women and men, leading names in the academy and youth communities argue that traditional studies of youth do not consider young people themselves. Engaging with today’s young adults in formal and informal pedagogical settings as an act of respect, social justice, and transgression creates a critical pedagogical path in which to establish a meaningful twenty-first century critical youth studies.
Show Summary Details
Restricted access

36 Redefining the Notion of Youth: Contextualizing the Possible for Transformative Youth Leadership

← 425 | 426 →CHAPTER 36


Introduction: What’s Wrong with You?

When I was hired as a high school drama teacher in 1987, it was expected that I “bring” back a dying program by producing and directing an enormous musical production. Creating a theatrical community while mounting Grease was part of my own personal mandate. The students, musicians, stagehands, all of us, became parts of a dynamic whole. The group was a social and artistic organism, enjoying one another. Jeremy was cast as Kenickie, the hell-raising greaser who becomes the potential father attached to Rizzo’s possible pregnancy. Lanky, funny, and flexible, Jeremy had a dynamite voice, he was perfect for the part. Early one morning, following the previous evening’s run-through of “Greased Lightning,” my office phone rang:



I’m looking for Ms. Steinberg You found me, can I help you? This is Reverend Erb.

I’m so glad you phoned, Jeremy is doing so well, he is amazing.

That is why I am calling. I have a problem with you.

In what way?

I don’t like the play you are directing, I don’t like the part Jeremy is playing, I think it sends the wrong messages to our children, and I don’t like what I hear about you.

Is there anything else?

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.