Preface by Paul Willis
Edited By Awad Ibrahim and Shirley R. Steinberg
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.
Currency depends on your shipping address
- New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2014. 564 pp., num. ill.
- About the editors
- About the book
- This eBook can be cited
- Foreword: Criticalizing Youth, Youth Criticalizing
- Critical Youth Studies: An Introduction
- Part I: Historical and Contemporary Epistemologies of Critical Youth Studies
- 1 Toward a Critical Theory of Youth
- 2 Theorizing Young Lives: Biography, Society, and Time
- 3 Historicizing Youth Studies
- 4 The Symbolism of Cool in Adolescence and Youth Culture
- 5 Becoming Revolutionaries: Toward Non-Teleological and Non-Normative Notions of Youth Growth
- 6 Youth: Multiple Connectivities, New Temporalities,and Early Nostalgia
- 7 An ‘Evolving Criticality’ in Youth and/or Student Voice in Schools in Hardening Neoliberal Times
- 8 Foot Soldiers of Modernity: The Dialectics of Cultural Consumption and the 21st Century School
- 9 No Bailouts for Youth: Broken Promises and Dashed Hopes
- Part II: Identities: A Métissage Between Indigeneity, LGBTQ, Whiteness, and Diaspora
- 10 Abandoning Pathologization: Conceptualizing Indigenous Youth Identity as Flowing from Communitarian Understandings
- 11 See Me, Hear Me: Engaging With Australian Aboriginal Youth and Their Lifeworlds
- 12 ‘It Gets Better’: Queer Youth and the History of the “Problem of the Homosexual” in Public Education
- 13 Cross-Cultural Reflections on Gender Diversity in the Earliest Stages of Youth Identity Formation
- 14 Moving an Anti-Bullying Stance Into Schools: Supporting the Identities of Transgender and Gender Variant Youth
- 15 Reading the Wallpaper: Disrupting Performances of Whiteness in the Blog, “Stuff White People Like”
- 16 Targeted by the Crosshairs: Student Voices on Colonialism, Racism,and Whiteness as Barriers to Educational Equity
- 17 Politics of Urban Diasporized Youth and Possibilities for Belonging
- 18 Conocimiento: Mixtec Youth sin fronteras
- 19 From Hijabi to Ho-jabi: Voguing the Hijab and the Politics Behind an Emerging Subculture
- Part III: Cultures: Navigating Media and Identities, Sports, Technology, and Music
- 20 Living Hyph-E-Nations: Marginalized Youth, Social Networking,and Third Spaces
- 21 A Fat Woman’s Story of Body-Image Politics and the Weighty Discourses of Magnification and Minimization
- 22 “Breaking” Stereotypes: How Are Youth With Disability Represented in Mainstream Media?
- 23 She’s the Man: Deconstructing the Gender and Sexuality Curriculum at “Hollywood High”
- 24 Learning Filipino Youth Identities: Positive Portrayals or Stifling Stereotypes?
- 25 Surprising Representations of Youth in Saved! and Loving Annabelle
- 26 “He Seemed Like Such a Nice Guy”: Youth, Intimate Partner Violence, and the Media
- 27 We Don’t Need Another Hero: Captaining in Youth Sport
- 28 Decolonizing Sport-Based Youth Development
- 29 Posthuman(ist) Youth: Control, Play, and Possibilities
- 30 Mediated Youth, Curriculum,and Cyberspace: Pivoting the In-Between
- 31 Why Is My Champion so “Hot”?: Gender Performance in the Online Video Game, League of Legends
- 32 Machinima: Gamers Start Playing Director
- 33 Hip Hop Pedagogies in/for Transformation of Youth Identities: A Pilot Project
- 34 Punk Rock, Hip Hop, and the Politics of Human Resistance: Reconstituting the Social Studies Through Critical Media Literacy
- 35 The Breaking (Street Dance) Cipher: A Shared Context for Knowledge Creation
- Part IV: Praxis: Pedagogies and Schooling, Kids not Talked About, and Activism
- 36 Redefining the Notion of Youth: Contextualizing the Possible for Transformative Youth Leadership
- 37 Cultural Studies of Youth Culture Aesthetics as Critical Aesthetic Education
- 38 “Too Young for the Marches but I Remember These Drums”: Recommended Pedagogies for Hip Hop–Based Education and Youth Studies
- 39 No Bystanders in Authentic Assessment: Critical Pedagogies for Youth Empowerment
- 40 Schools as Prisons: Normative Youth Pedagogies
- 41 Youth Writing: Rage Against the Machine
- 42 I hope I don’t see you tomorrow
- 43 Where Are the Mockingjays? The Commodification of Monstrous Children and Rebellion
- 44 Youth against the Wall
- 45 Reclaiming Our Public Spaces: Wall of Femmes as a Grassroots, Feminist,Social Action Project
- 46 From a Culture of Refusal to a Culture of Renewal: Criticalizing Muslim Youths’ Lives Through Calls to Collective Action
- 47 LGBTQ Youth and the Hidden Curriculum of Citizenship Education: A “Day of Silence” in a Suburban High School
- 48 Epistemology of Emancipation: Contemporary Student Movements and the Politics of Knowledge
- About the Contributors
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.