BIPOC Alliances: Building Communities and Curricula is a collection of reflective experiences that confront, challenge, and resist hegemonic academic canons. BIPOC perspectives are often scarce in scholarly academic venues and curriculum. This edited book is a curated collection of interdisciplinary, underrepresented voices, and lived experiences through critical methodologies for empowerment (Reilly & Lippard, 2018). Gloria Anzaldu a’s (2015) autohistoria-teorí a is a lens for decolonizing and theorizing of one’s own experiences, historical contexts, knowledge, and performances through creative acts, curriculum, and writing. Gloria Anzaldu a coined, autohistoria-teorí a, a feminist writing practice of testimonio as a way to create self-knowledge, belonging, and to bridge collaborative spaces through self-empowerment. Anzaldu a encouraged us to focus towards social change through our testimonios and art, “[t]he healing images and narratives we imagine will eventually materialize” (Anzaldu a & Keating, 2009, p. 247). For this collection, we use lived experience or testimonios as an approach, a method, to conduct research and to bear witness to learners and one’s own experiences (Reyes & Rodrí guez, 2012). Maxine Greene’s (1995) concept of an emancipated pedagogy merges art, culture, and history as one education that empowers students with Gloria Anzaldu a’s (2015) autohistoria-teorí a to re-imagine individual and collective inclusion by allowing students “... to read and to name, to write and to rewrite their own lived worlds” (Greene, 1995, pp. 147). Greene and Anzaldu a reach beyond theorizing and creating curriculum for awareness and expand the crossings into active and critical self- reflective work to rewrite one’s own empowered stories and engage in a healing process.

This edited book is a curated collection of interdisciplinary, underrepresented voices, and lived experiences through critical methodologies for empowerment.

This is not a conventional book because the seed comes from the depth of the volcanic cauldron that awaits silently underneath the Lake Ilopango, the umbilical cord of our Humanity and yours. It is a scream, it is an offering, it is pain and it is love. It is a collective offering to those who are responding to a call of Liberation based on Indigenous Principles to protect and defend the land beyond theories, beyond rhetorical and metaphorical questions. This is a tiny-tiny glimpse into Lak'ech. A living testament that today, there are people buried on sand, on water, on air, on blood, among carcasses of bodies eaten by vultures—literally and metaphorically—a living testament of open wounds that heal and are traumatized again and again because you, the reader, the listener, the writer, the transcriber, the colonizer, the upholder of patriarchy and caste and class, the translator and the guardian of the door of the Master's House refuse to listen politically.

Walking away is both refusal and production (Tuck & Yang, 2014), a seeming paradox taken up in work on fugitivity and marronage (Diouf, 2021; Grant, Woodson, & Dumas, 2021; Harney & Moten, 2013; Hartman, 2007), survivance (Powell, 2002; Sabzalian, 2019; Vizenor, 2008), testimonios (Calderon-Berumen, 2021; Delgado Bernal, Burciaga, & Flores Carmona, 2012; Latina Feminist Group, 2001), and other forms of critical pedagogy and curriculum. In other words, walking away presumes both the rejection of a form of status quo (walking away from something) and a new direction taken (a walking toward something else). In the context of education, many teachers and researchers have reached that breaking point where/when no more curricular/pedagogic violence can be survived, and it is in that moment that those researchers and teachers actively remove themselves from those systems and assert new courses with new possibilities. This edited volume is a collection of works chronicling acts of refusal that manifest as walking away. In some cases what is walked away from is the erasure of experience in curriculum while in others it is a fundamentalist religious experience. In still other cases what is walked away from is the carceral nature of school discipline policies. In each case walking away is resistance, refusal, and re/co-producing new possibilities and agencies. What is walked toward is a new curriculum/pedagogy of resistance sometimes within and sometimes without that place ENDORSEMENTS: "Walking Away provides a window into what it is for educators to form a new world: Enter Walking Away and walk into..." — Leonard Harris , Purdue University "Walking away is sure to inspire pre-service educators, practicing teachers, and others to participate in the construction of more just and equitable worlds." — Tristan Gleason, Cal Poly Humbolt "Ultimately, Walking Away represents the capacious thinking that emerges from the various connections, conversations, and profound contributions of each author." — Boni Wozolek, Pennsylvania State University, Abington Campus "This important book insists that we, as curriculum scholars, seriously ask ourselves what our roles and responsibilities are as academics, researchers, and educators in these dire times." — Jennifer A. Sandlin, Arizona State University

The works covered in college art history classes frequently depict violence against women. Traditional survey textbooks highlight the impressive formal qualities of artworks depicting rape, murder, and other violence but often fail to address the violent content and context. Gender Violence, Art, and the Viewer investigates the role that the art history field has played in the past and can play in the future in education around gender violence in the arts. It asks art historians, museum educators, curators, and students to consider how, in the time of #MeToo, a public reckoning with gender violence in art can revitalize the field of art history. Contributors to this timely volume amplify the voices and experiences of victims and survivors depicted throughout history, critically engage with sexually violent images, open meaningful and empowering discussions about visual assaults against women, reevaluate how we have viewed and narrated such works, and assess how we approach and teach famed works created by artists implicated in gender-based violence. Gender Violence, Art, and the Viewer includes contributions by the editors as well as Veronica Alvarez, Indira Bailey, Melia Belli Bose, Charlene Villaseñor Black, Ria Brodell, Megan Cifarelli, Monika Fabijanska, Vivien Green Fryd, Carmen Hermo, Bryan C. Keene, Natalie Madrigal, Lisa Rafanelli, Nicole Scalissi, Hallie Rose Scott, Theresa Sotto, and Angela Two Stars. It is sure to be of keen interest to art history scholars and students and anyone working at the intersections of art and social justice.

"Drawing on Christine Sleeter's review of research on the academic and social impact of ethnic studies commissioned by the National Education Association, this book will examine the value and forms of teaching and researching ethnic studies. The book employs a diverse conceptual framework, including critical pedagogy, anti-racism, Afrocentrism, Indigeneity, youth participatory action research, and critical multicultural education. The book provides cases of classroom teachers to 'illustrate what such conceptual framework look like when enacted in the classroom, as well as tensions that spring from them within school bureaucracies driven by neoliberalism.' Sleeter and Zavala will also outline ways to conduct research for 'investigating both learning and broader impacts of ethnic research used for liberatory ends'"--