Manisha Sharma is Professor and Chair of Art Education at the University of North Texas, Denton, USA. She is an arts educator, artist, and researcher focused on how perceptions of culture and community are formed, internalized, and acted out within various communities, through the production and consumption of art and visual culture artefacts.Amanda Alexander is Professor and Chair of the Art Department at Miami University of Ohio, Oxford, USA. She is a community-engaged arts researcher who connects with sites of cultural and artistic (re)production including schools, museums, community arts organizations, and international cooperative groups. Dr. Alexander is centrally concerned with art education students’ ability to be more civically engaged individuals, see art as a means to make meaning, and have an interdisciplinary, global perspective.

• Introduction PART I Creative Shorts 1. A Is For Alphabet: Reimagining Language And Mastery As A Creative Meandering 2. Critical Reflections on Teaching as a Decolonial Practice 3. Angrez chale gaye, Angrezi chod gaye: Post-coloniality of Language 4. Mind the sky (or forgetting and the imposed futurity of the present): A poem 5. Assembling Desire 6. lutruwita/Tasmania’s Fauna: Artistic Imaginings With Native Wildlife 7. Reclaiming Dreams of our Shared Future: Decolonizing Metanarratives Around What Can/Should/Will Be Through Imaginative Diegesis8. A Palimpsest of Pulverization in Occupied Palestine: Artistic Intervention as Counter-Representation on the Mediterranean Coast 9. Time to Trespass: Annotations to 13 Appearances 10. From Art to Artifact: A Sestina on Public Art Policy in Confederate Monument Removal Case Law 11. Co-Creating Fine Arts Learning: Decolonial & Intersectional Strategies 12. Hilando Historias y Territorios: Textile Cartography of Contemporary Indigenous Communities PART II Enacted Encounters 13. In Fontaine’s Footsteps: Students’ Visual Essays Tackle the Difficult History of Canada’s Indian Residential Schools 14. Unsettling Colonial Narratives in the Art Museum 15. Transborder Provocaciones through Lozano-Hemmer's Border Tuner | Sintonizador Fronterizo Public Art Installation 16. Creating Máscar(a/illa)s: A Decolonizing Us-ing 17. Decolonization of Theater Education: An Examination of the Collective Creative Process Through Culturally Relevant Pedagogy 18. Cultural Networking, Storytelling and Zoom during the Covid-19 Pandemic: Conversations with African-Caribbeans on using a Decolonized Digital Arts-based Educational Platform 19. Art as a Bridge for Decolonizing Grief and Accessing My Neuroqueer Spirit 20. Transgressive Enactments: Research-Creation as Anti-Colonial Praxis 21. Outside the Classroom & Outside the Books: Extending the Classroom for “Antiessentialist” Curriculum 22. Explorations for Decolonizing the Curriculum Regarding Technology 23. Activating Curiosity, Heart, and Artistic Identity to Engage Ecojustice 24. Imagining our Neighborhood of Nonhuman Residents: Sensorial Attunement as Ecological Aesthetic Inquiry 25. Root A/r/tography from Native Seeds PART III Ruminative Research 26. Artistic Practice as Land Acknowledgement 27. Beyond the Veneer of Modernism: Aesthetics, Post-Africanity and the ‘Multiversum’ Narrative 28. Exorcising the Colonialist: The Cuna Figures of the San Blas Islands and other Forms of Mimesis and Mimicry29. A Critique of Grand Hegemony: Disrupting Historical Valuations of Public Space Through Pervasive Gaming 30.Art Education and entangled knowledge in the digital age: Learning from Tabita Rezaire’s Premium Connect 31. Raranga and Tikanga Pā Harakeke – An Indigenous Model of Socially Engaged Art and Education 32. Decolonization and the Degeneralization of Time in Art Education Historiography 33. Nepantlando: A Borderlands Approach to Curating, Art Practice, and Teaching 34. Crafting Criticality Into My Wayfaring Jewish Ancestors’ Colonial Trade Connections 35. Decolonizing Blood, Body and Brain: From the Visual Practices of Jonathan Kim 36. Decolonizing Formal Art Education in Germany 37. Towards Frontiers of Decolonization in Contemporary Nigerian Art Markets 38. Histories and Pedagogics from the Underside(s) of Modernity Afterword

"This book is for those that are searching for theory, curriculum, and pedagogy through the lens of self-determination. It is divided into three sections. The authors include engaging questions at the end of the chapters that assist in providing self-reflection. …Incredible!" Christine Ballengee-Morris, The Ohio State University, USA"This remarkable book centers art and art education as a powerful force for postcolonialism and decolonization. With a tremendous range of diverse international voices taking up an exciting range of scholarship, the book is truly one of a kind. It is magnificently unique in its embrace of decolonization as a focus for rethinking the structures and content of education and as a rebellious text that questions the colonized norms of scholarship by offering an array of artful, reflexive, and performative texts. An utterly powerful book that all art educators must read!" Rita L. Irwin, The University of British Columbia, Canada"Art as a concept is not currently built upon a foundation by which diverse humans demonstrate their self-determined creative, aesthetic and meaning-making capacity. Instead, systems of colonization continue to largely limit the engagement of our imaginations across worldviews. This book is one embarkation for building the creative consciousness necessary for diverse humans finally to breathe life into art and the world." Cristóbal Martinez, Professor, Arizona State University, USA