Stephani Etheridge Woodson is Professor in the School of Film, Dance and Theatre at Arizona State University, USA, where she directs the Theatre for Youth MFA and PhD programs as well as the Herberger Design and Arts Corp. She is the author of Theatre for Youth Third Space: Performance, Democracy and Community Cultural Development (2015).Tamara L. Underiner is Associate Dean for Research at the Herberger Institute for Design and the Arts at Arizona State University, USA, Director of the doctoral program in Theatre and Performance of the Americas, and Co-Director of the University’s Creative Health Collaborations initiative.

• 1. Stephani Etheridge Woodson and Tamara Underiner; Introduction.- 2. Daniel Banks; Taking the Mic: Hip Hop’s Call for Change.- 3. Paul Bonin-Rodriguez & Charlotte M. Canning; Rehearsing Citizenship: Performance as Public Practice in the Undergraduate Curriculum.- 4. David Calder; Street Performers Working for Change.- 5. Young Ai Choi; The Third Space: Inter-cultural Youth Performance as a Catalyst for Change.- 6. Jan Cohen-Cruz; Uncommon Partnerships.- 7. Kathryn Dawson; Reflections on School Change through the Arts.- 8. Linda Essig; n=1.- 9. John Fletcher; Denouement: Notes on the End(s) of Activism.- 10. Marcela A. Fuentes; Making Change: Performance and the Workings of the Event.- 11. Lorenzo Garcia; Adding to the Dialogue with Latina/o Plays for Young Audiences.- 12. Nadine George-Graves; An Environment of Cascading Consequences.- 13. Jamie Haft; Creating a Populist Theatre.- 14. Norifumi Hida; Laying the groundwork for dramatic results: ASSITEJ’s Next Generation.- 15. Jorge A. Huerta; Fifty Years of Chicano Theatre: Mapping the Face(s) of the New American Theatre.- 16. Lisa Jackson-Schebetta; In the Heights at the University of Pittsburgh: Failures, Successes and Change.- 17. Elizabeth Johnson; Choreography, Connections and Change.- 18. Daniel A. Kelin, II; The Journey Matters: Agency through Artistry.- 19. Michal Kobialka; “Of Change”.- 20. Bridget Kiger Lee and Patricia Enciso; Testing the Waters of Change in the Classroom: The Case for Incremental Transformation in Teacher Practice.- 21. Stephanie Lein Walseth; Racial Justice Activism and Equitable Partnerships: Theories of Change from Theatres of Color.- 22. Robert H. Leonard; Theatre and Social Imaginaries.- 23. Ruby Lerner; Radical Creativity as a Lever for Social Change: Why It Matters, What It Takes.- 24. Scott Magelssen; Why Do They Think this is Okay? Defending Performance as a Means for Change.- 25. Mary McAvoy; What We Left Behind in our Race to the Top: Education Reform Goes Metaformative.- 26. Talleri A. McRae; The Aesthetics of Inclusion.- 27. Carlos Morton;Changes, Everything Changes (Cambia, todo cambia).- 28. Tobin Nellhaus; Big History.- 29. Michael Rohd: 100 Questions/3 ideas/1 story/and a ghost.- 30. Jon D. Rossini; Shift 2.- 31. Alan Sikes; “The Odéon is Open” Performative Politics and the Paris 1968 Uprising.- 32. Dani Snyder-Young; Despite artists’ intentions, emancipated spectatorship reinforces audience members’ existing attitudes and beliefs.- 33. Caridad Svich; The breath of change or how to stay awake when the world desires sleep and other thoughts about theatre, performance and Bowie’s Ch-changes.- 34. E.J. Westlake; The Waning of Affect, the End of the Liberal Project, and the Rehearsal of Social Change: a Page from the Millennial Playbook.- 35. W. B. Worthen; (Inter)disciplinary Change.- 36. Patricia Ybarra; The Administrator as Activist.- 37. Stephani Etheridge Woodson and Tamara Underiner. And…?