Summer 2024

AGITATE! Special Volume: Seditious Acts

Introduction

This image captures a panel discussion or presentation taking place in what appears to be a university classroom or lecture hall. Six individuals are seated at a long, dark table, facing forward towards an unseen audience
José Manuel Santillana Blanco, Kidiocus King-Carroll, Naimah Zulmadelle Pétigny, and Kong Pheng Pha
This introduction to the volume by the editors trace the racial history of U.S. higher education and the students of color led movements that have led to the current moment of protests against the neoliberal university.
This image is a graphic design, likely a banner or poster, with a light gray or off-white background. It conveys a strong message of disruption and collective action. At the top
AGITATE! Editorial Collective
Editorial by the AGITATE! Editorial Collective reflects on the journey of co-creating this volume with CRES.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Simi Kang
Artwork and Artist's Statement
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Kong Pheng Pha & José Manuel Santillana Blanco, with Roderick A. Ferguson
Kong Pheng Pha and José Manuel Santillana Blanco speak to Roderick A. Ferguson about the backlash against critical race and ethnic studies in higher education and emergent modes of student resistance.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Joy Mazahreh
Joy Mazahreh writes about what it mean to be Palestinian and Brown, and bear witness to the death and devastation of her homeland.
This image captures a majestic, ancient olive tree surrounded by large, weathered rocks and dry earth under a soft, pale sky. In the center of the frame, a large, mature olive tree dominates the
Gwendolyn S. Kirk
Translations of three poems by acclaimed Urdu poet Faiz Ahmed Faiz written in solidarity with Palestine.

Section One: Infractions

[Keywords: Erasure, (In)visibility & Embodiment]

This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Richa Nagar
 This introduction to section one—Infractions—reflects on how essays in the section ask us to witness violent acts committed by institutions of higher learning in the U.S. and how the authors agitate to reorganize and recast this unjust terrain.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Ana Cláudia dos Santos São Bernardo
Drawing on higher education experiences in Brazil and as an international student of color in the U.S. neoliberal university, Santos São Bernardo writes of the expectation of gratitude and thankfulness placed on international students and what it means to reject it.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
William Amado Syldor-Severino
This essay proposes alternate frameworks for engaging in sedition in the neoliberal university.
This image captures a protest or demonstration, likely on a university campus, featuring a group of young Asian American individuals holding signs. The overall tone is serious and determined, advocating for Asian American inclusion and equity.
Kong Pheng Pha, Kaochi Pha, and Dee Pha
Hmong American scholars reflect on ongoing violent systems of racial inconspicuousness that Hmong and Southeast Asian American students continue to experience in the neoliberal and corporate university.

Section Two: Transgressions

[Keywords: Subjectivities, Narratives, Racialization, Neoliberalism & Epistemology]

This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Edén Torres
This introduction to section two—Transgressions—reflects on what has changed and what has remained the same in the neoliberal university, especially for students of color, over the past several decades and shows how the essays in this section contend with these histories and politics.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Ezekiel Joubert III
This essay proposes transitional pedagogy as a methodology for scholars of color in neoliberal academia.
This image is a detailed, hand-drawn illustration in black charcoal or pencil on a piece of light beige or off-white paper. The paper itself appears to have a slightly rough, textured surface and uneven
Emily Mitamura
This piece offers a series of joined meditations on violences of the neoliberal university through conceptions of object-being, romance, imagination, and newness.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Kidiocus King-Carroll
A set of notes or jottings that are autobiographical, analytical, historical, and deliberately incomplete, but articulate King-Carroll's understanding of the University and the world that surrounds it as an antiblack, neoliberal space that Black graduate students must exist in a fugitive relationship to.

Section Three: Insurgencies

[Keywords: Praxis, Defiance, Resistance & Decolonization]

This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Rose M. Brewer
This introduction to section three—Insurgencies—locates the essays in this section within the rich history of the Civil Rights Movement, emergence of Black Studies, and students of color-led radical struggles against capitalism, racism, and neoliberalism in higher education.
This image captures a diverse group of six individuals, likely students or activists, standing behind a large, off-white banner with a powerful message. They appear to be in an indoor setting, possibly
José Manuel Santillana Blanco
This essay explores the (im)possibilities that students of color and indigenous students have in resisting the Neoliberal University that operates as an institution of power and knowledge production predicated on white supremacy, settler colonialism, and global capitalism.
This watercolor painting, titled "Art-by-Simi-scaled.jpg," depicts a powerful scene of protest and triumph against a backdrop of a tall, white, multi-storied building, likely
Rahsaan Mahadeo
This essay rejects the notion that for negatively-racialized students learning, laboring, and living in the anti-ebony tower is a privilege.
This image is a vibrant, high-contrast graphic with a powerful message, designed in a bold, cut-out or collage style. The background is a solid, bright, sunny yellow. Centered
Marcelo Garzo Montalvo
This essay asks us to consider how the neoliberal university is always already a settler university and the ways in which indigenous ways of knowing can help us we reimagine education as a process of unlearning settler modernity.