Curtain speech / Shirley Brice Heath
Dismantiling the single story: a prologue
Learning the ropes: a double-dutch methodology
Kemba's Nightmare/My Nightmare
Traversing the Terrain
Act I "Voices Can Be Heard": Theatre for Incarcerated Girls
Warming Up with Girl Time
"We All Have a Past": Staged Readings
Building Sandcastles: The Road to Writing
Speaking Up and Talking Back: Actors and "Spectactors"
The Journey Toward "Home"
Act II "Yes, and": Teaching Freedom in Confined Spaces
Daring to Teach
"A House Where You Are Called": Kaya
"Completely Unqualified and Immensely Responsible": Anne
"Little Black Girl": Zaire
"As Long as I Wasn't the Star": Carrie Mae
"Standing for What's Best in Them": Petulia
"Theatre Is What Held It Together for Me": Isis
"I Was the Identifier": Mindy
"Drama Brat": Ginger
"Theatre Is Like a Free Thing": Julisa
Teaching for Social Justice
Act III "We Try to Find Our Way Home": Formerly Incarcerated Girls Speak
"I Came Back to Deliver a Message": Nia
"Where I Can Feel Free All the Time": Sanaa
"Kinda Proving Myself": Jada
"Real Girls Can Do This": Lisa
"I Just Want to See Everything": Janelle
Discussion
Act IV The Trouble with Black Girls: Racing, Classing, and Gendering the School-to-Prison Pipeline
The Road to Good Character or Another Dead End?
Sugar and Spice: The Remix
The Trouble with Black Girls
Rewriting the Script
Act V Magic Carpets and Fairylands: Preparing for a Performance of Possibilities
Girl Power (Not Just Programs)
Planting the Seeds of Participation
Learning from Student Artists
Learning from Teaching Artists
Some Final Thoughts
Talk-Back/Talk-With: How Does One Applaud in Text? / Michelle Fine
Freedom
Commitment
Appendix A: "Ghosts of the past" script
Appendix B: "Beauty and the thug" script
Appendix C: "Ride or die" script.