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Performative counter‐storytelling can be a powerful experience for both the artists who create these stories and the audiences who witness them. This study examined audience responses to a counter‐narrative (entitled "AMKA") performed by Africans in Australia which intended to present more complex, holistic, and strengths‐based representations of their communities than those currently circulated by dominant discourses. Guided by a critical whiteness lens, the study explored how 34 self‐identifying white audience members interpreted the performance and how they questioned whiteness by assuming the role of implicated witnesses. Following thematic analysis of mixed closed‐ and open‐ended post‐performance survey responses, audience members made connections between the content of AMKA and the contemporary political and cultural contexts in which it was performed and began to examine their positions of privilege and power. This study has provided evidence for the potential of political theater in creating spaces of encounter whereby responsible listening positions can be nurtured in the journey toward dismantling personal, and potentially structural, racially‐based injustices.

Intro -- Series Foreword The Community Psychology Book Series: A Dialogical Decolonizing Space -- Prologue Decolonial Psychology as a Counter-Catastrophic Science -- References -- Acknowledgments -- Contents -- About the Contributors -- Tracking the Decolonial Turn in Contemporary Community Psychology: Expanding Socially Just Knowledge Archives, Ways of Being and Modes of Praxis -- Decoloniality as Paradigmatic -- The Centrality of Epistemic Justice in Decoloniality -- A Moment of Social Reckoning and Transformation? -- Psychology's Decolonial Turn -- Centre, Periphery and the Elasticity of Coloniality -- Praxis Co-ordinates for Decoloniality, Knowledge Production and Epistemic Justice -- Archival Reclamation and Expansion for Onto-Epistemic Disruption -- Knowledge from Below, Centring Voices/Subjects from the Margins, and Epistemic Justice -- Critical Mutual Accompaniment, Intersectional Identities, and Dialogical Ethics -- Conclusion -- References -- Africa's Knowledge Archives, Black Consciousness and Reimagining Community Psychology -- African Archives: Representations, Rupture and Retrieval -- Black Consciousness as an Insurgent Archive in Community Psychology -- Conclusion -- References -- An Orienting Conversation on Africa(n)-Centred Decolonial Community Psychologies -- What Kind of Knowledge Device is Conversation, and is it Really a Meaningful Way of Creating Knowledge? -- What is "The Thing" to Which we Wish to Turn in our Conversation? -- Why is there Still Epistemological Domination Decades After the So-Called Classic Era of Colonisation? -- What Can Decolonial Africa(n)-Centring Community Psychologies Do to Resist Dominant Euro-American Models of Community Psychology? -- How Might we Create Space for Decolonial Africa(n)-Centredness in Community Psychologies?.

Places of Privilege examines dynamics of privilege and power in the construction of place in a period of the rapid social transformation of places, borders and boundaries. Drawing on inter-disciplinary perspectives, the book examines place as a site for the making and re-making of privilege, while considering new meanings of community, and examining spaces for cultural identity and resistance. Chapters point to a range of conceptual resources that can be utilised to produce critical analyses of place-making. As the authors point out, power and privilege shape place but these dynamics are in turn shaped by the specific place based histories and social dynamics within which they are located. Contributors are: Lutfiye Ali, Alison M. Baker, Paola Bilbrough, Tony Birch, Jora Broerse, Sally Clark, Josephine Cornell, Yon Hsu, Lou Iaquinto, Karen Jackson, Shose Kessi, Rebecca Lyons, Chris McConville, Nicole Oke, Amy Quayle, Alexandra Ramirez, Kopano Ratele, Christopher C. Sonn, and Ramón Spaaij.

Sound portraiture blends audio-documentary techniques and qualitative arts-based and narrative methods, privileging participants' voices and conveying the complexity of their stories through the layering of sound. We created sound portraits that negotiated the multiple and often conflicting voices, histories and subject positions for South African migrants who psychologically straddle home and host lands. Sound portraits speak to the history of colonialism, Apartheid, displacement, and the continuities of power and privilege in people's lives. We argue for the use of sound portraits as an aesthetic representation of lived experience and as a medium through which research knowledge becomes democratised.