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Children and youth of color in White and adult-dominated societies confront racism and adultism that shapes their peer cultures. Yet, the “new” sociology of childhood lacks the theory and methodology to explore racialized peer cultures. Thus, this chapter aims to sharpen its research tools. Theoretically, this chapter draws from Technologies of the Self (Foucault, 1988) and Critical Race Theory (Delgado & Stefancic, 2012) to enhance Valentine’s (1997) “adult-youth binary” and Corsaro’s (2015) “interpretive reproduction.” Methodologically, it combines the “doing research with children” approach (Greig, Taylor, & MacKay, 2013) with Critical Race Methodology (Solórzano & Yosso, 2002) to do research with youth of color. These enhanced research tools are then used to explore how boys and girls of color (n = 150), 9- to 17-year olds, experience peer culture in suburban schools, under police surveillance, and on social media. In the field, interviewers navigated their adult privilege and racial/ethnic positionalities in relation to that of participants and the racial dynamic in the research setting, ultimately aiming to co-create a safe space for counter-storytelling. As a result, this chapter captured how White-dominated peer cultures used racial microaggressions against youth of color in suburban schools, boy peer cultures navigated racialized policing, and online-offline peer cultures curtailed protective and controlling racialized adult surveillance. Theoretically, the racially enhanced interpretive reproduction and adult-youth binary exposed the adultism-racism intersection that shapes youth peer cultures. Methodologically, counter-storytelling revealed the painful realities that youth of color face and that those with adult and/or White privilege would rather ignore.

This chapter examines the acts of burial and exhumation in three contemporary British history plays. For the purposes of this argument, a ‘history play’ may be defined as a piece of writing for the theatre that engages with historical events or settings. Such plays inevitably, at the moment of their staging or revival, take on particular meanings for audiences, since theatre as a live, durational art form encourages spectators to compare the historical events depicted with their present historical moment. The chapter argues that acts of burial and exhumation in contemporary British theatre are intimately tied to notions of land, soil and belonging. These became increasingly pertinent ideas in the UK’s political climate in the years following the 2016 Referendum on membership of the European Union. Of the three case studies, Victoria by David Greig (2000) dates from more than a decade before this vote, whilst Common by D. C. Moore (2017), and Eyam by Matt Hartley (2018) were written and staged in the interim between the Referendum result and the UK’s withdrawal from the EU. All three, however, feature corpses on stage as a means to consider time, temporality, place and history. Each play offers a different interpretation of what it means to play dead and to stay dead.