In what ways can teachers build on youth culture to improve learning opportunities in the classroom? In this fascinating and highly readable collection, Korina M. Jocson brings together more than two dozen scholars, artists, educators, and youth workers to illustrate how nondominant youth can be engaged through various social justice arts projects. These projects range not only in type (media, digital art, playwriting, and hip-hop) but also location (California, Wisconsin, New Mexico, Cuba, and Australia, among others) to reflect the wide range of possibilities for tapping into contemporary youth culture. The projects described are part of an emerging field that examines the benefits of youth participation in literary, digital media, and civics-related projects within schools and in a variety of informal environments. Contents include the Introduction: "Cultural Transformations," followed by ten chapters with respective authors. Chapter 1: "Barely Audible": A Remix of Poetry and Video as Pedagogical Practice (Korina M. Jocson, with Eli Jacobs-Fantauzzi); Chapter 2: Life Is Living: An Arts Festival Focused on Healing, Community Collaboration, and the Creative Ecosystem (Marc Bamuthi Joseph and Brett Cook); Chapter 3: "I Am That Character": Playmaking and Listening to Voices of Formerly Incarcerated Youth (Maisha T. Winn); Chapter 4: Representing Self Through Media: Supporting Transitions to College with Digital Self-Representations (Michelle B. Bass and Erica Rosenfeld Halverson); Chapter 5: Imaging and Reimaging Internships: Immigrant Youth, Community-Based Research, and Cultural Transformation (Lisa (Leigh) Patel and Alexander Gurn, with Melissa Dodd, Sung-Joon Pai, Vanessa Norvilus, Eun Jeong Yang, and Rocío Sanchez Ares); Chapter 6: Pedagogies of Race: Teaching Black Male Youth to Navigate Racism in Schools (Na'ilah Suad Nasir, Alea Holman, Maxine McKinney deRoyston, and kihana miraya ross); Chapter 7: "It Is Best to Know Who You Are Through Your Culture": Transformative Educational Possibilities for Native American Youth (Tiffany S. Lee and Nancy López); Chapter 8: In the MAC: Creating Safe Spaces for Transgender Youth of Color (Ed Brockenbrough and Tomás Boatwright); Chapter 9: En Mi Barrio: Building on Cuban Youth Culture, Hip-Hop, and Reggaetón (Ezekiel Dixon-Román and Wilfredo Gomez); and Chapter 10: Documenting Youth Engagement with Digital Music Production in Australia (Andy Brader and Allan Luke). Also included is an Afterword (written by Shirley Brice Heath).