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Using Black feminist thought and BlackCrit/critical race theory frameworks, this qualitative study examined Black educators' practices in addressing the behavior of their students in an urban school district. It utilized counternarratives and storytelling to explore the cultural dynamics at play between Black educators and their Black students. The Black educators in this study operated under several behavior systems, including positive behavioral interventions and supports (PBIS), socio-emotional learning (SEL), restorative practices (RPs), and zero tolerance policies (ZTPs). Such systems have been implemented based on research that they have the capacity to train Black students to make appropriate decisions regarding their behavior. These systems are also reinforced under the notion that they create learning spaces which promote academic achievement. Due to their own experiences and understanding about how institutional practices and disciplinary interventions result disproportionately in oppression and violence against Black students, these educators disrupted these practices and utilized cultural approaches that centered Black-ness. In doing so, they were able to address behavior and affirm Black students' well-being. The cultural approaches conceptualized as disruptive pedagogies include aspects of othermothering, otherfathering, critical caring, sermonizing, womanist caring, and Black masculine caring. An analysis of the stories and counternarratives illustrated that Black principals, counselors, and teachers draw from the long tradition of Black resistance and Black radical leadership to create educational spaces that support both emotional well-being and academic excellence. Implications, recommendations and future research are discussed.

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<p>  </p> <p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p> <p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>