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This dissertation focuses on the role of tradition and ritual in historically Black education, particularly combating the legacy of antiblackness in school discipline. The study argues for the use of prophetic disruptive rituals that are grounded in meaning, hope, and love. Using Morehouse College as a philosophical case study, the project draws on digital archival research to answer the central question: How can education empower students to resist the nihilism and despair resulting from continued racial oppression and instead look to the future with hope and imagination? The dissertation acknowledges the significant role of student agency and campus traditions in institutional life and aims to move beyond the deficit-laden approach to historically Black education. Ultimately, the study provides a framework for creating ensouling experiences that breathe life into dry bones.

Answering the call to decenter whiteness and coloniality within communication studies (#RhetoricSoWhite), this project attempts to reclaim space for indigenous knowledge and to serve decolonial struggles. Written as a project of love for my fellow indigenous scholars and peoples, I expand upon Tiara Na'puti's conceptualization of "Indigeneity as Analytic" and chart how indigenous Pacific Island decolonial resistance operates through a paradigm of decolonial futurity. By recognizing Guåhan (Guam), as well as Chamoru, bodies as (de)colonial borderlands, I demonstrate the radical potential of indigeneity through three different case studies. First, I name indigenous feminine style as a strategic mode of public address adopted by Governor Lou Leon Guerero to resist the spread of COVID-19 by US military personnel on the island of Guåhan. Second, I showcase how the process and practice of indigenous Pacific Island tattooing delinks away from coloniality. Finally, I demonstrate how the celebration of a Chamoru saint, Santa Marian Kamalen, provides a spatial-temporal intervention that articulates an indigenous religion and enacts a decolonial futurity.

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M. S.

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