Outside the space of this text, these nine contributors maintain creative practices that challenge social norms and customs in very different ways. Nevertheless, throughout the discussion, they are linked together by a common interest in forms of ethical-political engagement that are both radically inclusive and unashamedly disobedient. In a world where our eyes are more often fastened to our electronic devices rather than making real contact with the humans around us, the work of Patsy Van Roost — also known as “The Mile End Fairy” — seems almost magical. In 2013, she began clandestinely orchestrating small artistic participative actions with the hope that each one would get her neighbours to look up, begin to talk and build a community as they wondered about the art and the person behind it. Using simple materials from her studio, Van Roost inspired community members through devices that were not made with wires or chips but rather silk screens, stitching and stencils. Persian classical music has a rich tradition relying on improvisation and composition, with lyrics drawn from renowned medieval poets such as Rumi, Hafez or Sa’adi.
Undeterred by these letters and the mounting opposition, the government stood firm and funded the festival anyway. Eight such oppositional letters made their way to Manitoba’s Ministry of Culture, Heritage, and Recreation in 1987 after an article about Canada’s first annual queer film festival, Counterparts, was published in the Winnipeg Free Press. That’s little consolation for La Mackerel, who is also the founder of the Montreal-based Qouleur festival celebrating queer, trans, and two-spirited people of colour. Lindsay Nixon is a Cree-Métis-Saulteaux curator, editor, award-nominated writer and art history grad student. They currently hold the position of Indigenous Editor at Large for Canadian Art, and are the editor of mâmawi-âcimowak, an independent art, art criticism and literature journal. Nixon’s writing has appeared in Malahat Review, Room, GUTS, Mice, esse, The Inuit Art Quarterly and other publications. Their forthcoming creative non-fiction collection, tentatively titled nîtisânak, is to be released in spring 2018 through Metonymy Press. For the past 8 months, multi-disciplinary artist and arts facilitator, Kama La Mackerel, has been in residence at the Faculty of Education at McGill University.
Richard Martel
She developed the idea of representation as a political tool to give visibility to those made invisible by dominant ideologies. In her newer works, she views the body as a bridge connecting East and West, past and present, creating a new version of hybridity and striving to transcend and mend. Kalli Dakos is the best-selling author of over 2,000 poems about elementary school life. Jamaal Jackson Rogers is a nationally recognized artist, entrepreneur and arts educator, and Ottawa’s English Poet Laureate. Ottawa poet David Groulx speaks with black humour and raw beauty of the strength of scarred experience. As a gay man living in an intolerant country, Al-Solaylee escaped first to England and eventually to Canada, where he became a prominent journalist and academic. While he was enjoying the cultural and personal freedoms of life in the West, his once-liberal family slowly fell into the hard-line interpretations of Islam that were sweeping large parts of the Arab-Muslim world in the 1980s and 1990s.
- She is particularly interested in understanding the sexuality of asylum by focusing on “power geometries” and normativities concerning queer asylum.
- Guy speaks Spanish and Portuguese fluently and locates much of his research in Latin America.
- Back in August 2013, the Centre filed a complaint against the Quebec Human Rights and Youth Rights Commission, stating that these gender articles were discriminatory.
- June was a fantastic month for queers, at least in Ontario, https://www.gradaperture.com/post/cinema-politica-the-same-difference-pariah where both a transgender human rights bill and an anti-bullying bill were passed in the legislature after long battles.
Pamela Swett, dean of the Faculty of Humanities, received her undergraduate training at Bryn Mawr College and completed her graduate degrees at Brown University. Her research and teaching interests lie in 20th-century German and European social and cultural history. My community involvement is with the Patient and Family Advisory Board at the local hospital; and 20 years on a cultural and media innovations board, and presently with a Circle of Reconciliation. Robin Nelson is an Assistant Professor at MacEwan University, teaching in Arts and Cultural Management. They have a PhD in Public Administration from the University of Ottawa where they documented Ontario community museum governance. Robin’s ongoing research focuses on community museums, heritage commemoration policies, and the role of professional networks in the cultural sector. Lise Ann Johnson is the Director of Strategic Granting Initiatives at the Canada Council for the Arts. Her responsibilities include the delivery of funding that supports the digital transformation of the arts sector in Canada.
International Jazz Festival
She is a founding member and the current vice-President of a non-profit organization, Connecticut Latina/os Achieving Rights and Opportunities , devoted to Latina/ o gender and sexual rights as well as social and economic justice. She also serves on the International Editorial Board of the journal Sexuality Research and Social Policy. Building on her previous research on the work of West African photographer Alphonso Lisk-Carew, Julie Crooks looks at studio portrait practices from a Black Atlantic context where portraiture was used for commemoration and in the formation of new social identities. Her lecture will examine the ways in which Blacks, by the mid- to late nineteenth century, in settlements throughout Southern Ontario, adopted photography as a critical and powerful tool for self-representation.