His work interrogates the multi-scalar incursion of borders within US private sphere, along with trans/border travel of LGBT rights rhetoric. He has worked for over 16 years across two continents in the “civil society sector.” In 1994 Debanuj founded the first HIV prevention program for men-who-have-sex-with-men in Kolkata, India. His work in the US has largely been within the environmental rights, sexual rights and immigrant rights movements.
Voyageur, Métis and First Nations histories are brought back to life, not only through the historical interpretation offered inside reconstructed Fort Gibraltar, but also through the many attractions inside Voyageur Park and at the festival’s various official sites. Qouleur supports two artists in residence, who were featured at this year’s festival. Beginning the week was also keynote speaker Kim Katrin Milan, co-founder of The People Project who gave a speech on the theme legacies. It is a priority for CBC to create a website that is accessible to all Canadians including people with visual, hearing, motor and cognitive challenges.
When Pride Turns To Vanity: The Case Against Fierté Montreal
The paper’s central argument asserts that there is a disconnect between how musicians see themselves and conceptualize their labour practices, and how industry officials understand and characterize musician labour. Applying the theories of McLuhan—in particular the ones about space, borders, environment/anti-environment and https://www.gradaperture.com/post/cinema-politica-the-same-difference-pariah change—we will consider how he dealt with questions of individual and collective rights in the face of media change. Women have moved into key creative positions in the Canadian film and TV industry and they’re getting significantly more government funding for productions. Making such inroads in the traditionally male-dominated screen industry has been a long fight.
Cherish enjoys traditional hand drumming, contemporary singing and has trained with Micah Barnes at the Banff Centre Vocal Intensive. Working within the gap between body as material and body as experienced reality, Dong has estabilished the body—often her own body—as a visual territory in her work and a primary material to activate social commentary on immigration, race and gender. With Varro curating performance art alongside film screenings in 2016, along with bringing filmmaker John Waters – well known for his transgressive and politically volatile films – to Regina in June 2017, we just might see a reinvigoration of the QFF scene on the Prairies and elsewhere. Corporations do not openly control programming, but many organizers are attuned to the kind of homonormative and neoliberal diversity politics large corporations tend to support.
Indigenous Activists Decry Lack Of Government Action Ahead Of 11th Annual Mmiwg2s Vigil
So, instead, I’m going to share some tangentially related thoughts – better yet, some feelings – the most I can muster together this week on the thought of rage and love. McGill University is one of Canada’s best-known institutions of higher learning and one of the leading universities in the world. With students coming to McGill from some 150 countries, our student body is the most internationally diverse of any research-intensive university in the country. McGill was founded in 1821 thanks to a generous bequest by James McGill, and since then, we’ve grown from a small college to a bustling university with two campuses, 11 faculties, some 300 programs of study, and more than 37,500 students. The University also partners with four affiliated teaching hospitals to graduate over 1,000 health care professionals each year.
Sensibility and reason are their sworn enemies, which they regularly trounce at all opportunities. This EAHR Speaker Series event is made possible with the support of The Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and the Department of Art History at Concordia University. EAHR gratefully acknowledges Bryan Jim for the design of the catalogue, along with the support of Artexte, the Concordia University Department of Art History, and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. The catalogue and launch party are made possible with the further support of the Faculty of Fine Arts Dean’s Discretionary Fund.