As for the name for the band, it had been bouncing around Zinta’s creative mind-studio for a few years. Zinta, who is also a graphic designer, liked the idea of a having a “tough bird thing that could look like feminine claws” and the silly spelling of the word Ruff brings in an almost antithetical element. The name of their EP, Tuff Stuff, is a quirky play on the silliness of words. As for Kate, when asked about her zombie apocalypse plan, she says she’d join Zinta’s bike gang. After spending some time with Zinta and watching her rock the stage live, so would I.
“The way that I was presenting it, or the way that people were accessing it felt a little unsatisfying,” she explained. Lin refocused her practice, https://www.sitelike.org/similar/comixgrrrlz.pl/ leading her to build quite an extensive collection of artists’ books, host bookmaking and zinemaking workshops, and participate in zine fairs across the country with her partner Eloisa Aquino, who is also an artist. Lin and Aquino publish some of their collaborative work under the name B&D Press.
Recent curatorial projects include three touring exhibitions,wnoondwaamin | we hear them,Recast andReading the Talk, and her upcoming projectCarry Forwardwill open at the Kitchener Waterloo Art Gallery in September 2017. She is Toronto and Port Severn based and is a member of Beausoleil First Nation. kumari giles is a queer, genderqueer, mixed, Sri Lankan multi-disciplinary artist, movement storyteller, logistics nerd and food enthusiast. As a survivor and space changer they believe in art and movement as a tool for empowerment and healing.
Elsewhere in Russia, a reform attempts to make algorithmic systems responsible for the circulation of ‘fake news’, but this law operates within a fraught political context. In this paper, I outline these reforms, develop a taxonomy of the dominant regulatory approaches and assess their effectiveness. It is worth noting that the Banff sessions quickly evolved into a series of onsite intensive discussions about social engineering , and community engagement . While feedback during and after the Summit noted that there was no funding provided to subsidize artistic, non-profit or civic actors to attend the event itself, none of the hybrid ways of convening on a face-to-face basis experienced at Banff could be undertaken at all in the year that followed.
She is a staff member for Montreal’s Center for Gender Advocacy and is one of the main advocates spearheading the current trial fighting for the rights of trans migrants, trans youth and non-binary individuals in the province. Kama’s work is grounded in the exploration of justice, love, healing, decoloniality, hybridity, cosmopolitanism and self- and collective-empowerment. They believe that aesthetic practices have the power to build resilience and act as resistance to the status quo, thereby enacting an anticolonial praxis through cultural production. when anger is all you know, anger becomes the only way through which we relate to one another. we find kinship in our shared rage, and when the bonds kinship fail us, we react with rage redoubled. one example of this is the much-critiqued “callout culture,” the practice of publicly denouncing one another for oppressive behavior – a practice that often strays from its intended purpose of creating accountability into the realm of bullying and political grandstanding. another is the intimate violence that occurs silently within our sexual and romantic relationships, the sexual assault and emotional/physical abuse that is so common yet so unacknowledged among us on the radical left. I was going to present something a bit more theoretical, and perhaps also a bit more coherent – a piece of persuasive writing about the devaluing of emotion in social justice organizing and why we need to centralize feelings of love and anger in our various movements.
More concretely, decision outcomes demonstrate that the property rights of the employer or larger professional bodies, is the principal issue guiding the types, and degrees, of penalties to which employees are subjected for expressing their voice. My paper will show why this concept should be updated to the principle of ‘deliberative sovereignty’ to ensure the integrity of a democratic public sphere. Drawing on the history and theory of the communicative public sphere, it will show how the concept of ‘deliberative sovereignty’ could effectively frame what is at stake for democratic life in the new digital environment and guide policymakers in the choice of effective policy instruments. Dong considers performance as an attitude rather than a medium, an ideology rather than a style, a situation rather than an action. She is interested in blurring boundaries between personal and political, between private and public, between performance and everyday practice. She often explores themes of “East/West” and “self/other” within the contemporary context of global feminism.
We do not throw the famous names to catch your attention, we invite guests who most importantly can offer something valuable to enrich the process. Adrian relished his roles as teacher and mentor, and he himself was driven to continuous learning both in academic contexts and through artistic residencies. We are interested in the quality of the awardee’s project idea and additionally we would also like this to be a developmental opportunity.
This summer, Vtape is supporting Phase 1 of curator/scholar Andrea Fatona’s crucial research project the State of Blackness Database. After 10 years of education and 25 years of employment within the fields of graphic arts and indigenous social work I believe I have enhanced my awareness of community needs that touches on all areas of life. I strive to connect on a level that does not interfere in personal healing and encourages goal setting to meet their needs. My experience involved printing, and design and layout in the past Tekawennake newspaper, child protection, domestic violence education, drug and alcohol addictions support and therapeutic support utilizing energy modalities.
Although we suggest that there is a public sharing at the end of the project we will work with the chosen artist to frame and contextualize the work in acknowledgment that given the project budget it may still be in process and development. The Adrian Howells Award for Intimate Performance is an opportunity for a Scottish based artist to develop and present a new performance based project in Glasgow and London. The Award aims to celebrate the intimate work that the Adrian pioneered and excelled at, as well as providing an opportunity to explore new territories in the field of one to one and intimate performance. Adrian Howells (1962–2014) was one of the world’s leading figures in the field of one to one and intimate performance. Over two decades he developed an artistic practice that focused on the particular power and transformative possibility that could be achieved through creating a profound, immediate and personal connection to his audiences.
ZOM-FAM was named a CBC Best Poetry Book and a Globe and Mail Best Debut of 2020. It was also a finalist for the Quebec Writers Federation Concordia University First Book Prize and the Writers’ Trust of Canada Dayne Ogilvie Prize for Emerging LGBTQ2S+ Writers. A theatre practitioner since the age of 15, Kama immigrated to India at the age of 18, and completed a BA in Literature and Cultural Studies at the University of Pune. During this time, they trained in contemporary dance, and Kathak under the mentorship of Pt.
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