Symboles de Résistance / Symbols of Resistance

Nous avons le plaisir de présenter 
SYMBOLES DE RÉSISTANCE 

Une exposition célébrant la convergence d’Artistes Noir.e.s et leurs Histoires
Galerie Mile-End, 5 3 4 5 ave du Parc

Vernissage: Jeudi 1er février, de 18h à 21h
Exposition: 1er au 28 février 2018

Horaire de la galerie pour le mois de février:
jeudi 15h à 19h
vendredi 15h à 19h
samedi 13h à 17h
dimanche 13h à 17h


// We are pleased to invite you to
SYMBOLS OF RESISTANCE

An Exhibition Celebrating the Convergence of Black Artists and their Stories
Galerie Mile-End, 5 3 4 5 ave du Parc

Opening: Thursday February 1, 6-9pm
Exhibition: 1 to 28 February 2018

Gallery hours for the month of February:
Thursday 3-7pm
Friday 3-7pm
Saturday 1-5pm
Sunday 1-5pm


L’exposition se tiendra tout au long du mois de février et présentera le travail d’artistes visuels Montréalais s’identifiant Noires qui explorent l’identitée Noire et les facettes de sa représentation. L’art a été créé pour communiquer des histoires et des perspectives communautaires pour exprimer l’identité noire à Montréal en relation avec les thèmes croisés: femmes, diaspora, résistance, communautés LQBTQ, immigration, espace, familles.

Cet événement artistique aura lieu sur le territoire traditionnel et non cédé des Kanien’kehá:ka sur l’ïle tio’tia:ke, renommé Montréal suite à sa colonisation.

// This month-long exhibition features the work of Black-identified, Montreal-based visual artists exploring Black identity and the diverse facets of its representation. The art has been created to carry community stories, histories and perspectives in order to express Black identity in Montreal in relation to the intersecting themes of women, diaspora, resistance, LQBTQ communities, immigration, space, families.

This art event is taking place on the traditional and unceded territory of the Kanien’kehá:ka people on the island of tio’tia:ke, renamed Montreal under settler-colonialism.


PRÉSENTANT // FEATURING 

KAY NAU 
Kay Nau est une illustratrice queer, non binaire et handicapée de Montréal-Nord. Extrêmement influencée par l’art séquentiel, son œuvre est une exploration du travail de la ligne et de l’espace négatif. Elle est présentement à la pige tout en travaillant sur ses nombreux projets de bande dessinée, de zines et d’illustrations. Vouz pouvez voir son travail sur thecreativekay.com

// Kay Nau is a queer, non-binary and disabled character illustrator based in Montreal-Nord. Their work is an exploration of lineart and negative space heavily influenced by comic art. They’re currently working on various comics, zines and illustration projects while freelancing on the side, you can view her work at thecreativekay.com
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G L O W Z I 
G L O W Z I utilise des médiums artistiques mixtes afin de créer des oeuvres dans lesquelles elle transmet au public ses façons de penser, ses difficultés, ses succès et ses échecs. Vous pouvez voir son travail sur instagram @_n.w.a.r._ et @glowzi

// G L O W Z I uses mixed medias to create her pieces in which she conveys the audience to her ways of thinking, struggles, successes and failures. You can view her work on instagram @_n.w.a.r_ and @glowzi
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SIKA VALMÉ
Musicienne et artiste visuelle, les créations de Sika Valmé donnent voix au mutisme, transpirent une force introspective et une conscience intersectionnelle misant sur identités et émotions humaines. Couleurs envoutantes, à mi chemin entre réalisme subjectif et abstrait organique. Son portfolio coloursandsound.ca

// As a musician and visual artist, Sika Valmé’s creations give voice to muteness, they divulge an introspective strength and intersectional consciousness based on identity and human emotions. Captivating colours half way between organic abstract and subjective realism. You can view her portfolio at coloursandsound.ca
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VALÉRIE BAH
Valérie Bah est une photographe et vidéogaphe noire et queer. Vous pouvez voir son travail à valeriebah . com ou sur l’instagram @valbah.

// Valérie Bah is a queer Black photographer and videographer. You can view her work at valeriebah . com or on instagram @valdbah.
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CHELSY MONIE
Ubuntu Talks est une plateforme qui aspire à créer des représentations positives de corps Noires dans les médias. Elle a été créée par Chelsy Monie, une étudiante en Communications et en Histoire de l’Art, qui était insatisfaite par les représentations négatives ou le manque total de représentation des expériences noires dans les médias. Ubuntu Talks challenge ces images injustes tout en présentant et célébrant les identités noires en explorant diverses identités et expériences mondiales. Vous pouvez voir le travail de Chelsy sur ubuntutalks.org

// Ubuntu Talks is a platform that strives to create positive representations of Black bodies in the media. It was created by Chelsy Monie, a Communications and Art History student, who was unsatisfied with the negative representations, or total lack of representation, of black experiences in the media. Ubuntu Talks challenges these unjust images, while showcasing and celebrating Blackness by exploring various identities and experiences worldwide. You can view Chelsy’s work at ubuntutalks . org
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PO B. K. LOMAMI 
Po B. K. Lomami est une activiste, coordinatrice de projets socio-artistiques, écrivaine, musicienne et créatrice de zine Congodescendante de Belgique. Ses travaux traitent de queer·genre·handicap·négritude, diaspora·transmission·déplacement·perte, représentation·narration·action·résistance et clandestinité·alternative·temps·espace à travers les langages, les médias et les corps et avec un agenda anticolonial, afrofeministe et anticapitaliste. pobklomami.org (en construction)

// Po B. K. Lomami is an Congodesendant activist, socio-artistic project coordinator, writer, musician and zine maker from Belgium. Her work deals with queerness·gender·disability·négritude, diaspora·transmission·displacement·loss, representation·narration·action·resistance and underground·alternative·space·time through languages, media and bodies with an anticolonial, afrofeminist and anticapitalist agenda. pobklomami.org (in contruction)
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CARL-PHILIPPE SIMONISE
Carl-Philippe Simonise est un cinéaste et artiste visuel montréalais. Né à Port-au-Prince, il déménage au Québec en 1999 pour des études universitaires qu’il fera à l’UQAM, en informatique, puis en cinéma. En 2016, Il est directeur photo et co-auteur de la série documentaire ’Black Wealth Matters’. Il travaille depuis 2012 sur son premier long métrage de fiction, ‘L’arme sismique’. Il est membre du collectif d’artistes Atelïer Good People. Vous pouvez voir le travail de Carl-Philippe sur carlphilippesimonise.com

// Carl-Philippe Simonise is a Montreal-based filmmaker and visual artist. Born in Port-au-Prince, he moved to Quebec in 1999 to pursue university studies at UQAM in Computer Science, and then Screenwriting. He is co-author and director of photography of the documentary series ‘Black Wealth Matters‘. He has been working since 2012 to complete ‘Earthquake Weapon’, his first feature fiction. He is a member of the artist collective Atelïer Good People. You can see more of Carl-Philippe’s work at carlphilippesimonise.com
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AÏSSATOU DIALLO (EYESSA2)
AÏssatou Diallo, (prononcez EYE-SSA-TOO) est une designer graphiste et programmeuse web basée à Montréal depuis 7 ans. Née et élevée en Guinée, c’est une artiste visuelle multidisciplinaire et autodidacte qui allie les dessins digitaux, a la peinture acrylique. Son objectif, mettre en avant l’identité, la beauté et la force de la femme noire. Employée a son propre compte, vous pouvez voir ses creations via son Instagram (@eyessa2) et très prochaine sur la plateforme BLENDBOXX ou elle s’emploiera à créer des contenus digitaux pour les créateurs afros et en faveur de la découverte de la culture africaine.

// AÏssatou Diallo is a graphic designer and web programmer based in Montreal since 2011. Born and raised in Guinea, she is a multidisciplinary and self-taught visual artist who combines digital drawings with acrylic paint. Her goal is to highlight the identity, beauty and strength of the Black woman. Self-employed, you can see her creations via her Instagram (@eyessa2) and very soon on the BLENDBOXX platform where she will work to create digital content for afro creators working towards the discovery of African culture.


L’ACCESSIBILITÉ // ACESSIBILITY 

Cet événement est gratuit et ouvert à toutes les communautés et est aussi un endroit qui souhaite la bienvenue aux enfants. La sale d’exposition est accessible aux personnes en fauteuils roulants. N’hésitez pas à nous contacter vos questions à propos de l’accessibilité de la sale ou pour plus d’information à cfar@concordia . ca

// This event is free and open to all community members and is a child-friendly space. The showroom is accessible to people using
wheelchairs and other mobility aids, the washroom is gender neutral but not wheelchair accessible. Please don’t hesitate to contact us at cfar@concordia . ca with questions about accessibility or for more information.


LE PATRONAGE // SPONSORSHIP

Nous voulons remercier nos sponsors pour avoir rendu cet événement possible

// We would like to thank our sponsors for making this event possible:
Concordia Student Union
Sustainability Action Fund
Concordia Graduate Student Association
Office of Community Engagement
The Critical Feminist Activism and Research Project
The Simone de Beauvoir Institute

Call for Submissions for Montreal Black Artists-in-Community Residency / Demande de Soumission pour une résidence d’artiste-en-communauté pour des artistes Noires de Montréal

*français à suivre*


CALL FOR SUBMISSIONS

Critical Creations and C-FAR present a call for submissions for a 15-week Montreal Black Artists-in-Community Residency, which will culminate in month long exhibition at the Mile-End Gallery in February 2018

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Our Montreal Black Artists-in-Community Residency is a themed program, which centers on Black identity in Montreal. We call our program an ‘artist-in-community residency’ as a way of inviting Montreal’s Black artists to engage and create for/with their community(ies). During the residency, artists will work on creating art that carry community stories, histories and perspectives. We are looking for artists who are interested in expressing Black identity in Montreal in relation to intersecting themes such as Cultural History, Women, LGBTQ, Immigration, Incarceration, Employment, Families and Profiling.

This artistic collaboration is meant to be a catalyst to strengthen relationships within the Montreal Black community(ies) and generate constructive dialogue with peripheral communities. We aim to provide resources and space in order for these meaningful exchanges to prevail.

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We are welcoming submissions by Black-identified visual artists based in Montreal. The program is designed for emerging artists but we also welcome applications from established artists who would like to engage with the themes proposed. An ideal candidate is self-directed, able to work independently, and willing to work alongside the other artists in residence to create art for social impact.

We are accepting applications from visual artists whose work, across various media, translates well into 2D format, (for example paint, graffiti, collage photography, mixed media, graphic art, etc.) since the works will be documented and printed into large-format posters. The original works will be showcased during a month-long exhibition in Black History Month (February 2018) at the Mile-End Gallery (5345 Ave. du Parc). After which the exhibition posters will go on an exhibition tour through Black community centers in Montreal from March 2018 to January 2019

During the Black history month exhibition, we will be facilitating workshops and other public programming that speak to the same themes addressed in the participating artists’ work.

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Participating artists will benefit from:

A $500 honorarium, 3 artist workshops, access to studio space and design lab as needed, up to 200$ in materials and supplies as needed and the cost of printing final poster for exhibition tour.

The residency is scheduled to begin on Saturday Nov.18th 2017. Artists will then have 8 weeks to create their pieces, 3 weeks to prepare for the exhibition, and 4 weeks of exhibition. Artists will have the opportunity to make their own production schedule but are expected to attend all the artist workshops, which are tentatively scheduled on Saturdays (Nov.18th 2017, Dec. 2nd 2017, Jan.13th 2018). If you have a standing commitment which conflicts with this schedule, please specify these conflicts in your application.

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Please send your applications to us at critical.creations.critique@gmail.com 

Submission deadline is 11:59pm November 1, 2017

Your applications should include a short artist’s bio, 3-5 relevant samples of your work, and approx. 250 words on your relationship to Black Identity in Montreal.

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We thank you for your time and look forward to your submissions

Please feel free to share this call-out far and wide.

If you any have questions please don’t hesitate to contact us at critical.creations.critique@gmail.com

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This residency is a Critical Creations & C-FAR (Critical Feminist Activism and Research) collaboration presented by Annick MF and Meghan Gagliardi

 


DEMANDE DE SOUMISSIONS

Créations Critiques et C-FAR présentent une demande de soumissions pour une résidence d’artiste-en-communauté de 15 semaines pour des artistes Noires de Montréal, qui aboutira à une exposition d’un mois à la Galerie Mile-End en février 2018

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Notre résidence d’artiste-en-communauté est un programme thématique axée sur l’identité noire à Montréal. Nous appelons notre programme une résidence «d’artiste-en-communauté» pour inviter les artistes à créer pour/avec leur(s) communauté(s). Au cours de la résidence, les artistes seront invités à créer des pièces épaulant des histoires et perspectives communautaires. Nous chercherons des artistes intéressées à exprimer l’identité noire à Montréal en relation avec des thèmes entrelacés comme l’immigration, l’incarcération, l’emploi, les familles, les femmes, les LGBTQ, et le profilage.

Le but de cette collaboration artistique est de contribuer à la fortification des relations au sein de la communauté noire de Montréal et générer un dialogue constructif avec les communautés périphériques. Nous visons à fournir des ressources et de l’espace afin que ces échanges significatifs puissent prévaloir.

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Nous accueillons des soumissions d’artistes visuels s’identifiant Noir(e)s et basé(e)s à Montréal. Le programme est conçu pour les artistes émergents, mais nous accueillons également les applications d’artistes établis qui souhaitent travailler sur les thèmes proposés. Un candidat idéal est autodirigé, est capable de travailler de façon autonome et est disposé de travailler aux côtés des autres artistes résidents pour créer de l’art avec un but d’impact social.

Nous acceptons les applications d’artistes visuels dont le travail, à travers différents médias, peut se traduire en format 2D (par exemple, la peinture, le graffiti, le collage, la photographie, les médias mixtes, l’art graphique, etc.), puisque les pièces originales seront documentées et imprimées sur des affiches en grand formats. Les œuvres originales seront présentées lors d’une exposition d’un mois pendant le Mois de l’histoire des noirs (Février 2018) à la galerie Mile-End (5345 ave. du Parc). Par la suite, les affiches d’exposition feront une tournée d’exposition dans des centres communautaires Noirs de Montréal (de mars 2018 à janvier 2019)

Au cours de l’exposition du mois de l’histoire des Noirs, nous allons présenter des ateliers et d’autres activités publiques qui s’articulent sur les mêmes thèmes abordés dans le travail des artistes participants.

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Les artistes participants bénéficieront de:

Un honoraire de 500$, 3 ateliers d’artistes, accès à un studio d’artiste et d’un laboratoire de conception (au besoin), jusqu’à 200$ en matériaux et fournitures selon les besoins et l’impression de l’affiche finale pour la tournée d’exposition.

La résidence débutera le samedi 18 novembre 2017. Les artistes auront alors 8 semaines pour élaborer leurs pièces, 3 semaines pour préparer l’exposition et 4 semaines d’exposition. Les artistes auront l’opportunité de faire leur propre horaire de création, mais devront assister à tous les ateliers d’artistes, qui sont provisoirement programmés les samedis (le 18 novembre 2017, le 2 décembre 2017, et le 13 janvier 2018). Si vous avez un engagement qui est en conflit avec ce calendrier, veuillez spécifier ces conflits dans votre application.

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Veuillez envoyer vos soumissions à critical.creations.critique@gmail.com

Date limite de soumission est le 1er novembre 2017 à 23h59

Vos applications devraient inclure une courte biographie d’artiste, 3-5 échantillons d’œuvres pertinents, et environ 250 mots sur votre relation avec l’identité Noire à Montréal.

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Nous vous remercions de votre temps et attendons vos soumissions. N’hésitez pas à partager cet appel.

Si vous avez des questions, n’hésitez pas à nous contacter à critical.creations.critique@gmail.com

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Cette résidence est une collaboration de Créations Critiques & C-FAR (Critical Feminist Activism and Research) présentée par Annick MF et Meghan Gagliardi

feminist university seminar.

C-FAR has been collaborating with faculty across Concordia University to build our first undergraduate social action research course out of the Simone de Beauvoir Institute. This 6 credit, year-long course will be running through FW17-18, if you have questions about how to register for the course or are looking for more information please reach us at cfar@concordia.ca Continue reading “feminist university seminar.”

“I’ve never glimpsed safe teaching (and learning) space. It is a white fantasy that harms”, Katherine McKittrick.

Katherine McKittrick works in black studies, anti-colonial studies, cultural geographies and gender studies. McKittrick’s interdisciplinary work attends to the links between epistemological narrative, social justice, and creative texts. McKittrick’s work has influenced and challenged the work we do with C-FAR and how we perceive our transformative goals by complicating our assumptions of what exactly we are and should be striving for, especially in the context of fostering academic ‘safe spaces’. In this 2013 interview with Peter James Hudson, McKittrick responds to Hudson’s following question on the topic:

“On twitter, you (depressingly, brilliantly) wrote, “I’ve never glimpsed safe teaching (and learning) space. It is a white fantasy that harms.” I’m wondering if you could expand on that as it pertains to the Black student in Canada? How does such a vexed space inform your own pedagogical practice?”

Continue reading ““I’ve never glimpsed safe teaching (and learning) space. It is a white fantasy that harms”, Katherine McKittrick.”

‘On Being Included’ (and other works) by Sara Ahmed.

Sara Ahmed is an independent scholar working at the intersection of feminist, queer and race studies and has interrogated the mainstream discourses of inclusion and diversity in the university which have served to perpetuate racism in the academy rather than address or interrupt it. She builds this critique of institutional commitments to ‘diversity’ most notably in her 2012 book On Being Included: Racism and Diversity in Institutional Life

We have used Ahmed’s work to think through the potential of institutional transformation and what gets in its way, she helps us in many ways to recognize and interrogate the ‘walls that come up’ in striving for justice and equity in our universities.

Another great resource for exploring some of Ahmed’s ideas outside of her books and articles is through her feministkilljoys blog, the posts are a more accessible alternative for accessing some of the thinking that informed On Being Included.  Continue reading “‘On Being Included’ (and other works) by Sara Ahmed.”

‘Access Intimacy: The Missing Link’, by Mia Mingus.

This piece, by Mia Mingus, was shared with us by Aimee Louw, a freelance journalist, writer, consultant, filmmaker, and radio host. Aimee has worked with us in the past with accessibility in the university and is part of the growing accessibility advocacy community in Montreal and Canada, focusing on accessible transit and cultural spaces, and participating in consultations with the Federal Government on forthcoming accessibility legislation. After co-facilitating our inter-realities community consultation, Aimee offered us this piece of writing for reflection, feeling that it aligned with what was shared during our open discussion.

Mia Mingus is a national disability justice and transformative justice leader, writer, educator and community organizer. In the piece Access Intimacy: The Missing Link Mingus builds up an understanding of access intimacy which Mingus describes as:

“that elusive, hard to describe feeling when someone else “gets” your access needs.  The kind of eerie comfort that your disabled self feels with someone on a purely access level.  Sometimes it can happen with complete strangers, disabled or not, or sometimes it can be built over years.  It could also be the way your body relaxes and opens up with someone when all your access needs are being met. It is not dependent on someone having a political understanding of disability, ableism or access. Some of the people I have experienced the deepest access intimacy with (especially able bodied people) have had no education or exposure to a political understanding of disability”.

Mingus’ access intimacy describes and gives words to the trust necessary to the process of building accessibility in our spaces and relationships. In building up this ‘elusive concept’, Mingus offers us a new lens through which to understand and strive for access. And while Mingus is speaking explicitly from personal lived experiences as a physically disabled person, Mingus’ understanding of access intimacy can extend between communities and their intersections, it can:

“also happen in many different ways for mamas and parents, women of color, queer and trans folks, etc…  Anyone can experience access intimacy”.

The rest of the article is worth checking out as a tool and as something to consider for integrating into all of our organizing work. The rest of Mingus’ blog is also an incredible resource for those hoping to learn more about disability justice and strategies for understanding and interrupting ableism in the university but also and especially in our own communities and movements.

‘Displacement, Migration and Student Reality/Identity’, by Christelle Saint Julien.

This essay, Displacement, Migration and Student Identity/Reality, was shared with us by Christelle Saint-Julien, as her contribution to our bordered-realities community consultation. Christelle is a Montreal-based writer, translator, poet, musician, blogger and editor-in-chief of literary blog Le Shindig. You can find the original online publication here alongside the image created for this piece by Mackenzie Teek.

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I was born in Montreal in 1991.

Before settling here, my parents emigrated from Haïti. My mother, who came here a few decades later than my father, settled in Quebec in 1990. She came to build a new life and learn a culture while simultaneously learning how to raise children.

I graduated from high school in 2008, from Dawson College in 2010 and from Concordia University in 2013.

I am fortunate to be able to say that I am someone who knows herself really well. This partly comes from having been grown with a little, close-knit circle of two parents, and two brothers that I’m very close in age with. No extended family within the same country, very little outside role models, and yet — a lot of freedom. Such a peculiar setting left a lot of place for introspection, especially if you are ‘’different” from the few figures of your immediate circle, like an ugly duckling figuring out how to become a beautiful black swan.

My parents, bless them, taught me to embrace every aspect of my uncommon personality while trying to make me a functional member of society. They did so unconsciously, to the best of their ability and instinct, with no resources, help or family to guide them. Now as an adult, I can recognize how, from these sacrifices and my education, I will never be as bereft as they were, not that they knew this.

This pair raised me to be independent, to always make the best use of my intelligence and talent, to protect myself from outside adversity, to be a good citizen and a feminist. A recluse upbringing only made me realise very late in life that in the places I would navigate, I would often be referred to as other due to my traits and the colour of my skin.

Outside of travelling (in planes, cars, busses, trains, books, music, art and on the internet), all I have known is Montréal, Québec. Before graduating university, I had spent 17 years straight in school. Believe me, I loved school. I was one of these kids (and later, adults) who just loved learning. A curiosity that is insatiable, an introvert personality, a positive, idealist mindset, and also, a strong aptitude for academic subjects, and a notorious stubbornness that pushes me to finish what I started. The latter statements weighs the most in my many contemplations of dropping out, but I did not. Even despite debt from having no outside financial support.

I will always considered the schools I went to as my homes. However, coming from intergenerational displacement, I always felt misplaced within the establishment to which I paid tuition and spent countless hours of my young life.

Jump ahead to now.

I did not learn about about the 1969 Sir George Williams events on the 9th floor of the Hall building until last year, when I went to a screening of the movie Ninth Floor by Mina Shum at Cinema Du Parc. I found out about the movie browsing the theatre’s schedule. This is the school I attended. The real-life protagonists in the movie could have been my father, who moved to Montreal four years after the events took place.

The only places I found some kind of identity relief were in the Caribbean and African literature which changed my life, or in the (non-classical) music history that I devoured.

I have mostly been the sole black female student for most of my academic journey. This is due to several different factors, from the demographic to cultural, from my interests to systemic stereotypes.  But that doesn’t mean anything. In a classroom, the students are not the teachers. Academic institutions, at least at the time I attended, did not have a perspective that reflected their clientele — a diverse, mixed-background pool. As if the Canadian academic curricula and values, or to a lesser extent Montreal were exclusively white, when these places were built thanks to the contributions of different communities. So, we are taught critical thinking in school, but also that your point of view does not apply.

Such a divide is real, although intangible. Before I was able put words on it, I was discouraged from pursuing graduate studies. From my biased point of view, the professional world was somewhat more inclusive — in the sense that you can select the people you collaborate with. So, I migrated.

However, I am an example of success — I have a great career, I have the chance to lead and take part of amazing projects that I am so fond of, and I pursue artistic endeavours with enthusiasm and passion. I am constantly counting my blessings. I have the privilege to be able to voice my thoughts and opinions.

My story is boring. So is my parents’. It is a story of hard work, resilience and erasure — an experience and perspective that can only be accounted for through oral tradition, it seems. But also, it has been a good life, in so many ways.

So many things have changed since I have left school. For these reasons, I don’t have many solutions to propose. I only have a few observations.

Such projects as the Critical Feminist Activism in Research are crucial and cannot remain insular. It is our obligation and duty to make these viable, enforced, and diffused campus-wide. We must not pat ourselves on the shoulder congratulating ourselves for the work well done from the sole intention of wanting to change things.

We cannot solely count on the willingness and diligence of students to reach out, join and take part. Resources and news have to travel cross-departmentally — use a newsletter, social media, I don’t know. If we want to know who our students are, we have to get at them.

Or else, mandates are changed, but customs are not. And when that happens, we find ourselves guilty by the law of association. There is a future in our hands.