Jamestown from the Lighthouse

Recherche-Création

“Being a mother entails an enormous amount of repetitive tasks. I became a maintenance worker. I felt completely abandoned by my culture because it didn’t have a way to incorporate sustaining work” -Mierles Ukeles

Recollections of My Life as a Woman: The New York Years

In Recollections of My Life as a Woman, Diane di Prima explores the first three decades of her extraordinary life. Born into a conservative Italian American family, di Prima grew up in Brooklyn but broke away from her roots to follow through on a lifelong commitment to become a poet, first made when she was in high school. Immersing herself in Manhattan’s early 1950s Bohemia, di Prima quickly emerged as a renowned poet, an influential editor, and a single mother at a time when this was unheard of. Vividly chronicling the intense, creative cauldron of those years, she recounts her revolutionary relationships and sexuality, and how her experimentation led her to define herself as a woman. What emerges is a fascinating narrative about the courage and triumph of the imagination, and how one woman discovered her role in the world.

Démarche de Kim-Sanh Chau

Chorégraphe active depuis 2015, j’ai à ce jour, présenté mes pièces au Québec et en Asie du Sud-Est, en théâtre (MAI, Tangente, SIDance Corée) et en galerie (L’Arsenal, The Factory Vietnam). J’ai aussi une activité en tant que travailleuse culturelle, interprète et réalisatrice vidéo. Bien que d’apparence dispersée, ces quatre pans sont en réalité combinés et dirigés vers l’accomplissement de ma démarche professionnelle. Ainsi, mon travail scénique et vidéo se concentre sur la création d’onirismes, ancrés dans un passé aux identités colonisées et un futur fictionnel et fantasmé. Ces processus sont la fois vecteurs d’échappées, et de révélations. Un profond souci d’équité, d’antioppression, et surtout de partage et de collaboration, anime l’ensemble de mes actions. En surface, je crée et diffuse mes pièces, puis sous les flots je tisse des projets secrets, dont une chaine souterraine de dialogues entre artistes en danse du Tiers-Monde et un site web éphémère recensant des œuvres censurées.

Épisode 26 : L'économie selon... Amandine Gay

A travers deux documentaires et un essai, Amandine Gay montre comment facteurs culturels, sociaux mais aussi économiques pèsent sur les destinées des femmes, de la naissance aux choix de carrière, et plus particulièrement dans l’économie culturelle.

Ocean Vuong | On Earth We’re Briefly Gorgeous

Join us in the Rare Book Room as Ocean Vuong sits down with multi-award-winning author Jacqueline Woodson to discuss his shattering new book. 

PRÉAMBULE 21.22 | 6 : Châu Kim Sanh (Équivoc’) - BLEU NÉON

Dans un Vietnam lointain et fictionnel, se croisent des échos de musique pop sur cassettes et de rap vietnamien actuel. Châu Kim Sanh y traverse des états de corps générés par la présence de néons colorés. 

Towards what justice? Describing Diverse Dreams of Justice in Education

Toward What Justice? brings together compelling ideas from a wide range of intellectual traditions in education to discuss corresponding and sometimes competing definitions of justice. Leading scholars articulate new ideas and challenge entrenched views of what justice means when considered from the perspectives of diverse communities. Their chapters, written boldly and pressing directly into the difficult and even strained questions of justice, reflect on the contingencies and incongruences at work when considering what justice wants and requires. At its heart, Toward What Justice? is a book about justice projects, and the incommensurable investments that social justice projects can make. It is a must-have volume for scholars and students working at the intersection of education and Indigenous studies, critical disability studies, climate change research, queer studies, and more.

Living a Feminist Life

In Living a Feminist Life Sara Ahmed shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work. Building on legacies of feminist of color scholarship in particular, Ahmed offers a poetic and personal meditation on how feminists become estranged from worlds they critique—often by naming and calling attention to problems—and how feminists learn about worlds from their efforts to transform them. Ahmed also provides her most sustained commentary on the figure of the feminist killjoy introduced in her earlier work while showing how feminists create inventive solutions—such as forming support systems—to survive the shattering experiences of facing the walls of racism and sexism. The killjoy survival kit and killjoy manifesto, with which the book concludes, supply practical tools for how to live a feminist life, thereby strengthening the ties between the inventive creation of feminist theory and living a life that sustains it.

Towards Arabfuturism

It is hoped that, by increasing deposits, digital or otherwise, these ideas can contribute to a growing counterculture of thought and action that through time will be found and used in the construction of alternative states of becoming.

Understanding Patriarchy

Patriarchy is the single most life-threatening social disease assaulting the male body and spirit in our nation. Yet most men do not use the word “patriarchy” in everyday life. Most men never think about patriarchy—what it means, how it is created and sustained. Many men in our nation would not be able to spell the word or pronounce it correctly. The word “patriarchy” just is not a part of their normal everyday thought or speech. Men who have heard and know the word usually associate it with women’s liberation, with feminism, and therefore dismiss it as irrelevant to their own experiences. I have been standing at podiums talking about patriarchy for more than thirty years. It is a word I use daily, and men who hear me use it often ask me what I mean by it.

The Gig Economy: WTF? Precarity and Work under Neoliberalism

A Phenomenology of Whiteness (suggestion by James Oscar)

“The world too is inherited as a dwelling. Whiteness might be what is ‘here’, as a point from which the world unfolds, which is also the point of inheritance. If whiteness is inherited, then it is also reproduced. Whiteness gets reproduced by being seen as a form of positive residence: as if it were a property of persons, cultures and places. Whiteness becomes, you could even say, ‘like itself’, as a form of family resemblance. It is no accident that race has been understood through familial metaphors in the sense that ‘races’ come to be seen as having ‘shared ancestry’ (Fenton, 2003: 2).”