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Sex workers are subjects of intrigue in urban and creative economies. Tours of active, deteriorating, or defunct red-light districts draw thousands of tourists every year in multiple municipalities around the world. When cities celebrate significant anniversaries in their histories, local sex worker narratives are often included in arts-based public offerings. When sex workers take up urban space in their day-to-day lives, however, they are criminalised. Urban developers often view sex workers as existing serviceably only as legend. A history of sex work will add allure to an up-and-coming neighbourhood, lending purpose to its reformation into a more appropriately productive space, but the material presence of sex workers in these neighbourhoods is seen as a threat to community wellbeing and property values. This paper considers how sex workers, continuously displaced from environments they have carved out as workspaces, may use the arts to draw attention to these ongoing contradictions. It investigates how sex workers may make visible the idiosyncratic state of providing vitality to a city’s history while simultaneously being excluded from its living present. Most critically, it suggests ways in which sex workers may encourage those involved as producers and consumers of neoliberal urban revitalisation projects to connect these often fatal paradoxes to the laws that criminalise their labour.
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Cumul de différentes formes de domination ou de discrimination vécues par une personne, fondées notamment sur sa race, son sexe, son âge, sa religion, son orientation sexuelle, sa classe sociale ou ses capacités physiques, qui entraîne une augmentation des préjudices subis.
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Abus psychologiques, physiques, sexuels: après les milieux du cinéma et de l’humour, on réalise que celui de la danse comporte son lot de scandales.
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Des acteurs du milieu de la danse brisent le silence sur les abus de pouvoir, le harcèlement psychologique et les agressions sexuelles vécus. Deux ans après #moiaussi, une quinzaine d’entre eux tentent de faire éclater l’omerta qui plombe cet environnement jugé toxique.
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Cette session d’information au sujet de milieux de travail respectueux explore les raisons derrière l’augmentation du nombre de problèmes de comportement en milieu de travail, de son impact, ainsi que de l'importance de définir les attentes en matière de comportement afin d'aider les employeurs et les organismes à gérer, contrôler et prévenir les comportements pouvant constituer du harcèlement (harcèlement sexuel, discrimination, intimidation et violence ).
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Theatre administrators, artistic directors, and heads of programs from across Canada have a conversation about how institutional policies and cultures have shifted in the wake of #MeToo. The conversation features Kristian Clarke, Executive Director of the Dancer Transition Resource Centre (DTRC); Frédéric Dubois, Director of the French Section, National Theatre School; Melanie Dreyer-Lude, Chair of the Department of Drama at the University of Alberta; Weyni Mengesha, Artistic Director of Soulpepper Theatre; Alisa Palmer, Artistic Director of the English Section, National Theatre School; Kathryn Shaw, Artistic Director of Studio 58 at Langara College; and Jacqueline Warwick, Director of the Fountain School of Performing Arts, Dalhousie University. The participants reflect on the challenges of taking stock of the impacts and effects of a cultural movement that is still unfolding and the ways in which #MeToo has changed the relationship between training institutions and the performing arts industry.
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This article explores what it means to apologize for misconduct in the #MeToo era through three examples from the Canadian theatre industry: a private apology (Randolph College for the Performing Arts), a public apology (Citadel Theatre), and an absent apology (Soulpepper Theatre). Understanding a public apology as a performative utterance meant to restore a community’s trust, this article suggests the importance of examining the paratexts generated by and around it that help it achieve its function. From policy revisions, to media interviews, to public forums, these materials and events are crucial in the meaning-making process in which a #MeToo apology is engaged, especially when the theatre community’s access to the apology itself is limited. The article concludes by situating its case studies in relation to issues of misconduct in theatre education and training institutions.