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Despite several high-profile cases and years of #MeToo activism, a lack of systemic change and consistent consequences for many alleged offenders has led journalists and fans to wonder when the popular music and stand-up comedy industries will truly have their ‘MeToo moment.’ In this article, we explain that this moment has already arrived, but has produced inconsistent results in these industries due to the unique cultural and structural obstacles they share, and which frustrate civil sphere actors’ attempts at civil repair. Our analysis draws on Jeffrey C. Alexander’s (2018, 2019) theory of societalization – the process by which institutional crises come to be seen as social problems that demand the intervention of civil sphere actors. We argue that where #MeToo and the popular music and stand-up comedy industries are concerned, the process of societalization has been (and will likely continue to be) ‘blocked’ or ‘stalled’ (Alexander, 2018, 2019). We suggest that the potential for societalization is reduced due to a combination of the arts sphere’s anti-civil values and weak institutionalization in the popular music and stand-up comedy industries.
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"Giovannitti argues that if we delve into our anxieties around art and sex, we can find new ways to live and spaces of freedom"--
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Over the last decade, mainstream media sources from the US and UK have shown an increased interest in topics involving transgender and non-binary populations. Yet, their portrayals of such individuals tend to reaffirm rather than challenge cisnormative ideas surrounding bodies and gender. In this article, we consider this ongoing trend within the highly body-centric, traditionally-gendered artform—classical ballet. With a transgender studies and dance studies lens, we analyze current discourse surrounding the recent move for classical ballet companies and schools to adapt casting and training curricula to better include non-binary dancers. Through these analyses we reveal ways media sensationalizes the transgender body by focusing on information regarding hormone therapy and surgeries, and with the topic of ballet in mind, how this transphobic move becomes intertwined with ballet-specific processes of reshaping the body. We claim that although these popular press pieces contribute to a greater awareness of the lived experiences of transgender and non-binary dancers, they simultaneously reiterate ongoing balletic gender tropes that mark the artform as feminine and designate particular body types and movements to specific binarized genders.
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This article considers a Two-Spirit and Indigiqueer protest at the Canadian Museum for Human Rights as a flashpoint that exposes problems with how memory-making institutions are incorporating lesbian, gay, bisexual, trans and queer issues into their programming and/or collections. The protest brings into relief the museum’s investment in a homocolonial framing of remembrance for the way in which the telling of lesbian, gay, bisexual, trans and queer ‘progress’ is entangled with a settler colonial political economy wherein the tokenistic inclusion of some queers into the sexual citizenry happens alongside the dispossession, devaluing and criminalizing of others. I then undertake some preliminary ‘curatorial dreaming’ upon two other interventions–commentaries uploaded to a digital story bank by a Two-Spirit and an Indigenous queer museumgoer, and the short film Woman Dress by Plains Cree artist TJ Cuthand. Along with the protest, the commentaries and the film unsettle homocolonial frames of remembrance and provide critical openings towards decolonial queer memory work at the museum.
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De l'écoute, du soutien et des références pour les victimes d’agression sexuelle, d’exploitation sexuelle et de toute autre forme de violence sexuelle.
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Les coordonnateurs et coordonnatrices d'intimité pour le cinéma et la télévision. Formé·e·s par les programmes de certification qui ont établi le standard du rôle à l'international et ailleurs au Canada, Mo Matton, Stephanie Breton et Mimi Côté représentent la branche du Québec d'Intimacy Coordinato
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ACTRA National’s Diversity, Equity, Inclusion & Belonging Committee promotes the principles concerning the casting of People of Colour, Indigenous Peoples and people with disabilities. The best initiatives are driven by members. We can better shape initiatives to support you by getting to know our membership and understanding your experiences. We welcome your input and your […]
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The best initiatives are driven by members. By getting to know the membership and listening to your experiences, we can better shape initiatives that support you. Does your ACTRA Branch have a Women’s Committee? Find out by contacting your Branch office or contact the National Women’s Committee if you would like to get one started. […]
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ACTRA National is proud to be launching the ACTRA National Progress Pride Committee. The inaugural Committee meeting took place on Friday, May 26th, 2023. Mandate The mandate of the committee is to address issues that impact the Queer ACTRA membership across the country, and to build a National community through the sharing of relevant information […]