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An article from Magazine Gaspésie, on Érudit.
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Un article de la revue Magazine Gaspésie, diffusée par la plateforme Érudit.
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Découvert au milieu des années 50, admiré et adulé, Michel Louvain fait encore battre les coeurs près de 60 ans après avoir amorcé sa carrière. Ce livre-coffret retrace le parcours irréprochable de cet artiste accompli, qui a remporté les honneurs autant pour ses performances sur disque, sur scène et à la télévision que pour son soutien à des causes sociales.
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Claude Vivier's haunting and expressive music has captivated audiences around the world. But the French-Canadian composer is remembered also because of the dramatic circumstances of his death: he was found murdered in his Paris apartment at the age of thirty-four. Given unrestricted access to Vivier's archives and interviews with Vivier's family, teachers, friends, and colleagues, musicologist and biographer Bob Gilmore tells here the full story of Vivier's fascinating life, from his abandonment as a child in a Montreal orphanage to his posthumous acclaim as one of the leading composers of his generation. Expelled from a religious school at seventeen for "lack of maturity," Vivier gave up his ambition to join the priesthood to study composition. Between 1978 and 1981 Vivier wrote the works on which his reputation rests, including 'Lonely Child', 'Bouchara', and the operas 'Kopernikus' and 'Marco Polo'. He went to Paris in 1982 to work on a new opera, the composition of which was interrupted by his murder. On his desk was the manuscript of his last work, uncannily entitled "Do You Believe in the Immortality of the Soul?" Vivier's is a tragic but life-affirming story, intimately connected to his passionate music. Bob Gilmore is a musicologist and performer and teaches at Brunel University in London. He is the author of 'Harry Partch: A Biography'.
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Le tout premier livre monographique et scientifique axé sur la culture Hip-Hop au Québec, rédigé par Kapois Lamort, historien spécialiste diplômé de l’Université du Québec à Montréal ( UQAM); cet ouvrage retrace les 35 ans d’existence du H.I.P.H.O.P. à travers la société québécoise de 1979 à 2015
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In the stories recounting the early days of the rap scene in Montreal, actors of Haitian descent were particularly active on the rap scene: this is evident in rap texts, where frequent occurrences of Haitian Creole can be found. Considering this characteristic of Montreal rap, we propose a reflection on the issues around the visibility of Haitian migrants, and descendants of Haitian migrants, in Quebec public space by focusing on the practices and experiences of Montreal female rappers of Haitian descent. In this contribution, which aims at understanding the processes of hegemonization and minoritization at work in the Montreal and Quebec context, we will examine in particular how the vectors of differentiation involving language, “québéquicité” or gender, are manifested and reproduced in the media coverage of artistic productions.
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This chapter explores the possibilities multilingual hip-hop offers for language instruction within multiethnic classrooms in Montreal shaped by multiple discursive practices. The authors review current research on multilingualism and teaching and propose strategies for overcoming the French prescriptivist monolingual mindset in education in Quebec. They also turn to poetics, and in particular the literary theory of Edouard Glissant (Caribbean discourse, 1989; Poetics of relation, 1997) and the Martinican school of Créolité, offering possibilities for rethinking relationships between oral and written, vernacular and standard language forms and for igniting language teachers’ pedagogic imaginations.
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: Taking Elin Diamond’s and Rebecca Schneider’s recent work in drama and performance studies as a starting point, this essay looks at two eras of burlesque in Montreal—the 1940s-50s and 2012—tracing a shifting landscape of popular entertainment, politics, religion, and social attitudes toward female sexuality. There is a central question underlying this examination: Why burlesque? Why now (or, rather, again?). I argue that burlesque offers an archive that evokes a different, more glamorous history than the one passed down to women by second-wave feminism. Burlesque also provides an alternative to popular culture’s commodification of female sexuality, technology’s mediation of social life, and heteronormative culture’s privatization of sexuality, giving women—and men—a stage on which to make fun of our cultural fixation with sex and the female body. Both nostalgically looking back and eagerly reaching for the new, neo-burlesque repeats the past as it simultaneously reinvents it.