Podcasts about ibpoc

In this episode, Jazmin and Madison are joined by Dr. Sharanjit Kaur Sandra and Melvin Sedeora of Museum Liberation Force.  We chat about how the grassroots group got started, what they hope to see happen with the South Asian Canadian Museum project, and how the community feedback process has impacted them so far. We also delve into the ways that complicated conversations can be handled with care in community work, and why it is so crucial to understand that all racialized communities are not the same. This episode covers some heavier topics, and we recommend that IBPOC folks especially listen with care. *Discussions in this episode were based around the context at the time of recording, in November 2024. Please note that there have been updates since recording, including changes in political administration and the hosting of the MLF event referenced in this podcast.*

In this episode, Jazmin Hundal is joined by fellow BCMA team member and IBPOC Network co-coordinator Madison Bridal.  The two chat about Madison's career in museums, how she got involved in the IBPOC Network, and her current exhibit at UVIC Legacy Art Gallery, "Rooting For Reclamation". Jazmin and Madison also dive into the details of what drives the work of the IBPOC Network, the joys and challenges of working with their own communities, and their hopes for the future of this sector. Take a listen below and get to know the BCMA's newest staff member!

I really think art is one of the most important things to help tackle issues and create social change. There's that quote from Maya Angelou that goes something like ‘people will forget what you say or do, but they'll never forget how you make them feel'. The power of art is to evoke feelings that stick with people and that's often what inspires people as well.Maggie Chang is a poet, writer, and artist whose environmental journey started in first grade when she learned about deforestation of the Amazon in school. Since then, Maggie has led campus secondhand clothing sales for sustainable fashion, organized a UN Sustainable Development Goal training, and helped establish EcoSchools Canada's Youth Advisory Council, leading her to be named one of the first WWF Canada Living Planet Leaders and a Top 25 Under 25 Environmentalist in Canada. With a Bachelor of Environmental Studies, Maggie served on the Natural Resources Canada Youth Council and practiced international solidarity with fairtrade, organic coffee communities with Café Femenino, Peru. Currently she works on building an intersectional environmental movement through art and activism and as co-chair of the City of Toronto Climate Advisory Group. I first met Maggie at the Trajectories for a Just Economy event organized by Foundation for Leadership, Imagination and Place (FLIP) where she was presenting her an exhibit of portraits of her peer BIPOC environmentalists, building on the work she did at the University of Waterloo on her undergraduate thesis, where her focus was on better racial inclusivity in the environmental field. I was impressed by her vitality and by that series of striking photographs of fellow IBPOC environmentalists and so wanted to know more about her views on art and science and life as a Gen Z eco-art activist:In terms of what this generation is feeling around environmental stuff, I heard from a sustainability intersectional environmentalism influencer who kind of coined the term, ‘green girl Leah' on Instagram, she said that studies have have shown that like millennials feel sort of a climate pessimism, but Gen Z feels climate doomism so that's definitely a really big challenge.Our conversation took place in a media studio of the Toronto Public Library, which Maggie kindly set up for us. It was good to be in a shared publicly accessible media studio while we spoke about the role of art and its relationship with environmental studies and other cross-sections. We also spoke about managing eco-grief: In the last maybe year or two, I had some very interesting reflections and experiences where I realized that I had a lot of grief within myself around that rupture of connection to land due to migration. When we think about it, everybody has a rupture in connection to land. So for me, it was because of migration, but for indigenous folks, it was because of the genocidal things that the Canadian government did.I was uplifted and energized by our conversation.Maggie is very hard working and a gifted environmentalist and artist. The world needs more art and science bridge builders like Maggie. I liked the way she weaves networks and considers them as a form of biodiversity. This type of resilience and vision is critical to our collective future, which is in the hands of Maggie and her peers:It's just like biodiversity. When you have a more biodiverse ecosystem, you have more redundancy that's built into it and so even when certain aspects of it are not as strong, you have these networks that can still fill into those spaces and it's just like with our community, when we strengthen our community and we create more connections between us, even when certain parts of the community maybe have a bad season or they have to slow down for a little bit, we can still create wonderful things because we have enough connections to fill in those gaps. Just like biodiversity, right?With thanks to the Toronto Public Library for use of the studio and to Maggie for her time. Maggies recommends the following publications and accounts:Green Dreamer (podcast) Green Girl Leah (Instagram)On Canada (Instagram)Art House TO (Instagram)Climate Justice TO (Instagram) *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

We have become a bit disconnected after COVID but at the same time we are emerging more consciously while we were more complacent before. I hold hope about an inherent belief that collective liberation is a planetary right. I think we should all be always learning to reach that goal.semzyiri is a multimedia storyteller who blends surrealism, existentialism, cosmic wonder, and inner worlds with the lived reality of a neuroqueer cultural nomad. Navigating the crossroads of a world in poly-crisis and of nature divorced from human experience, semzyiri's work captures the intricate dance between the internal and external, offering a unique lens on our interconnected existence.I first met semzyiri at an ‘Ideas, Welcome' Session hosted by the Rideau-Rockcliffe Community Resource Centre meeting about social infrastructure and third places, organised by Luc Lalande and colleagues (see an upcoming episode about him) at the Rideau Community Hub, in Ottawa.We met again by chance at a local eco fair on June 1 2024 where we talked about our common interest in community engaged arts, art and ecology and in social collapse awareness and acceptance. One of the topics that struck me in my conversation was the notion of ‘numbness', which is coming back again and again this  5th season of the podcast, notably in e171 kimberly skye richards - dept of utopian arts & letters (‘one of the roles that artists play within the poly crisis is supporting us through processes of unnumbing'). semzyiri reminds us that : Art is something that really bypasses our walls, our numbness and our overstimulation.After our conversation semzyiri told me more about a new organization of which they are a co-founder called Collaborative Movements, a multimedia amplifier that centres community initiatives through a documentary series, a podcast, a website hub, and community events and that this initiative highlights and supports a network of third spaces, community centres, social enterprises, non-profit organizations, social innovation labs, and more. The idea is to address a diverse range of themes including local arts, sciences, sustainability, community mental health, social housing, food insecurity, IBPOC, 2SLGBTQIA+, and immigrant stories.This is a welcome development in the Ottawa arts and media community, and I hope other communities are creating their own collaborative movements.semzyiri recommends the following publications:Modern Monetary Theory by John Verdon (not yet in print)Shock Doctrine by Naomi KleinOther Minds: The Octopus, the Sea, and the Deep Origins of Consciousness by Peter Godfrey-SmithThe One by Heinrich PäsWhen Animals Dream by David Peña-GuzmánNote: Link to semzyiri's Substack.  *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

My dream with AI started with curiosity about how technology can extend to the boundaries of artistic expression. I was fascinated by the possibility of emerging traditional art and forms of traditional artistry to create something entirely new and engage my passion for innovation and to explore AI as tools to enhance my creative visions and bring artistic ideas to life in ways I could only dream or imagine. (Sean Caesar)This is a special episode of the conscient podcast featuring a panel at  The Gathering Divergence Multi-Arts Festival & Conference Spring 2024 presented by Cultural Pluralism in the Arts Movement of Ontario (CPAMO) in collaboration with the Nia Centre for the Arts on on June 6, 2024 in Tkaronto,This episode will begin with a talk by Alica Hall, Executive Director of the Nia Centre for the Arts, who spoke about the history of the building where the Nia Centre is situated in Tkaronto and of the history of the black arts community in Tkaronto and in Canada. After this, you'll hear presentations by artificial intelligence arts expert Sean Caesar (aka Tungz Twisted) and technology consultant Alex Hocevar, however because of the poor quality of the recording in a reverberant space, you'll also find a summary of their presentations in the Transcript section of this episode.For example, Sean observed that:We need to get on board to the table to discuss the implications of the diversity of representation and equitable inclusion. We're at a crossroads where it could be very detrimental to us, future forward. And Alex noted at the end of this presentation that :This should all be taken with a grain of salt until the technology in society gets to the point to say, what is real? What is realistic? How am I using this and am I getting the answers that will help me make a good positive decision?Note: After Alica's presentation and words of welcome by CPAMO curator of programming Kevin Ormsby I have re-recorded my introduction in order to have better audio quality.*Welcome to the 'Impact of Technology on the Practice of the Arts' panel as part of Cultural Pluralism in the Arts Movement of Ontario (CPAMO) The Gathering Divergence Multi-Arts Festival & Conference Spring 2024.A warm welcome to our audience here at the Nia Centre for the Arts in Tkaronto and also to those joining us online from across Canada and those listening offline on conscient podcast, episode 184.My name is Claude Schryer. I'm a composer by training and I worked for 21 years at the Canada Council for the Arts where I ran the Inter-Arts Office and was an advisor. I recall, around 2008, when the NIA Centre For The Arts was created, how it was a challenge for the Council to find a home for this kind of multipurpose multidisciplinary arts organization, which I think has since been resolved, however I'm aware that many artists and arts organizations continue to struggle with finding the right category in our  arts funding systems.For example, is artificial intelligence an art form, is it a method, is a tool? All of the above, none of the above? What criteria do we use to assess artificial art making? And it's a bit ironic that the word artifice comes from artificium, which is Latin for "artistry, craftmanship, craft, craftiness, and cunning." That root also gave us the English word artificial. Artificium, in turn, developed from ars, the Latin root underlying the word art. I'm now retired from the public service and have become an art and climate activist. For example, I was co-founder of the Sectoral Climate Arts Leadership for the Emergency or SCALE. I also produce the conscient podcast about art and the ecological crisis, ainsi que sa version française, le balado conscient. I also invite you to consider the implications of art and technology in the context of the climate emergency and the ecological crisis, which a topic we explored at the 2021 fall edition of Gathering Divergence on the theme of ‘IBPOC arts in planetary renewal' which you can listen to those conversations on conscient podcast episodes 92, 93 and 95.So the theme of this year's Gathering is Visioning Canada's IBPOC Artistic Transformation: Navigating Beyond Precarity Towards Stability and this is the lens through which we will be exploring the impact of technology on the practice of art. Some of the questions our panelists will consider include·   Does working with Artificial Intelligence in the arts lead to innovation, emergent practices and artistic transformation or does AI jeopardize creativity and lead to further precarity for artists? We might not know, yet…·   In what ways are these new technologies, and in particular AI impacting the creation, dissemination and preservation of art? ·   What relationships do artists need to create about and with AI and digital technology?·   Who has access to the infrastructure and how it is being programmed and are all worldviews being included?·   Are there integrative ways in which artists and arts organizations can continue to use digital technologies? What are some of the barriers?·   In what ways are creative rights and revenue generation impacted by AI and generative technologies?·   How is Al being used to make decisions that shape the trajectory of our lives, including creative control of artistic production?·   Finally, what does all of this techno fantasy matter when our planet is on fire and we are facing imminent societal collapse due to ecological overshoot of our planet's boundaries?And before we go any further, I want to admit that I'm not that excited about artificial intelligence, even though I have used it in my artwork and in my podcasts. I'm personally more interested in the contributions of traditional knowledge keepers from around the world who have always known how-to live-in harmony with the earth and with all living beings.This being said, there are reasons for hope. For example, I attended a presentation last week by Leasi Vanessa Lee Raymond of Concordia University about the Abundant Intelligences research program which explores how Indigenous Knowledges and Systems can expand and transform AI.In a nutshell, this research project has published a position paper, Indigenous Protocol (IP) and Artificial Intelligence (AI), which is a starting place for those who want to design and create AI from an ethical position that centers Indigenous concerns.Indigenous ways of knowing are rooted in distinct, sovereign territories across the planet. These extremely diverse landscapes and histories have influenced different communities and their discrete cultural protocols over time. The aim of the Abundant Intelligences project is to articulate a multiplicity of Indigenous knowledge systems and technological practices that can and should be brought to bear on the ‘question of AI.'In other words, as proposed by UNESCO & MILA (Québec Artificial Intelligence Institute) in 2022 our challenge is ‘to develop Al systems that are human-centered, inclusive, ethical, sustainable, as well as upholding human rights and the rule of law'.That's generally not how capitalism works but it's something to aspire to. Another example of policy work on AI is the Disruption on the Horizon report by Policy Horizons Canada, which predicts the following disruption in relation to AI: People cannot tell what is true and what is not : The information ecosystem is flooded with human- and Artificial Intelligence (AI)-generated content. Mis- and disinformation make it almost impossible to know what is fake or real. It is much harder to know what or who to trust. More powerful generative AI tools, declining trust in traditional knowledge sources, and algorithms designed for emotional engagement rather than factual reporting could increase distrust and social fragmentation. Emotional engagement is fertile territory for artists so we have a lot to think about. I think that's enough background information for now. So it's my great pleasure to facilitate this morning's panel with two experts in art and artificial intelligence, Sean Caesar and Alex Hocevar, who I will introduce in a minute. I will also be inviting you in the audience, in person and online, to share your knowledge and experiences with technology because everyone has a story to tell about living in this mad and wonderful digital world, as citizens and as artists, I'll ask Sean Caesar to speak first for about 15 minutes. Sean, aka Tungz Twisted, is producer of the Maybe Might Matter exhibition and owner of Frame Five Media and Second Shooter Sean. Showcasing the rapid advancement of artificial intelligence generated images, Sean's work guides viewers through the progression of AI's capabilities, sparking conversation about the creative explorations, possibilities and implications for the future of art along the way. Sean, the floor is yours.(Sean Ceaser presentation)I'd now like to invite Alex Hocevar to enjoy his 15 minutes of fame here at Gathering Divergence 2024. Alex who runs the Hocevar Group, a consulting agency focusing on digital business transformation here in Toronto.(Alex Hocevar presentation) *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

How can exhibition teams help to decolonize design? What are the pitfalls cultural organizations should watch out for in their DEI (diversity, equity, and inclusion) initiatives? What's a supertoken and why are cluster hires a better strategy? And what does it mean to approach the process indigenous-first? The new book, “Decolonizing Design: A Cultural Justice Guidebook” offers answers to all these questions and more, thanks to author Dr. Dori Tunstall. Now starting her own consulting firm, Dori was previously the dean of the faculty of design at OCAD in Toronto. She was also the first black dean of a faculty of design anywhere. In this episode, Dr. Tunstall joins host Jonathan Alger (Managing Partner, C&G Partners) to talk about her new book, what it means for the field of design, and how listeners can begin their own process of “decolonizing design” — from understanding the deep roots of the issue, all the way to writing smarter job postings.Guest Bio:Elizabeth "Dori" Tunstall is a design anthropologist, researcher, academic leader, writer, and educator. She was dean of the faculty of design at OCAD University (Ontario College of Art and Design University) in Toronto, Canada, and the first black dean of a faculty of design anywhere. Tunstall holds a PhD and an MA in anthropology from Stanford University and a BA in anthropology from Bryn Mawr College.About:Making the Museum is hosted (podcast) and written (newsletter) by Jonathan Alger. This podcast is a project of C&G Partners | Design for Culture. Learn about the firm's creative work at: https://www.cgpartnersllc.comShow Links:Author Website for “Decolonizing Design: A Cultural Justice Guidebook”:https://decolonizingdesignbook.wordpress.com/(The site includes a list of IBPOC bookstores to buy from, and locations for Dori's book tour)Publisher (MIT Press) Website for “Decolonizing Design”: https://mitpress.mit.edu/9780262047692/decolonizing-design/Upcoming Website for Dori's New Firm (available later in Fall 2023):https://www.doritunstall.com/ Show Contact: https://www.makingthemuseum.com/contacthttps://www.linkedin.com/in/jonathanalgerNewsletter:Like this episode? Subscribe to the Making the Museum newsletter (the best way to hear about new podcast episodes). It's a one-minute regular read on exhibition planning for museum leaders, exhibition teams and visitor experience professionals. Subscribe at: makingthemuseum.com

In this episode, listen as IBPOC Network Coordinator Jazmin Hundal and Indigenous Education Programmer Nicole Priessl chat while on location at Burnaby Village Museum. They discuss the work Nicole has done to transform the Indigenous spaces at the museum, including the Cedar Grove, Matriarch's Garden, and Indigenous Learning House. Jazmin and Nicole also chat about the value of intersectional storytelling and representation in heritage sites, the power dynamics that come into play when determining what counts as history, and the incredible importance of including contemporary Indigenous stories in combatting harmful colonial myths. We're always looking to share stories of professionals and organizations working hard to improve representation of racialized communities! If you would like to be a guest on the IBPOC Network podcast, please reach out to Jazmin at communications@museum.bc.ca.

In this episode, listen as IBPOC Network Coordinator Jazmin Hundal and historian Dr. Sharanjit Sandhra chat while on location at the Sikh Heritage Museum at Gur Sikh Temple Gurdwara.Jazmin and Sharn discuss representation of South Asian histories in museums, the importance of including multiple languages in exhibits, and advice for emerging BIPOC professionals in the sector. They also chat about Sharn's work past work as a curator at this site, her current work as historian at Parks Canada, and her new consulting company Belonging Matters Consulting. Photos and links to some of the things discussed in this episode can be found below. If you'd like to get in contact with Sharn, please email her at sharanjit.sandhra@gmail.com. We're always looking to share stories of professionals and organizations working hard to improve representation of racialized communities! If you would like to be a guest on the IBPOC Network podcast, please reach out to Jazmin at communications@museum.bc.ca.

Canadian-Metis composer Ian Cusson speaks about the barriers that keep diversity out of new work creation and how his own culture fostered an undeniable passion to tell stories that compel him and his sense of responsibility to open the door for the next generation of IBPoC composers.

Transcript available hereOur conversation is inspired by this twitter thread by @GergelyOrosz. We talk about the catch-22 that comes with doing DEI work - even when it's rooted in good intentions, and how misogyny runs so deeply in workplace culture. Meg Stalter video (Butter ad)------Do The Kids Know? is a biweekly series of discussions between community workers and educators, Prakash and Kristen, that unpack race, media, popular culture, and politics in KKKanada (That's Canada spelled with three K's) from an anti-colonial perspective.Our goal is to bring nuance to sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknow (Instagram, Twitter, Facebook, TikTok)Email us: dothekidsknow@gmail.comTip us: patreon.com/dothekidsknowNewsletter: tinyletter.com/dothekidsknow Artwork by Daniela Silva (instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com)DTKK is recorded on the traditional and unceded Indigenous lands of the Kanien'kehá:ka Nation. We are committed to working with Indigenous communities and leaders locally and across Turtle Island to fight for Indigenous rights, resurgence, and sovereignty. Until next time. Stay in the know~!Support the show

Transcript available here.We're back again on our frustrated rants talking about DEI (diversity, equity, and inclusion) and how often various efforts under this umbrella mean well, but do nothing if not actively put more work on vulnerable workers. Reference Tweet (@MKGuliford)Land Acknowledgement | Baroness von Sketch  ShowCanadian Human Rights Tribunal-----Do The Kids Know? is a biweekly series of discussions between community workers and educators, Prakash and Kristen, that unpack race, media, popular culture, and politics in KKKanada (That's Canada spelled with three K's) from an anti-colonial perspective.Our goal is to bring nuance to sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknow (Instagram, Twitter, Facebook, TikTok)Email us: dothekidsknow@gmail.comTip us: patreon.com/dothekidsknowNewsletter: tinyletter.com/dothekidsknow Artwork by Daniela Silva (instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com)DTKK is recorded on the traditional and unceded Indigenous lands of the Kanien'kehá:ka Nation. We are committed to working with Indigenous communities and leaders locally and across Turtle Island to fight for Indigenous rights, resurgence, and sovereignty. Until next time. Stay in the know~!Support the show (http://patreon.com/dothekidsknow)

A lack of representation is the highest reported barrier to Indigenous, Black, and People of Colour workers' sense of belonging in the Canadian live music industry. Closing the Gap is a research study led by the Canadian Live Music Association that provides evidence on the nature of inequalities experienced by IBPOC live music workers and actionable policy recommendations to improve representation in the live music industry. https://www.canadianlivemusic.ca/closing-the-gap Intro and outro music: Mind Games - Mathew Mcguire.

Black Canada Talking™ is a live online event that provides Black Canadians opportunity to give their takes and POVs on stories that are of importance to them. On the January 23, 2022 edition of Black Canada Talking™, our guest was Dr. Lisa Gunderson. Known as Dr. Lisa or DrG in her communities, Lisa is an award-winning community leader, psychologist and educator. She founded and operates One Love Consulting (OLC) which provides services to ministries, businesses, educational institutions, private/public organizations in Canada and the United States focusing on racial equity, systemic racism, anti-Black and anti-racism. A BC registered clinical counselor and an inactive licensed psychologist in California, she also provides clinical peer consults for persons working with Indigenous, Black and other racialized clients. She was elected in August 2021 to serve as VP-English for the Federal Green Party and is the first IBPoC person to hold the seat. Known as a bridger in her communities, she is very active in African-Canadian communities. Two current areas she is working with Black Youth Empowerment (BYE), an amazing group of ACB youth, on a Bystander Intervention Program for Black Youth and also working with ACB men in CSC. A former tenured US professor, she has taught in numerous universities and colleges (undergraduate and graduate) in Canada, provided key subject matter expertise to the Ministry of Public Safety and Solicitor General during the development and implementation of provincial training on fair and impartial policing. Her two most recent pieces were You Can't Be Switzerland as part of an upcoming special magazine edition called Intersections written by people who are currently incarcerated and a chapter on Black Canadians for Embracing Cultural Responsivity and Social Justice. She was part of the advisory board regarding A former liaison for the African Heritage Association of Vancouver Island to the Greater Victoria Police Diversity Advisory Committee, a member of the Planning, Transportation, and Economic Development Advisory Committee in Saanich and board member of the Victoria Immigrant and Refugee Center Society. DrG lives in Victoria/Saanich, BC with her two sons and partner of 25 years. She is a first generation African-American and Canadian immigrant of Jamaican heritage. She loves movies, baking, anything basketball related, traveling, reading, and playing dominoes with family and friends. During our conversation, Dr. Gunderson talked about: – The impact of covid on African/Caribbean communities – Her debut in politics – The diversity in politics and getting black people involved – The impact politics may have on family and receiving support from family during her debut – How the media may portray a person of colour entering politics – How not having a citizenship held her back from various opportunities – Creating a campaign that spoke to underrepresented groups regardless of the outcome – Why it's important for people of colour to get involved – Interests and genuinely wanting to make a change – What the political parties need to understand You can find out more information about Dr. Gunderson via: One Love Consulting Visit The Dr. Vibe Show™ at https://www.thedrvibeshow.com/ Please feel free to email us at dr.vibe@thedrvibeshow.com Subscribe to The Dr. Vibe Show™ YouTube channel here Please feel free to “Like” the “The Dr. Vibe Show” Facebook Fan Page here God bless, peace, be well and keep the faith, Dr. Vibe 2020 Podcast News Award Winner – Canadian Ethnic Media Association 2018 Innovation Award Winner – Canadian Ethnic Media Association The Dr. Vibe Show™ At “The Good Men Project” One of the first Brand Ambassador's – Cuisine Noir Magazine Dr. Vibe – Producer And Co-host of Black Men Talking On WJMS Radio Dr. Vibe on HuffPost Live – August 2, 2013 2013 Black Weblog Awards Finalist (Best Podcast) 2012 Black Weblog Awards Winner (Best International Blog) 2012 Black Weblog Awards Finalist (Best Podcast) 2011 Black Weblog Awards Finalist (Best International Blog and Best Podcast Series) Black Blog Of The Day – Black Bloggers Network – June 23, 2011 Twitter Twitter hashtag: #DrVibe The Dr. Vibe Show™ – iTunes The Dr. Vibe Show™ – Spotify Dr. Vibe Media – You Tube The Dr. Vibe Show™ – Stitcher Radio The Dr. Vibe Show™ – TuneIn Radio The Dr. Vibe Show™ – Google Podcasts The Dr. Vibe Show™ – iHeartRadio The Dr. Vibe Show™ at Anchor Linkedin – The Dr. Vibe Show™ Instagram The Dr. Vibe Show Facebook Fan Page

Rohene Bouajram, associate director of strategic IBPOC initiatives at the University of British Columbia, joins this episode of EDI on BIV to discuss the newly launched Beyond Tomorrow Scholars program. Bouajram also offers insight into leading strategic EDI initiatives. See omnystudio.com/listener for privacy information.

What could be a more amazing place than an inclusive safe place? There will be safe places for more people locally, thanks to Eric Misener, a constable with the Saanich Police Dept. Police-initiated, but with fulsome community input, Eric spearheaded the Saanich Police Safe Place programme, which originated with Seattle Police Dept. The Saanich PD Safe Place programme aims to increase safety for marginalised members of our community, including the IBPOC, LGBTQ2S, and unhoused communities. Along with SPD colleagues, the group consulted with the Greater Victoria Police Diversity Advisory Committee, Victoria Pride Society and the Inter-Cultural Association of Greater Victoria. SPD Safe Place designations have already been made at most Saanich Municipality facilities, along with Saanich Fire, Saanich Recreation, and Saanich Emergency Programme. Listen in as Eric explains the programme, why it's important, and how your business or employer can get involved. He also shares some mental health insights and tells us about his “fish room”!

This week we're shouting out @qtibpoc_creatives a London based creative space, providing safe spaces for QTIBPOC creatives to create. Open to any IBPOC queers regardless of artistic training or experience. Give them a follow and check out their amazing selection of workshops and other events.

'Yes, we agree that anti-racism is important. Yes we agree that anti oppression is important. Yes, we agree that equity is important. Yes, we agree that sovereignty is important for indigenous peoples in particular and that decolonization is really important but to us, these are tools to get toward a new society, to transform the world in which we live. If I can refer to the panel that we had the other day that led off this conference, to get out of the social historical economic trap that we're currently in, that forces us to compete with each other, that forces us, as Peru ?? was saying, to ignore the land and what the land is trying to say to us, that forces us to treat certain arts as better than others, without truly understanding the artistic standards that some arts products are created to turn. To turn over the Massey Commission and say, you know what, that is the trap that we're also in. These historical institutions that have come out since the 1950s that basically are struggling with relevance this day and age.' (Charles C. Smith)'We hear conversations around this idea of back to normal and I beg to question: was it ever normal before? What's the better? Was it best before? We wanted to have a conversation around the state of how artists and arts organizations emerging out of a pandemic and also what it means in a time of planetary renewal, given also the racial reckoning about renewal that was going on, we felt it that there were assumptions being made about how we would begin again and so we wanted to make sure that we had our different panels and focus around this idea of starting back, but also addressing what was happening to artists and to organizations prior to the pandemic that led to some of the further marginalization of IBPOC artists and the further under sourcing of IBPOC artists so how do we begin to address that so that can be shifted or changed emerging out of the pandemic.' (Kevin A. Ormsby)My conversation with Cultural Pluralism in the Arts Movement Ontario (CPAMO) Executive Director Charles C. Smith and Program Manager Kevin A. Ormsby on Dec 10, 2021 about the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal. 1 of 6 episodes recorded at this event.  I was honoured when Cultural Pluralism in the Arts Movement Ontario (CPAMO) Program Manager Kevin A. Ormsby asked me to moderate a panel on National Cultural Policy and arts in Response to Climate Change at the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal in Toronto on December 10, 2021. Later on that day, I caught up with CPAMO Executive Director Charles C. Smith and Kevin to talk about their aspirations for the gathering and the state of IBPOC arts communities. This episode also includes excerpts from their keynote presentation earlier that day about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publication. Program Manager of Cultural Pluralism in the Arts Movement Ontario (CPAMO), Kevin A. Ormsby is also the Artistic Director of KasheDance, movement coach and Arts Marketing Consultant. The Ontario Arts Council's Chalmers Fellowship recipient (2017), KM Hunter Dance Award Nominee (2016), Toronto Arts Council's Cultural Leaders Lab Fellow (2015) and The Canada Council for the Arts' Victor Martyn Lynch – Staunton Award 2014 recipient for outstanding achievement by a mid-career artist, he has many interests in the creative practice and administration in dance. He has honed his passion for dance, advocacy, writing and education while performing with various companies and projects in Canada, the Caribbean and the United States.charles c. smith is a poet, playwright and essayist who has written and edited twelve books. He studied poetry and drama with William Packard, editor of the New York Quarterly Magazine, at New York University and Herbert Berghof Studios. He also studied drama at the Frank Silvera's Writers' Workshop in Harlem. He won second prize for his play Last Days for the Desperate from Black Theatre Canada, has edited three collections of poetry (including the works of Dionne Brand, Marlene Nourbese Phillips, Claire Harris, Cyril Dabydeen, Lillian Allen, George Elliot Clarke, Clifton Joseph), has four published books of poetry and his poetry has appeared in numerous journals and magazines, including Poetry Canada Review, the Quille and Quire, Descant, Dandelion, Fiddlehead, Anti-Racism in Education: Missing in Action (Canadian Centre for Policy Alternatives), the Amethyst Review, Bywords, Canadian Ethnic Studies and others.This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewalevent from December 8 to 10, 2021 in Toronto.The others are:episode 90, my conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 91, my conversation with Keith Barker, artistic director of Native Earth Performing Arts, including a reading of his new 5 minute Climate Change Theatre Action play, Apology, My at the end of this episodeepisode 92, a presentation (including audience questions) by Santee Smith, artistic director of Kaha:wi Dance Theatre from the National Cultural Policy and arts in Response to Climate Change panelepisode 93, a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94, a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelCharles C. Smith and Kevin A. Orsmby, December 10, 2021, Aki Studio, Toronto *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

'I look for stories that are not there just to educate people. If I tell a really good story and it happens to be about the global crisis, about global warming and about the effects on community, if I get your heart, then you're gonna go forward and look at other things, you're gonna start doing some research. It's like, I wanna look at and so to me, I always tell people, tell a really good story and get them on your side, and then they'll go and do their own work. As opposed to like, these are the seven things that are happening in the world right now, due to global warming. When people feel that they, they immediately start going to their shopping list or the things that they're gonna do, or if they feel they're being lectured but if you tell them a really good story, they're gonna be engaged in the story they're gonna, their heart's gonna be in, they'll have a nice little cry or they'll get angry and they'll, they'll walk outta that theatre and they will feel empowered to do something or maybe empowered to read something or to reach out to an MP and say, I gotta do something.'eith Barker is from the Métis Nation of Ontario and is artistic director of Native Earth Performing Arts in Tkaronto. He is the winner of the Dora Mavor Moore Award and the Playwrights Guild's Carol Bolt Award for best new play. He received a Saskatchewan and Area Theatre Award for Excellence in Playwriting for his play, The Hours That Remain, as well as a Yukon Arts Award for Best Art for Social Change.He's a kind, generous and thoughtful person. I met Keith while we were both working at the Canada Council in the mid 2010's. We reconnected at the National Arts Centre's 2019 Summit on Theatre and Climate Change presented at The Banff Centre. Our conversation touched upon indigenous theatre, the impact of telling a good story and the impact of placing artists in spaces with community members, telling their stories and talking about the crisis ands includes excerpts from e92 santee smith - about SKéN:NEN and interconnectedness and e44 bilodeau - the arts are good at changing culture. There were many memorable moments in our conversation. This quote in particular resonated with me: To me, artists being right in on the conversation, being present and actually pushing the agenda is absolutely the thing we need to be. That's where we need to be. Too many politicians and policy and all that stuff. You're watching that stuff fail right now and to put artists in spaces with community members, telling their stories and talking about the crisis… that's happening and engaging people, that's the power of theatre and that's the power of art. That, to me, is the thing that's gonna push people to make changes or to start talking or to enter into dialogue. Because right now we have a left and a right that isn't gonna speak. They don't like each other. They don't like their politics, but you get them in a room together and they actually break bread and start having food. They realize that both their kids go to the same school. They both drive the same car. They both love hockey. You know, if we start finding those connections through art, then they they're gonna engage. And it doesn't matter if it's an indigenous artist telling that story or you know, another, IBPOC person or anybody else. If you're telling a good story, people are gonna be engaged and, and it'll compel you to wanna do something.I also have a special treat for you in the last 5 minutes of this episode. You'll hear near the end of my conversation with Keith that I accepted to produce a radio version of his APOLOGY, MY play which was commissioned by the 2021 Climate Change Theatre Action (CCTA) project. You'll hear my son Riel playing a political advisor and my wife Sabrina Mathews playing the Prime Minister of Canada. Big thanks to Riel and Sabrina for this powerful reading of the play and big thanks to Keith and Climate Change Theatre Action for permission to produce this amazing play that anticipates a future we can still avoid.Note: Here is the APOLOGY, MY play by Keith Barker, performed by Riel Schryer and Sabrina Mathews as a stand alone audio file:This is one of 6 episodes recorded during the Gathering Divergence Multi-Arts Festival & Conference Fall 2021 | Art in the Time of Healing: The Importance of IBPOC Arts in Planetary Renewal event from December 8 to 10, 2021 in Toronto.The others are:episode 90 is a conversation with dance artist, choreographer, director and embodiment facilitator Shannon Litzenberger and reading her State of Emergence: Why We Need Artists Right Now essayepisode 92 is a presentation (including audience questions) by Santee Smith from the National Cultural Policy and arts in Response to Climate Change panelepisode 93 is a presentation (including audience questions) by Anthony Garoufalis-Auger from the National Cultural Policy and arts in Response to Climate Change panelepisode 94 is a presentation (including audience questions) by Devon Hardy from the National Cultural Policy and arts in Response to Climate Change panelepisode 95 is my conversation with CPAMO Executive Director Charles Smith and artistic programmer Kevin Ormsby from a keynote address including excerpts from their conversation about the Living in the Skin I am In: Experiential Learnings, Approaches and Considerations Towards Anti-Black Racism in the Arts publicationLinks mentioned in this episode:https://nac-cna.ca/en/cycle/climatechangehttps://www.conscient.ca/podcast/e44-bilodeau/Script of APOLOGY, MY by Keith Barker(published with permission of the author) This play came out of exchanges I've had with my uncle over the years. He is a fervent climate change denier who believes it is a hoax drummed up by lefty pinkos. This play is me writing out my disillusion by imagining a revelation about the climate crisis through the eyes of a Prime Minister who finds himself (or herself) on the wrong side of history.I'm sorry. I truly am.You can't say that.Why not?You're making it personal. Don't do that.It's an apology.You need to think bigger picture here.Fine…On behalf of the country--The country, the people, whatever you want to call them, are not the ones who aresorry, the government is.…On behalf of the party--Whoa whoa whoa, it's not one party's fault, it's every party's fault. Got it?(Prime Minister sighs)Mr. Speaker I stand before you today to offer an official apology.There you go.The denial of climate change is a sad and regrettable chapter in our history.I like the chapters – That was a sad chapter. This? This is a new chapter.In the last hundred-and-fifty years populations were introduced to widespreadelectrification, internal combustion engines, the car, and the airplane.Sweet. Keep it in the past, stay away from the future.This massive shift to fossil fuels exponentially increased material prosperity andmeasures of well-being. But we were wrong.We're never wrong.It was a mistake.Mistakes are just as bad as being wrong. Neither will get you votes.It was regrettable.Mm, better.We are past the tipping point of climate change. Now we must deal with the fullconsequences of government failure.Way too negative.Now we must deal with the consequences of inaction… and a multi-generational cultureof denial to maintain the status quo.Cut the last part.I think we need it.And I think we don't. Keep going.…Unprecedented warming cycles have melted the ice caps, causing the mass extinctionof species. The acidification of the oceans has destroyed the majority of marine andmammal food chains. The occurrence of extreme weather events has vastly increased assea levels continue to rise.You can't say all that.People already know this.Then why are we saying it again?Because it's true.Truth is overrated.Then why am I even giving this speech?Because, politically it's a smart move if we do it right. It also makes you look like aPrime Minister--I am the Prime MinisterYeah, well, you know what I mean.I don't think I do.Listen, don't focus on the small stuff. You need to ignore your instincts. Whateverfeels right, is wrong. You won't win this if you repeat mistakes.Don't put this all on me.Says the guy who stood up in the House of Commons and denied the existence ofclimate change on the same day scientists announced the Arctic Circle was ice-free.They did that on purpose to make me look bad.What, melt the Arctic Circle?You know what I mean.I don't think I do.You really think you can fix this?What do you think?You always answer a question with a question?Only the dumb ones.Right…Where were we?Somewhere between mass extinction and extreme weather conditions.…Today, we recognize the denial of climate change was wrongNot wrong but -Regrettable.Beauty.I've already said regrettable...Yeah, and you're going to say it a hundred more times so get used to it.…The fossil fuel industry actively misled the public and is largely to blame for theinaction on climate change with capitalism being the driving force.Don't say the C word.Why not?You can't be seen placing the blame on industry.Just over a hundred companies are responsible for 71% of all the Global GreenhouseGas Emissions.That is debatable.Not if we're using science it's not.Wow, and where was this guy a few years ago?I am trying to make up for my past mistakes.And that my friend is how you kill your political career.I need to say this.No, you don't. You're talking to the base. Card carrying members. They voted for youbecause of your ideology. You can't just bait and switch these folks. Do that and youcan kiss the election goodbye.You're right. Thank you for that.For what?It didn't really hit me until you said my words back to me.What'd I say? Sorry, I've said a lot.Mass extinction.Oh come on. I'm just trying to get you re-elected here.This isn't about politics anymore.Everything is about politics.Sorry, but I need to do this.Let me do my job here. I'm a fixer, it's what I'm paid to do. Fix things. And if you want this fixed Mr. Prime Minister, then you need to start listening to me pronto. Do.  Not. Apologize. These altruistic feelings are fleeting. Trust me. You think you've found some clarity, but you haven't. And when those feelings pass, and they will pass, you will regret having made a decision in a moment of weakness. You understand me?Perfectly. I think you need to go.You're making a big mistake.Maybe, maybe not.Let me help you.No, I think you've helped enough. Now if you'll excuse me, I've got a speech to write.Last chance… Really? Fine, it's your funeral… You know what? I wasn't going vote foryou anyways.Aww, you broke your own rule.And what is that?Don't make it personal.END *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

In this episode A. Longoria talks about “identity-sustaining practices” in Child and Youth Care, education, and academia. They begin by asking how can/do queer, trans, IBPOC educators & CYCPs remain who they are within and across the spaces they work, so that practitioners and educators can help those they work with remain who they are. In response, A. Longoria discusses corporality, aesthetics, identity, and queering the norms of practice inside the classroom and out in the world. To read the article this conversation refers to visit: https://journals.uvic.ca/index.php/ijcyfs/article/view/20343 To purchase their newest book Creating a Home in Schools: Sustaining Identities for Black, Indigenous, and Teachers of Color please visit: https://www.tcpress.com/creating-a-home-in-schools-9780807765265 (USA)   https://www.utpguidancecentre.com/Creating-a-Home.html (Canada)  

In this episode A. Longoria talks about “identity-sustaining practices” in Child and Youth Care, education, and academia. They begin by asking how can/do queer, trans, IBPOC educators & CYCPs remain who they are within and across the spaces they work, so that practitioners and educators can help those they work with remain who they are. In response, A. Longoria discusses corporality, aesthetics, identity, and queering the norms of practice inside the classroom and out in the world. To read the article this conversation refers to visit: https://journals.uvic.ca/index.php/ijcyfs/article/view/20343 To purchase their newest book Creating a Home in Schools: Sustaining Identities for Black, Indigenous, and Teachers of Color please visit: https://www.tcpress.com/creating-a-home-in-schools-9780807765265 (USA) https://www.utpguidancecentre.com/Creating-a-Home.html (Canada)  

In this episode A. Longoria talks about “identity-sustaining practices” in Child and Youth Care, education, and academia. They begin by asking how can/do queer, trans, IBPOC educators & CYCPs remain who they are within and across the spaces they work, so that practitioners and educators can help those they work with remain who they are. In response, A. Longoria discusses corporality, aesthetics, identity, and queering the norms of practice inside the classroom and out in the world. To read the article this conversation refers to visit: https://journals.uvic.ca/index.php/ijcyfs/article/view/20343 To purchase their newest book Creating a Home in Schools: Sustaining Identities for Black, Indigenous, and Teachers of Color please visit: https://www.tcpress.com/creating-a-home-in-schools-9780807765265 (USA) https://www.utpguidancecentre.com/Creating-a-Home.html (Canada)  

“Not too long ago, humans and nonhumans lived in co-dependency. We intuited, breathed, and created together. Their offspring was mine and my offspring was theirs.” In an intimate letter from an older generation, Raji Aujla links gender-based oppression, economic logic, the invisibilization of non-Western forms of knowing, and environmental destruction. “Dispel this illusion of our current worldview,” she intones, “by thinking about revolutionary, radical love that impacts our very social and political structures.” Aujla's powerful rejoinder to capitalism and colonialism spans personal and collective experience across generations. “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca. Raji Aujla is the founder and president of Willendorf Cultural Planning and editor-in-chief of Newest Magazine, sister companies that focus on better representation and inclusion of IBPoC voices in Canadian arts and culture. She has been a cultural builder, curator, creative director, and advocate in the Canadian arts sector for the past ten years. Prior to this, she worked in journalism, spending tireless hours researching and developing stories focused on racial, gender, and caste injustices. Throughout this experience, storytelling has been her greatest superpower to help bring together people of different backgrounds and beliefs and to empower her generation to design a better future. She believes that the arts have a transformative power to bring people together and build empathy.
 Photo and Video: Nithya Thayaal Assisted by: Adad Hannah Punjabi translation and voiceover: Surjit Kaur Producer: Aakanksha Luthra Photo hair and makeup: Sangeeta Bhella

“Not too long ago, humans and nonhumans lived in co-dependency. We intuited, breathed, and created together. Their offspring was mine and my offspring was theirs.” In an intimate letter from an older generation, Raji Aujla links gender-based oppression, economic logic, the invisibilization of non-Western forms of knowing, and environmental destruction. “Dispel this illusion of our current worldview,” she intones, “by thinking about revolutionary, radical love that impacts our very social and political structures.” Aujla's powerful rejoinder to capitalism and colonialism spans personal and collective experience across generations. “Artists-in-Presidents” is initiated by Constance Hockaday, curated by Christine Shaw, and commissioned by The Blackwood (University of Toronto Mississauga). Podcast production by Vocal Fry. Transmissions are released every Friday from August 6–December 17, 2021. To view the portrait gallery, access ASL videos and transcripts, and for additional information about the project, visit www.artistsinpresidents.com and www.blackwoodgallery.ca. Raji Aujla is the founder and president of Willendorf Cultural Planning and editor-in-chief of Newest Magazine, sister companies that focus on better representation and inclusion of IBPoC voices in Canadian arts and culture. She has been a cultural builder, curator, creative director, and advocate in the Canadian arts sector for the past ten years. Prior to this, she worked in journalism, spending tireless hours researching and developing stories focused on racial, gender, and caste injustices. Throughout this experience, storytelling has been her greatest superpower to help bring together people of different backgrounds and beliefs and to empower her generation to design a better future. She believes that the arts have a transformative power to bring people together and build empathy.
 Photo and Video: Nithya Thayaal Assisted by: Adad Hannah Producer: Aakanksha Luthra Photo hair and makeup: Sangeeta Bhella

Keshia Palm (she/they) is a Toronto-based Filipinx-Canadian settler from Treaty 6 Territory who seeks to expose, challenge and dismantle systems of oppression by creating thoughtful and inclusive art/spaces. Her creative practice includes dramaturgy, direction, performance, writing and producing. Keshia has developed and performed new works with theatre companies across Canada and is the dramaturge for a number of works in development by IBPOC, queer, women and trans artists. Her digital community arts project Make Me An Alleycat (created with wheels from Claren Grosz) invites people to connect over stories and destinations while social distancing by going for a bike ride. Keshia is a playwright in the 20/21 Hot House Lab at Cahoots Theatre, and a former Factory Foreman. She has been the Online Content Producer for ArtistProducerResource.com at Generator since 2018. Julia Dickson (she/her) is an arts manager, educator, and producer currently based in Toronto. She currently works as the General Manager of the Paprika Festival, with Young People's Theatre as an Artist Educator, and with Single Thread Theatre Company as their Artistic Producer. Previously, Julia worked with Studio 180 Theatre, Theatre Passe Muraille, and the Festival Players of Prince Edward County. Julia has a post-graduate certificate in Arts Administration and Cultural Management from Humber College, and a Bachelor of Education with a focus on Artist in the Community Education from Queen's University. About Paprika Paprika Festival is a youth-led professional performing arts organization. Paprika runs year round professional training and mentorship programs that culminate in a performing arts festival of new work by young artists. Paprika generates opportunities for young artists to lead their own creative process with the support of their peers and professional mentors. paprikafestival.com Instagram: @paprikafestival Twitter: @paprikafestival Support Stageworthy Tip Jar: https://tips.pinecast.com/jar/stageworthy Merch: https://shop.stageworthyproductions.com/

IT'S OUR ONE YEAR ANNIVERSARY! And no better way to celebrate than to have the iconic cabaret artist and musical director Victoria Falconer on the show. We dive into Victoria's career as a cabaret artist, travelling the world with her feminist power trio, her flavour of musical direction and the incredible People of Cabaret initiative. Join Tiana as she rides solo this week (Giorgia was busy being a superstar in Cry Baby rehearsals!), and hear about the lady who can seriously do it all! A little bit more about Victoria: Victoria Falconer is a cabaret artist, multi-instrumentalist, theatre maker and musical director. Her most recent projects include co-creating and hosting Smashed: The Brunch Party, a femme-fronted, fiercely diverse drag cabaret show that received 5 star reviews and won a Pick of the Fringe Award for its debut season at Adelaide Fringe, whilst concurrently performing in The Boy Who Talked To Dogs, a co-production by Slingsby Theatre and State Theatre South Australia for Adelaide Festival 2021. She is co-creator & performer with acclaimed feminist firebrands Fringe Wives Club, whose debut show Glittery Clittery has been presented on stages including Southbank Centre, Soho Theatre (London), Griffin Theatre (Sydney), Darwin Festival, Bats Theatre (Wellington) and at Edinburgh Fringe, where it received the Spirit of the Fringe Award in 2018. Victoria is a founding director for The People of Cabaret, an initiative formed in 2020 to amplify and advocate for artists who identify as Indigenous and/or Bla(c)k and/or people of colour working in cabaret, circus, burlesque and associated disciplines. In their first six months of existence, they have curated a two week residency of shows at Darlinghurst Theatre Company, presented an online extravaganza for Melbourne Fringe (winning their Spirit of the Fringe Award), and hosted/produced their first Sydney Festival show We Are Here. Victoria also leads the Mentorship Program, empowering and upskilling IBPOC artists across the country. She has twice received the Best Cabaret Award at Adelaide Fringe (2018 & 2011). In 2019 she was nominated for a Sydney Theatre Award (Once, Darlinghurst Theatre Company) and a Green Room Award (Glittergrass, Malthouse Theatre) for musical direction. Other MD credits include Insane Animals (HOME Manchester), Courtney Act's Under The Covers (Underbelly, London) Unroyal Variety (Hackney Empire), Sasquatch The Opera (Summerhall, Edinburgh) and Oklahoma! (Black Swan State Theatre Company). If you would like to follow Victoria's work, you can find her @victoria_falconer on instagram, Victoria Falconer on Facebook, or at www.maestramusic.org/profile/victoria-falconer for her artist page. Additionally this is the link to the mentorship program with People of Cabaret https://www.thepeopleofcabaret.com/the-mentorship We'd love to hear your thoughts from this episode on our instagram @companypod, or Facebook Company Podcast. Hosted and Created by Giorgia Kennedy and Tiana Catalano Edited and Produced by David Duketis Music by David Duketis Graphic Design by David Duketis

In this series, we speak with museums professionals, emerging and established, from art galleries to historic house museums, about what brought them to this sector, what makes them excited about their work, and what they'd like to see change in the future. Today we are joined by Amina Chergui of the Museum of Anthropology at UBC. I would also like to thank Dr. David Anderson, Director of the Museum Education program at the University of British Columbia for connecting us with Amina and her work.

Transcript (PDF) available here. Welcome to our first instalment of a new, recurring segment "Stay In Your Lane" where we rant about people, groups, places, things or what have you that won't mind their business. This week we're talking to our fellow people of colour and asking ourselves what happens when good intentions are taken too far and cause disturbances in our solidarity efforts. ------Do The Kids Know? is a weekly series of discussions between community workers, Prakash and Kristen, that unpack race, media, popular culture, and politics in KKKanada (That's Canada spelled with three K's) from an anti-colonial perspective.Our goal is to bring nuance to sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknow (Instagram, Twitter, Facebook, TikTok)Email us: dothekidsknow@gmail.comSupport us: patreon.com/dothekidsknowNewsletter: tinyletter.com/dothekidsknow Artwork by Daniela Silva (instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com)DTKK is recorded on the traditional and unceded Indigenous lands of the Kanien'kehá:ka Nation. We are committed to working with Indigenous communities and leaders locally and across Turtle Island to fight for Indigenous rights, resurgence, and sovereignty. Until next time. Stay in the know~!Support the show (http://patreon.com/dothekidsknow)

Transcript available here.We've come to the end of the first season of DTKK! In our 2020 finale, we reflect on this experience, the ups and the downs, what we learned and what we would have done differently. We ask (and answer) Do the kids know what's next (for us)? See you babes in 2021! ------Keep in touch: Newsletter: tinyletter.com/dothekidsknow Tiktok: tiktok.com/@dothekidsknowPrakash: instagram.com/prakris, twitter.com/pra_kris Kristen: instagram.com/bmhcmtl ------Do The Kids Know? is a series of conversations between friends, Prakash and Kristen, where we challenge our understanding of contemporary media, popular culture, and what it means to live as racialized millennials in KKKanada (That's Canada spelled with three K's) Our goal for this series is to have frank discussions about the stories and nuances missed by sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknowEmail us: dothekidsknow@gmail.comSupport us: https://patreon.com/dothekidsknowArtwork by Daniela Silva (https://instagram.com/waavycrybaby)Music by Steve Travale (https://stevetravale.com)Until next time. Stay in the know~!Support the show (http://patreon.com/dothekidsknow)

Transcript available here.This week, Prakash and Kristen offer some media recommendations of things created by BIPOC artists to read, watch, and listen. Books to read:On Earth We're Briefly Gorgeous, Ocean VuongThe Gilded Wolves, Roshani ChokshiThe Rise of IO and The Fall of IO, Wesley ChuFever Dream, Samantha Schweblin The Subtweet, Vivek ShrayaMoon of the Crusted Snow, Waubgeshig RiceTV to watch:Next In Fashion, NetflixCanada's Drag Race, CraveInsecure, HBOBlack Lady Sketch Show, HBOMusic to listen:Ungodly Hour, Chloe x HalleCuz I Love You, LizzoVarious singles, CupcakkeNipiy, nêhiyawak.Do The Kids Know? is a series of conversations between friends, Prakash and Kristen, where we challenge our understanding of contemporary media, popular culture, and what it means to live as racialized millennials in KKKanada (That's Canada spelled with three K's) Our goal for this series is to have frank discussions about the stories and nuances missed by sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknowEmail us: dothekidsknow@gmail.comSupport us: https://patreon.com/dothekidsknowArtwork by Daniela Silva (https://instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com)Until next time. Stay in the know~!Support the show (http://patreon.com/dothekidsknow)

Here's the blurb: Catalyst Theatre seeks submissions for CONFLUENCE: A $20,000 creative fellowship for IBPOC artists based in and around Edmonton. For more information, go to http://catalysttheatre.ca/news-and-events. Produced by Rylan Kafara.

Transcript available here.You probably already know that the term "BIPOC" is an acronym for Black, Indigenous, and people of colour. But did you know that this is a contested term among BIPOCs? This week, Prakash and Kristen dive deep into where this term comes from, why its gotten so popular, and why exactly it conjures so much controversy. Resource List:Article: "Where did BIPOC come from?" https://www.nytimes.com/article/what-is-bipoc.html Do The Kids Know? is a series of conversations between friends, Prakash and Kristen, where we challenge our understanding of contemporary media, popular culture, and what it means to live as racialized millennials in KKKanada (That's Canada spelled with three K's) Our goal for this series is to have frank discussions about the stories and nuances missed by sensationalist media as well as to uncover the ways in which white supremacy, capitalism, and colonialism is shaping our movements and behaviours. Keep tuning in to be a part of the conversation… don't be a kid who doesn't know!Find us: @dothekidsknowEmail us: dothekidsknow@gmail.comSupport us: https://patreon.com/dothekidsknowArtwork by Daniela Silva (https://instagram.com/danielasilvatrujillo)Music by Steve Travale (https://stevetravale.com)Until next time. Stay in the know~!Support the show (http://patreon.com/dothekidsknow)