Podcasts about tsleil waututh

Filmmaker Emilija Gašić joins VIFF's Vanguard series programmer Sonja Baksa to discuss 78 Days, a found-footage film that won the Vanguard Award at VIFF 2024. Shot on hi-8 tapes in her native Serbia, the film follows three sisters documenting their lives during the NATO bombing of Yugoslavia in 1999. Inspired by her own childhood memories, Gašić's decision to use analog tape lent to the "docufiction" quality of the film.In this conversation, Sonja and Emilija unpack the film's unconventional process and the Vanguard series' focus on "films that are pushing the boundaries of cinema", and how Gašić's journey from Lord of the Rings fan to NYU Tisch grad shaped her voice as a director.This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, program manager and senior programmer PoChu AuYeung sits down with acclaimed Canadian animator and filmmaker Ann Marie Fleming to discuss her latest film, Can I Get a Witness?, which screened at VIFF 2024. Set in a near future where citizens are required to exit life at 50 to combat climate change and inequality, the live-action film stars veteran Vancouver actor Sandra Oh, along with newcomers Keira Jang and Joel Oulette. Ann Marie reflects on the emotional and ethical questions at the heart of the story, as well as the film's themes of sustainability, technology reduction, and community care. This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

Tara chats with author Harman Burns, a Saskatchewan-born trans woman, writer, filmmaker, and sound artist. Her work has been published in Rebelle Zine, Untethered Magazine, and Metatron Press, and her story “Among Strange Machines” was shortlisted for the Far Horizons Award for Short Fiction. Her debut novella, Yellow Barks Spider was published in 2024 by Radiant Press. She currently resides in Vancouver on the unceded, ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. Books and authors mentioned: Little Fish; A Dream of a Woman by Casey Plett Johnny Appleseed by Joshua Whitehead Kai Cheng Thom Ducks, Newburyport by Lucy Ellmann Zulaikha by Niloufar-Lily Soltani Spirals in Time: The Secret Life and Curious Afterlife of Seashells by Helen Scales House of Chains (Malazan Book of the Fallen #4/10) by Steven Erikson https://www.instagram.com/harman.burns/ https://radiantpress.ca/shop/p/yellowbarksspider      

In this episode of the VIFF Podcast, programmer Alan Franey interviews American filmmaker Connie Field about her documentary feature Democracy Noir, which explores the rise of Viktor Orbán in Hungary and its global implications. The film follows three women—a journalist, a nurse, and a politician—who fight against Orbán's regime, highlighting Orbán's manipulation of democracy to maintain power, including changing the constitution to require a two-thirds parliamentary majority for amendments. Field discusses the parallels between Orbán's tactics and those of other authoritarian leaders (such as Trump) and the broader impact on global democracy. Despite its relevance, distribution challenges persist, particularly in the U.S.This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode we are joined by Kevin Huang and Kimberley Wong of hua foundation. The conversation centers on the rise of anti-Asian racism during the COVID-19 pandemic, and highlights urgent concerns around community health, public health orders, and hate crimes. Kevin and Kimberley emphasize the importance of recognizing and addressing diverse experiences and perspectives within Asian communities, and shifting community engagement and resource allocation towards racialized communities. Speakers also discuss the limitations of the model minority myth and the need to build intergenerational relations, while acknowledging the complexities of identity and power dynamics in community work. Resources: hua foundation: https://huafoundation.org/ Asian Community Convener Project: https://huafoundation.org/portfolio/acc/ Anti-Racism and Solidarities Resource Collection: http://solidarities.huafoundation.org The Choi Project: https://huafoundation.org/portfolio/seasonal-choi-guide/ Chinatown Cares Grocery Program: https://huafoundation.org/work/food-systems/chinatown-cares/ Chinatown Food Security Report: https://huafoundation.org/wp-content/uploads/2020/05/Report_VancouverCTFoodSecurity.pdf Reorienting Our Trauma: https://huafoundation.org/portfolio/reorienting-our-trauma/ Bios: Kimberley Wong 黄壯慈 (they/them) Kimberley Wong | 黄壯慈 (they/them) is the Program Manager at hua foundation. In their role, Kimberley designs resources for anti-racism education, builds solidarity across racialized communities, and forges paths to access culturally-appropriate mental health care for youth facing barriers. They served as a Co-Chair of the City of Vancouver's Chinatown municipal advisory committee, were a founding member and Vice President of Chinatown Today, and were an elected member of the OneCity Vancouver Organizing Committee. Their work often mirrors their experiences moving through spaces as a queer, neurodivergent, and fifth generation Cantonese diasporic person, and though they draw on their knowledge from over a decade of navigating precarious work environments in the arts, culture, political, and equity sectors, Kimberley's work is also deepened by their love of being a lifelong crafter, a triathlete, and a descendant whose ancestors have long histories organizing for marginalized populations on unceded Musqueam, Squamish, and Tsleil-Waututh land known colonially as Vancouver. Find them online @KimberleyLW. Kevin Huang 黃儀軒 (he/him) Kevin Huang 黃儀軒 (he/him) is the co-founder and executive director of hua foundation, an organization with the mission of strengthening the capacity among Asian diasporic youth, in solidarity with other communities, to challenge, change, and create systems for a more equitable and just future. His work has ranged from scaling culturally appropriate consumer-based conservation strategies, advancing municipal food policy to address inclusion and racial equity, to providing supports for youth from ethnocultural communities to reclaim their cultural identity on their own terms. Kevin currently serves on committees with Vancity Credit Union, Vancouver Foundation, and Metro Vancouver.

Musqueam filmmaker Faith Sparrow-Crawford joins VIFF short programmer Casey Wei to talk about Uncommon Ground, her haunting sci-fi short set in 2171. They dig into themes of ancestral connection, mental health, and the deep bond between main character Tawny and her aunt. Faith shares how storytelling runs in her family, why the short film format speaks to her, and how she's collaborating with her father on a larger TV series. Plus: a glimpse into her next project exploring Musqueam traditions around grief.This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, Curtis Woloschuk sits down with Canadian filmmaker Josephine Anderson to talk about her latest documentary Curl Power. Having premiered at VIFF 2024, Curl Power follows five teenage girls chasing curling glory while navigating the emotional terrain of adolescence. Anderson reflects on the challenges of long-term observational filmmaking, the power of trust between subject and filmmaker, and the unexpected mentorship of Olympic champion mothers. Plus, Josephine and Curtis discuss how experimenting with virtual reality can expand creativity and deepen the approach to storytelling.This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

There's been a real lack of positive action and response from the arts community to these existential questions that confront us. And I really wonder whether that's not because they're simply bewildered by what's been going on. They're terrified, most of them. A lot of the conversation that goes on that I'm aware of has to do with the precariousness of existence for the artist. There is no there's no solid ground for them to work on when there's no money. So they're afraid to rock the boat, one thing. But they do tend to talk in circles without ever coming to a point of conclusion that allows them to take action.My conversation with writer, dance historian and arts policy consultant Max Wyman who I knew when he was on the board of the Canada Council in the early 2000s. I met with Max on March 18, 2025 at his home in Lions Bay, British Columbia which sits on the unceded traditional territory of the Sḵwx̱wú7mesh (Squamish), Səl̓ílwətaɬ (Tsleil-Waututh), and xʷməθkwəy̓əm (Musqueam) Nations. Max is the author of numerous books, including The Compassionate Imagination: How the Arts Are Central to a Functioning Democracy, which he will talk about in this episode. He'll also talk about quite a provocative article, published on February 21, 2025 in The Tyee called To Save the Arts, Blow Up the Old Ways, which caught my attention, in part because it reminded of my letter to the arts community about the ecological crisis from October 2024. Both of our postings ask what I think are fair but hard questions – in difficult times - about the future of the arts sector, and of Canadian culture writ large, so it's all very timely. I asked Max to stick his neck out and elaborate upon his vision and actions, which he did with finesse and gusto.Action pointsArtists need to be bolder than they are and take actionThe cultural community in Canada should get behind the notion of a Canadian identity that can be brandished in the face of the attacks that are being leveled at itHelp create and participate in national displays of art at every levelThank about what you have to offer to the publicHelp position arts and culture as central to who we are as a nation, who we are as people, who we are as individuals with a sense of belonging, of being understood and giving a voice.Episode notes generated by Whisper Transcribe AIStory PreviewWhat if Canadian artists held the key to unlocking a stronger national identity and a more compassionate society? Max Wyman challenges the arts community to rise above despair and take bold action, envisioning a vibrant cultural landscape that celebrates unity and shared values.Chapter Summary00:00 The Crisis in the Arts Community01:12 Introducing Max Wyman02:30 The Call for Bold Action04:16 Celebrating Canadian Identity06:02 Reimagining Canadian Culture08:31 The Power of Arts and Empathy10:15 Integrating Arts with Policy Making12:34 Addressing Environmental and Social JusticeFeatured QuotesWe've talked long enough and we need to take action.The arts are a place where you can come together and see things in their complexity and share them without threat.I think the arts and culture are central to who we are as a nation, who we are as people, who we are as individuals.Behind the StoryMax Wyman, a seasoned writer and arts advocate, draws on his extensive experience to address the existential questions facing the Canadian arts community. His conversation highlights the importance of reimagining the sector's role in fostering national pride, social understanding, and a compassionate approach to arts and cultural policymaking in an increasingly polarized world. *END NOTES FOR ALL EPISODESHey conscient listeners, I'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.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' see https://acalmpresence.substack.com. Your feedback is always welcome at claude@conscient.ca and/or on social media: Facebook, Instagram, Linkedin, Threads or BlueSky.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 March 26, 2025

On this episode of the VIFF podcast, programmer Alan Franey sits down with Mark Levinson to talk about his film, The Universe in a Grain of Sand. Levinson, who is a former theoretical particle physicist as well as a producer on films such as Mystic Pizza and Teen Wolf, details why he transitioned from physicist to filmmaker—influenced by his findings at Berkeley's Pacific Film Archive.The Universe in a Grain of Sand premiered at the 2024 Vancouver International Film Festival and explores the potential of quantum computing to solve complex problems, honing in on Levinson's view of AI as an extension of human creativity that could also bridge the gap between technology and our understanding of the universe.This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

On this episode of the VIFF podcast, director Liz Cairns joins VIFF programmer Curtis Woloschuck to talk about her feature film debut, Inedia. The film, which premiered at VIFF 2024, follows a young woman with mysterious food allergies who joins a remote island community practicing alternative healing methods. Curtis and Liz discuss the director's deep attachment to the writing of Inedia, casting and directing, and how to maintain intuition on a larger production.This episode was recorded during the the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, Year Round Programmer Tom Charity sits down with iconic Canadian filmmaker and (sometimes) opera director Atom Egoyan to discuss his latest film, Seven Veils, starring Amanda Seyfried. The film premiered during VIFF 2023 and was inspired by his remount of the opera Salome. Touching on trauma, abuse, and the artistic interpretation thereof, Adam talks about his experience directing opera and the controversies surrounding the original production.This episode was recorded during the 2023 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, Vancouver filmmaker Devan Scott speaks with VIFF Year-Round Programmer Tom Charity about his experimental feature Preface to a History, co-directed with Willa Ross. The film explores mental health struggles through the characters Vlad and Sophie—Vlad immerses himself in audiobooks, while Sophie grapples with career dissatisfaction.Scott shares how his experience listening to a 105-hour audiobook about the Third Reich while on a ski trip inspired the film and discusses the importance of sound design in shaping its unconventional storytelling. He also reflects on the challenges of shooting with a minimal crew in Vancouver and Pender Island, the influence of filmmakers like Chantal Akerman and Jacques Tati, and the evolving collaboration between him and Ross.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, Director of Programming Curtis Woloschuk speaks with filmmaker Karen Chapman about her narrative feature Village Keeper, which explores themes of trauma, grief, and economic disparity through the story of a Toronto single mother.Chapman shares her desire to capture "lived-in" moments on screen, and how location plays a vital role in shaping character and story, highlighting the impact of class and economic realities on filmmaking.Chapman reflects on the challenges of directing while eight-and-a-half months pregnant, the need for better industry support for mothers and underrepresented filmmakers, and the value of mentorship programs like the Canadian Film Centre and TIFF Talent Lab (which helped shape her career).This episode was recorded during the 2024 Vancouver International Film Festival. This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, Director of Programming Curtis Woloschuk interviews filmmaker Yuqi Kang about her documentary 7 Beats Per Minute, which explores the world of free diving and the connection between humanity and nature.Kang shares how a YouTube clip sparked her own free diving journey and led her to meet Jessea Lu, a prominent Chinese free diver who became the subject of her film. She reflects on the challenges of underwater cinematography, from unpredictable weather to capturing authentic moments beneath the surface, and the importance of adapting to nature's elements.Kang also discusses her transition from documentary to narrative filmmaking and how Vancouver's cultural and creative environment has influenced her work.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

Up-and-coming Vancouver trans author Harman Burns joins NBN host Hollay Ghadery to talk about Burns' novella, Yellow Barks Spider (Radiant Press, 2024). Yellow Barks Spider takes place in the Canadian prairies, but it seeks to explore this landscape through the intimate lens of a ten-year-old trans kid. Set against the backdrop of the placid countryside, dusty summers and barren winters, it is both a queer coming-of-age novella as well as a deeply psychological character study, reflecting on the nature of memory, trauma, and self-discovery. More about Yellow Barks Spider: In the threadbare prairie town where Kid grew up, life moves slowly. For a troubled ten-year-old, the vast landscape of open skies and barren winters is a place of elemental magic and buried secrets. As the summers pass by, Kid explores a world of weed-choked yards, murky lakes, and a traveling carnival. But when Kid finds himself increasingly haunted by strange spider-infested visions of his next door neighbor's shed, he falls deeper and deeper into his haunted inner world, eventually turning to mind-altering substances to combat his growing torment. Confronted by this psychic pressure, the book itself begins to crumble, splintering into disparate narrative voices as the workings of Kid's imagination become animate, tactile—and language self-destructs. Emerging from this crucible, Kid surfaces into adulthood as she moves through love, sex, and self-discovery as a trans woman. But when she returns to her hometown following the death of a family member, she is forced to reckon with all the fears she once left behind. Yellow Barks Spider is an unforgettable portrait of trauma, isolation, and self-compassion. At its heart, it is a deeply-felt exhumation of memory, love, and the human spirit. About Harman Burns: Harman Burns is a Saskatchewan-born trans woman, filmmaker, sound artist and writer. Her practice is informed by folklore, nature, the occult and bodily transfiguration. Her writing has been published in Untethered Magazine and Metatron Press, and was shortlisted for The Malahat Review's Far Horizons Award for Short Fiction. Burns currently resides on the unceded ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh peoples (Vancouver). About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at her website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Up-and-coming Vancouver trans author Harman Burns joins NBN host Hollay Ghadery to talk about Burns' novella, Yellow Barks Spider (Radiant Press, 2024). Yellow Barks Spider takes place in the Canadian prairies, but it seeks to explore this landscape through the intimate lens of a ten-year-old trans kid. Set against the backdrop of the placid countryside, dusty summers and barren winters, it is both a queer coming-of-age novella as well as a deeply psychological character study, reflecting on the nature of memory, trauma, and self-discovery. More about Yellow Barks Spider: In the threadbare prairie town where Kid grew up, life moves slowly. For a troubled ten-year-old, the vast landscape of open skies and barren winters is a place of elemental magic and buried secrets. As the summers pass by, Kid explores a world of weed-choked yards, murky lakes, and a traveling carnival. But when Kid finds himself increasingly haunted by strange spider-infested visions of his next door neighbor's shed, he falls deeper and deeper into his haunted inner world, eventually turning to mind-altering substances to combat his growing torment. Confronted by this psychic pressure, the book itself begins to crumble, splintering into disparate narrative voices as the workings of Kid's imagination become animate, tactile—and language self-destructs. Emerging from this crucible, Kid surfaces into adulthood as she moves through love, sex, and self-discovery as a trans woman. But when she returns to her hometown following the death of a family member, she is forced to reckon with all the fears she once left behind. Yellow Barks Spider is an unforgettable portrait of trauma, isolation, and self-compassion. At its heart, it is a deeply-felt exhumation of memory, love, and the human spirit. About Harman Burns: Harman Burns is a Saskatchewan-born trans woman, filmmaker, sound artist and writer. Her practice is informed by folklore, nature, the occult and bodily transfiguration. Her writing has been published in Untethered Magazine and Metatron Press, and was shortlisted for The Malahat Review's Far Horizons Award for Short Fiction. Burns currently resides on the unceded ancestral territories of the Musqueam, Squamish, and Tsleil-Waututh peoples (Vancouver). About Hollay Ghadery: Hollay Ghadery is an Iranian-Canadian multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, was released with Gordon Hill Press in fall 2024. Her debut novel, The Unraveling of Ou, is due out with Palimpsest Press in 2026, and her children's book, Being with the Birds, with Guernica Editions in 2027. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also a book publicist, the Regional Chair of the League of Canadian Poets and a co-chair of the League's BIPOC committee, as well as the Poet Laureate of Scugog Township. Learn more about Hollay at her website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this episode of the VIFF Podcast, feature film coordinator Natalie Murao interviews filmmaker Jerome Yoo about his debut feature film Mongrels, which follows a Korean immigrant family in rural Canada dealing with grief amid trying to belong in their new home country.Yoo shares about how he found talent in Korea, his casting process, and the challenges of working with 14 dogs while shooting the film. Plus, they discuss the importance of natural emotions and incorporating traditional Korean instruments into the film's score.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

Rob Madden joins Andrew to discuss grief and masculinity, writing alongside photography, and his chapbook second hand smoke (Pinhole Poetry, 2024). It's a rich discussion! -- Rob Madden is a writer living on the traditional and unceded territories of the Squamish and Tsleil-Waututh nations in the City of North Vancouver, BC. His chapbook second hand smoke was published in 2024 by Pinhole Poetry, and has had work published in Grain, Prairie Fire, SubTerrain and other literary magazines. He holds a certificate in Creative Writing from the Writer's Studio at SFU from 2005. -- Andrew French is a poet from North Vancouver, British Columbia. They have published three chapbooks, most recently Buoyhood (forthcoming with Alfred Gustav Press, 2025). Andrew holds a BA in English from Huron University College at Western University and an MA in English from UBC. They write poems, book reviews, and have hosted this very podcast since 2019.

In this episode of Below the Radar, our host Am Johal is joined by Damla Tamer, a visual artist and sessional lecturer at UBC whose work explores the affective conditions of labour under late capitalism, and the evolution of forms of civil protest within the contemporary political history of Turkey. Damla is also a founding member of the Art Mamas artist collective, which aims to create support networks for artist caregivers, while critically exploring the place of motherhood and care work within the dominant culture of art production. Am and Damla discusses her recent exhibition at Access gallery, which explored the aftermath of the Gezi protests in Turkey through textile works, her work with housing co-ops in False Creek South, and why she thinks it's ok for students to express love for a work of art. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/258-damla-tamer.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/258-damla-tamer.html Resources: Art Mamas CBC Article: https://www.cbc.ca/arts/exhibitionists/art-mamas-meet-the-vancouver-collective-that-creates-community-for-mothers-in-the-arts-1.5129578 Art Mamas | Access Gallery: https://accessgallery.ca/programming/artmamas art/mamas: Intermedial Conversations on Art, Motherhood and Caregiving https://criticalmediartstudio.iat.sfu.ca/artmamas/?page_id=291&fbclid=PAAaYDby0LbG_w1ZkyIsEjU61ZIV3FfuBCa25TBFHLHuMn9XUUmJqpUro5pPU UBC Profile: https://ahva.ubc.ca/profile/damla-tamer/ Bio: Damla Tamer (born in Istanbul, Turkey) is a visual artist and educator living on the unceded Musqueam, Squamish and Tsleil-Waututh territories. Her practice engages with the intersections of textile crafts and contemporary studio practices, with a special focus on weaving. Her work is heavily invested in searching for a new ethics of temporality through the relationships between aesthetics and politics. Her most recent work focuses on tracing the rise of neoliberal authoritarianism in Turkey and its relation to global movements, the evolution of forms of civil protest and resistance, and the capacities and limits of language and representation in locating oneself in a world that is rife with shifts. She does social-collaborative work as part of various artist collectives and co-operatives. She is a founding member of the artist mothers collective A.M. (Art Mamas) and has organized extensive public programming and co-published a book on motherhood, caregiving and social reproduction in relation to art and labour at large. She teaches at The University of British Columbia, Simon Fraser University, and Emily Carr University of Art+Design. Cite this episode: Chicago Style Johal, Am. “Art Mamas — with Damla Tamer.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, December 17, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/258-damla-tamer.html. Tags: SFU, SFU's Vancity Office of Community Engagement, Simon Fraser University, Am Johal, Below the Radar, Damla Tamer, Art Mamas, Gezi, Vancouver Podcast

In this episode of the VIFF Podcast, Short Forum programmer Casey Wei interviews filmmaker Deborah Devyn Chaung about her short film Strawberry Shortcake, a genre-defying Freudian fantasy that explores a teenage girl's relationship with her mother. Chuang shares the deeply personal inspirations behind the film and the challenges of directing intimate scenes. Plus, they discuss the film's intricate set design, the symbolism of “strawberry shortcake” as both innocent and provocative, and Chuang's aspirations to develop the short into a feature.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

On this episode of the VIFF Podcast, Laura Arboleda sits down with filmmaker Thea Loo, director of the documentary Inay (Mama).Thea shares the creative process behind the film, which explores the mental health impact of migration from the Philippines to Canada on the children of caregivers. Hear about the film's evolution from a five-minute concept to a feature-length documentary, the challenges of blending personal storytelling with archival research, and collaboration with her husband, Jeremiah.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

ABOUT THIS EPISODE: In this episode, Katherine Palmer Gordon, Geoffrey Morrison, and Jess Housty share their thoughts and reflections about storytelling. Katherine Palmer Gordon is the author of This Place is Who We Are: Stories of Indigenous Leadership, Resilience, and Connection to Homelands, a finalist for the Roderick Haig-Brown Regional Prize. Geoffrey Morrison is the author of Falling Hour, a finalist for the Ethel Wilson Fiction Prize. Jess Housty is the author of Crushed Wild Mint, winner of both the Dorothy Livesay Poetry Prize and the Bill Duthie Booksellers' Choice Award. Visit BC and Yukon Book Prizes: bcyukonbookprizes.com/ To watch the full Storied video On Storytelling: https://vimeo.com/manage/videos/1004669107 About This Place is Who We Are : https://bcyukonbookprizes.com/project/this-place-is-who-we-are-stories-of-indigenous-leadership-resilience-and-connection-to-homelands/ About Falling Hour: https://bcyukonbookprizes.com/project/falling-hour/ About Crushed Wild Mint: https://bcyukonbookprizes.com/project/crushed-wild-mint/ ABOUT THE AUTHORS: Katherine Palmer Gordon is the author of eight books of non-fiction, including several BC Bestsellers: The Slocan: Portrait of a Valley, The Garden That You Are, and Made to Measure: A History of Land Surveying in British Columbia, for which she was awarded the 2007 BC Haig-Brown prize. She is also an award-winning freelance journalist and lives on Gabriola Island, BC. Geoffrey D. Morrison is the author of the poetry chapbook Blood-Brain Barrier (Frog Hollow Press, 2019) and co-author, with Matthew Tomkinson, of the experimental short fiction collection Archaic Torso of Gumby (Gordon Hill Press, 2020). He was a finalist in both the poetry and fiction categories of the 2020 Malahat Review Open Season Awards and a nominee for the 2020 Journey Prize. He lives on unceded Squamish, Musqueam, and Tsleil-Waututh territory (Vancouver). Jess Housty (‘Cúagilákv) is a parent, writer and grassroots activist with Heiltsuk (Indigenous) and mixed settler ancestry. They serve their community as an herbalist and land-based educator alongside broader work in the non-profit and philanthropic sectors. They are inspired and guided by relationships with the homelands, their extended family and their non-human kin, and they are committed to raising their children in a similar framework of kinship and land love. They reside and thrive in their unceded ancestral territory in the community of Bella Bella, BC. ABOUT MEGAN COLE: Megan Cole the Director of Programming and Communications for the BC and Yukon Book Prizes. She is also a writer based on the territory of the Tla'amin Nation. Megan writes creative nonfiction and has had essays published in Chatelaine, This Magazine, The Puritan, Untethered, and more. She has her MFA in creative nonfiction from the University of King's College and is working her first book. Find out more about Megan at megancolewriter.com ABOUT THE PODCAST: Writing the Coast is recorded and produced on the territory of the Tla'amin Nation. As a settler on these lands, Megan Cole finds opportunities to learn and listen to the stories from those whose land was stolen. Writing the Coast is a recorded series of conversations, readings, and insights into the work of the writers, illustrators, and creators whose books are nominated for the annual BC and Yukon Book Prizes. We'll also check in on people in the writing community who are supporting books, writers and readers every day. The podcast is produced and hosted by Megan Cole.

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links: https://vanessakwan.com/ About Vanessa: Vanessa Kwan is an artist, producer, and curator with a focus on collaborative, site-specific and cross-disciplinary practices. They are currently Director + Curator, Gallery and Exhibitions at Emily Carr University on unceded Musqueam, Squamish and Tsleil-Waututh territories (Vancouver, Canada). They have worked in artistic leadership roles since 2003, contributing to organizations such as grunt gallery, the Vancouver Art Gallery, Other Sights for Artists' Projects, Access Gallery, Powell Street Festival and Out On Screen. They regularly write, speak and publish on art and culture, and since 2017 have been producing residency projects across the Pacific Rim (Vancouver, Seoul, Melbourne and Sydney) exploring artist-led creative exchange. In addition they have produced significant public art works including Geyser for Hillcrest Park (with Erica Stocking), Speaker A, a permanent sound installation co-created with Theatre Replacement (Maiko Yamamoto and James Long) and Curtains, an upcoming collaborative performance work.   About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

The 100th episode(!) of Page Fright, in which Andrew hosts a live reading featuring four poets (Estlin McPhee, Kyle McKillop, Jane Shi, and Rob Taylor) at Massy Arts Society to celebrate 5 years and 100 episodes of poetry interviews! The poets share their writing with the audience, and Andrew gets overwhelmed! -- Estlin McPhee is a writer and librarian who lives on the traditional territories of the Musqueam, Squamish, and Tsleil-Waututh peoples. Estlin holds an MFA in Creative Writing from the University of British Columbia and is the author of the poetry chapbook Shapeshifters (Rahila's Ghost Press, 2018). Their writing has appeared in journals across North America; for many years, they co-organized REVERB, a queer reading series in Vancouver. Estlin's debut poetry collection In Your Nature is forthcoming in spring 2025 with Brick Books. Kyle McKillop is a poet and teacher who completed his MFA in creative writing at UBC. His poems have appeared in CV2, tuesday poem, English Practice, the Sustenance anthology of BC food writing, and a couple of chapbooks, among others. He is a past president of the BC Teachers of English Language Arts, the Surrey English Teachers' Association, and the Royal City Literary Arts Society, and he lives on the traditional and unceded territory of the Katzie, Kwantlen, Stó:lō, and other Coast Salish nations. Jane Shi lives on the occupied and stolen territories of the xʷməθkʷəýəm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səlilwətaɬ (Tsleil-Waututh) nations. Her writing has appeared in the Disability Visibility Project blog, Briarpatch Magazine, and The Offing, among others. She is the winner of The Capilano Review's 2022 In(ter)ventions in the Archive Contest and author of the chapbook Leaving Chang'e on Read (Rahila's Ghost Press, 2022). Her debut poetry collection echolalia echolalia is out now with Brick Books. She wants to live in a world where love is not a limited resource, land is not mined, hearts are not filched, and bodies are not violated. Rob Taylor is the author of five poetry collections, including Strangers and The News, which was a finalist for the Dorothy Livesay Poetry Prize. His new collection, Weather, was published in May from Gaspereau Press. Rob is also the editor of What the Poets Are Doing: Canadian Poets in Conversation and Best Canadian Poetry 2019. He teaches creative writing at the University of the Fraser Valley, and lives with his family in Port Moody, BC, on the unceded territories of the kʷikʷəƛ̓əm (Kwikwetlem) and səlilwətaɬ (Tsleil-Waututh) peoples. -- Andrew French is a poet from North Vancouver, British Columbia. They have published three chapbooks, most recently Buoyhood (forthcoming with Alfred Gustav Press, 2025). Andrew holds a BA in English from Huron University College at Western University and an MA in English from UBC. They write poems, book reviews, and have hosted this very podcast since 2019.

Online forum on the War and occupation of Lebanon on remembrance day to end wars on these traditional, occupied, ancestral, and unceded national homelands of the Coast Salish peoples – specifically the sḵwx̱wú7mesh (Squamish), sel̓íl̓witulh (Tsleil-Waututh), and xʷməθkʷəy̓əm (Musqueam) nations.Moderator:Imtiaz Popat: Activist, journalist, filmmaker, founder of Coalition Against Bigotry-Pacific.Guests:Ghinwa Yassine: Labanese Canadian anti-disciplinary artist, based on the unceded Territories of the Musqueam, Squamish, and Tsleil-waututh people.Her work includes film, installation, performance, sound, text, and sculpture, text, and is concerned with the body as a site where personal and collective memory manifest.Hadani Ditmars: Lebanese Canadian author, journalist, and photographer Hadani Ditmars has reported from Lebanon, Israel/Palestine, and Iraq, often examining the human costs of sectarian strife as well as cultural resistance to war, occupation and embargo.Become a supporter of this podcast: https://www.spreaker.com/podcast/policy-and-rights--3339563/support.

On this episode of the VIFF Podcast, Director of Programming Curtis Woloschuck sits down with filmmaker Mads K. Baekkevold, director of The Chef & the Daruma. Mads shares his creative process and talks about the journey of capturing Chef Hidekazu Tojo's life and legacy. Tune in to hear about Mads' influences, from Tampopo to Jiro Dreams of Sushi, the serendipitous beginnings of the film, and the power of authentic voices.This episode was recorded during the 2024 Vancouver International Film Festival.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, filmmaker Asher Penn talks about his debut feature documentary, Physician, Heal Thyself, with VIFF Year Round Programmer Tom Charity. The film is a searingly intimate portrait of the celebrated expert on addiction, stress, and trauma, Dr. Gabor Maté. Physician Heal Thyself follows Gabor's life's journey, from his start as a young contrarian to a contemporary icon.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

This week on Below the Radar, we're joined by Ghinwa Yassine, a Lebanese anti-disciplinary artist whose work confronts the ideological and patriarchal systems that she grew up in, while exploring collective feelings and what it means to be a marked body. Ghinwa discusses her recent multi-media installations and ongoing artistic research into gestural agency and freedom. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/251-ghinwa-yassine.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/251-ghinwa-yassine.html Resources: Ghinwa Yassine: https://www.ghinwayassine.com/ How Far Can a Marked Body Go? : https://www.ghinwayassine.com/how-far-can-a-marked-body-go KickQueen: https://www.ghinwayassine.com/kickqueen MENA Film Festival: https://www.menafilmfestival.com/ When You Pour Something, It Carries the Memory of its Mold: https://www.ghinwayassine.com/when-you-pour-something-it-carries-the-memory-of-its-mold Bio: Ghinwa Yassine is an anti-disciplinary artist based on the land of the Musqueam, Squamish, and Tsleil-Waututh people, so-called Vancouver. Her work uses various media, including film, installation, performance, text, and drawing. Yassine's work confronts the ideological and patriarchal systems that she grew up in while exploring collective feelings and what it means to be a marked body. She seeks a radical historicizing of individual and collective traumas where embodied memories are put into question. Using hybrid forms of storytelling, where story manifests as somatic experiencing, ritual, and gesture, her projects are portals to factual/fictional dimensions that activate collective memory. Yassine holds an MFA in Contemporary Art - Interdisciplinary Studies at Simon Fraser University in Vancouver, an MA in Digital Video Design from the University of the Arts Utrecht, and a BA in Graphic Design from the American University of Science and Technology in Beirut. Her works have been exhibited in the Netherlands, Lebanon, UAE, Canada, Iran, and Croatia. Cite this episode: Chicago Style Johal, Am. “How Far Can A Marked Body Go? — with Ghinwa Yassine.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, September 24, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/251-ghinwa-yassine.html.

In this episode of the VIFF Podcast, BC-based film producer Mike Johnston talks about his his transition from directing to producing with VIFF Director of Programming, Curtis Woloschuck. He highlights the complexities of financing and managing co-productions, with Beehive and Wild Goat Surf as turning points, and an upcoming international co-production with Colombia, Memoria. Together, Mike and Curtis reflect on the resilience and future of the Vancouver film community.This conversation was recorded remotely during VIFF 2023.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

In this episode of the VIFF Podcast, filmmaker Zarrar Kahn talks about his debut feature film, In Flames, with VIFF Director of Programming Curtis Woloschuk. In Flames, which premiered at Cannes 2023 and screened at VIFF 2023, follows a mother and daughter navigating loss and supernatural forces in Karachi, Pakistan. After the death of the family patriarch, a mother and daughter's precarious existence is ripped apart. They must find strength in each other if they are to survive the malevolent forces that threaten to engulf them.This conversation was recorded remotely.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

Future Ecologies presents "The Right to Feel," a two episode mini-series on the emotional realities of the climate crisis.This first episode, “Climate Feelings,” is a collection of students' non-fiction essays and reflections on their personal realities of living with and researching the climate crisis. The first episode opens with an introductory conversation between Naomi Klein and series producer Judee Burr that contextualizes how this class was structured and the writings it evoked.Over a two-year period, associate professor of climate justice and co-director of the UBC Centre for Climate Justice Naomi Klein taught a small graduate seminar designed to help young scholars put the emotions of the climate and extinction crises into words. The students came from a range of disciplines, ranging from zoology to political science, and they wrote eulogies for predators and pollinators, alongside love letters to paddling and destroyed docks. Across these diverse methods of scholarship, the students uncovered layers of emotion far too often left out of scholarly approaches to the climate emergency. They put these emotions into words, both personal reflections and fictional stories.“The Right to Feel” was produced on the unceded and asserted territories of the Sḵwx̱wú7mesh (Squamish), xʷməθkʷəy̓əm (Musqueam), and Səl̓ílwətaʔ (Tsleil-Waututh) peoples.Find a transcript, citations, credits, and more at www.futureecologies.net/listen/the-right-to-feel— — —Part 1: Climate Feelings2:38 — Introduction by Judee Burr and Naomi Klein19:05 — Connection to Jericho Willows by Ali Tafreshi22:27 — Connection to the Water by Foster Salpeter27:06 — Connection to Family and Land by Sara Savino31:01 — Scientists and Feelings by Annika Ord36:00 — Biking away from the Smoke by Ruth Moore39:32 — Climate Sensitivity on the Bus by Nina Robertson43:13 — Grief and Climate Change Economics by Felix Giroux46:36 — The Age of Sanctuary by Melissa Plisic52:04 — Age of Tehom by Maggie O'Donnell

Future Ecologies presents "The Right to Feel," a two episode mini-series on the emotional realities of the climate crisis.The second and final episode, “Eulogies,” is based on fictional writing from the class. Students imagine and eulogize something that could be harmed by the climate emergency, and then imagine a speculative future in which action was taken to mitigate that harm.Over a two-year period, associate professor of climate justice and co-director of the UBC Centre for Climate Justice Naomi Klein taught a small graduate seminar designed to help young scholars put the emotions of the climate and extinction crises into words. The students came from a range of disciplines, ranging from zoology to political science, and they wrote eulogies for predators and pollinators, alongside love letters to paddling and destroyed docks. Across these diverse methods of scholarship, the students uncovered layers of emotion far too often left out of scholarly approaches to the climate emergency. They put these emotions into words, both personal reflections and fictional stories.“The Right to Feel” was produced on the unceded and asserted territories of the Sḵwx̱wú7mesh (Squamish), xʷməθkʷəy̓əm (Musqueam), and Səl̓ílwətaʔ (Tsleil-Waututh) peoples.Find a transcript, citations, credits, and more at www.futureecologies.net/listen/the-right-to-feel— — —Part 2: Eulogies02:15 – Clione by Annika Ord12:49 –The Abundance Will Be Forever by Judith Burr24:03 – A Eulogy for Wolves by Niki33:33 – Return of the Hidden Worlds by Sadie Rittman44:59 — Eulogy for the Bees by Rhonda Thygesen

In this episode of the VIFF Podcast, documentary filmmakers Jeremy Schaulin-Rioux and Kirk Thomas along with legendary streetball player Joel Haywood talk with VIFF Director of Programming Curtis Woloschuk. Handle With Care: The Legend of The Notic Streetball Crew chronicles the rise, fall and rebirth of The Notic, an upstart streetball collective. While their creative basketball moves brought them global fame as teenagers, it set them at odds with the status quo in a battle involving self-expression, race and rejection. Driven by a twenty year quest to finish their mixtape trilogy, the documentary charts how a group of friends from Vancouver, Canada played outside the confines of the NBA but left an imprint on the game forever.This conversation was recorded remotely.This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

Kate Horsman is a Nature Based Holistic Therapist and Breathwork Therapist. This field merges her education and work as a Professional Counsellor, Therapeutic Breathwork Facilitator and Mindfulness leader in Vancouver, BC Canada, the sacred and ancestral lands of the Squamish, Tsleil-Waututh and Musqueam Nations.  Passionate about supporting individuals through brave conversations and embodied wisdom, Kate's practices and experiences facilitate a reconnection to self and soul, using integrative methods to cultivate healing. Foundational to this heart opening work, is creativity, curiosity and compassion.  Her education is dimensional including multiple modalities to approaching healing work. Her schooling has brought her to Professional Counselling (VCCT) Mindfulness Based Stress Reduction (MBSR) and Nutrition (CSNN) and Plant based science (eCornell) melding the bridge between the mind/body connection which lends to some of her specialization in mental health.  More recently however, Kate has spent the last 4-5 years studying Ancestral and Alternative healing through Therapeutic Breathwork medicine which is fast becoming a tool for wellbeing, longevity, and trauma resolution and healing.  Her training may be diverse but not nearly as extensive as the life she attributes for both finding her purpose, successes and healing for herself. She credits a dynamic life of challenges and triumphs, sorrows and griefs that has lead her to a depth of understanding that engages clients in creative, compassionate change. Kate works in her Private Practice in Vancouver, BC with her one on one clients who seek her work both locally and internationally. Some of this work is happening in and amongst nature which has been a beautiful co-facilitator for both Kate and her clients. In her spare time, she has worked with organizations such as lululemon, Aritzia, Microsoft, MDA Space and many more on their Health and Wholeness programs as well as non for profit and philanthropy work with organizations such as Face of Today, providing services to those with limited access to support.   Above all these things, Kate is an avid animal lover, writer and poet, and spends most of her free time in nature as well as in ceremony with the land. She is passionate about food and plants, the planet, as well as design and art… and a good meme or two.    Find Kate here:  https://katehorsman.com we're so grateful to you for listening. Please help us grow by sharing with friends and leaving a glowing review! Instagram: @qimd_podcast mailing list: https://qimd.ck.page/302c45da40 DISCLAIMER: This podcast is presented for educational and exploratory purposes only. Published content is not intended to be used for diagnosing or treating any illness. Those responsible for this show disclaim responsibility for any possible adverse effects from the use of information presented by Alexandra, Tedi or their guests. Please consult with your healthcare provider before using any information or products referenced. This podcast may contain paid endorsements for products or services.

In this episode we welcome Canadian filmmaker Pier-Philippe Chevigny, director of Richelieu in  conversation with  VIFF Director of Programming Curtis Woloschuk.Drawing from neo-realist traditions, beautifully photographed and elegantly constructed, Richelieu paints an undeniable portrait of a crisis unfolding across North America. Director Pier-Philippe Chevigny avoids didacticism and delivers an assured, emotionally resonant first feature which announces the arrival of a new Canadian talent.This conversation was recorded during the 2023 Vancouver International Film Festival.–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations.

What would change things is love. … We ask people to act, to change, to make sacrifices, or what may be perceived as sacrifices, which in the end can turn out to be incredible things as we open up a world we didn't consider possible for ourselves; it was always love that got people to take those steps and those decisions.Born and raised in the occupied unceded sovereign territories of the Sḵwx̱wú7mesh (Squamish), xʷməθkʷəy̓əm (Musqueam), and səlil̓wətaʔɬ (Tsleil-Waututh) peoples on the wild West coast of colonial Canada Beth Carruthers is an artist and researcher whose work and practice focuses on  how aesthetic engagements, and especially arts and design based praxis, can seed and nurture transformative change in socio-cultural systems leading toward a sustainably flourishing future for all life.My first conversation with Beth was in October 2019, e05 carruthers – art that informs, forms and transforms so I wanted to reconnect with Beth some 5 years later to get an update on what this amazing creative mind is up to.She told me many new things, for example, about her origins:I come from a family of Highland Scots who were driven off their land and shipped to Canada to be placeholders for the empire about five or six generations ago. For some reason the Scots, Irish and Celtic peoples have managed, despite the church and all kinds of other occupations, to hang on to a kind of animist understanding of being in the world and an understanding of the world as a living sentient place. That's not what school tells you and that's not the narrative of modernism in the West. At one point Beth referred to this poem, A Walk, by Rainer Maria Rilke, from his Uncollected Poems, which opens Beth's book chapter in the book Call and Response: Deep Aesthetics and the Heart of the World (2013). Beth asked that it be mentioned in the episode notes: ‘Already my gaze is on the hill, that sunlit one,up ahead on the path I've scarcely started.In the same way, what we couldn't grasp grasps us:blazingly visible, there in the distance –and changes us, even if we don't reach it,into what we, scarcely sensing it, already are;a gesture signals, answering our gesture…But we feel only the opposing wind.'Beth recommended the following reading and viewing materials: At Work in the Ruins: Finding Our Place in the Time of Science, Climate Change, Pandemics and All the Other Emergencies by Dougald HineThe world is not a problem: a conversation between Dougald Hine and Iain McGilchrist *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

Show notes below:   Talking Shit With Tara Cheyenne is a Tara Cheyenne Performance Production www.taracheyenne.com Instagram: @TaraCheyenneTCP  /  FB: https://www.facebook.com/taracheyenneperformance Podcast produced, edited and music by Marc Stewart Music www.marcstewartmusic.com    © 2024 Tara Cheyenne Performance   Subscribe/follow share through Podbean and Google Podcasts and Apple Podcasts and Spotify.   Donate! To keep this podcast ad-free please go to:  https://www.canadahelps.org/en/dn/13386   Links: https://www.erikamitsuhashi.com/ https://holdonletgo.ca/performance/wherevereverhttps://www.katefranklin.ca/ About Erika: Erika Mitsuhashi is an interdisciplinary artist and performer living and working on the unceded, ancestral, and occupied, traditional lands of the xʷməθkʷəy̓əm (Musqueam), Səl̓ílwətaɬ (Tsleil-Waututh), and Skwxwú7mesh (Squamish) Nations of the Coast Salish peoples, known as Vancouver, British Columbia. She studied at Simon Fraser University School for the Contemporary Arts receiving a BFA (hons) in dance. She has had the pleasure of interpreting the work of dance artists including Justine A. Chambers, Ziyian Kwan (Dumb Instrument Dance), Sasha Kleinplatz (Wants&Needs Danse), Rob Kitsos, Vanessa Goodman (Action at a Distance) and Judith Garay (Dancers Dancing) in festivals and platforms such as Vancouver International Dance Festival, Dancing on the Edge Festival, Re-FUSE presented by the Vancouver Art Gallery and PuSh International Performing Arts Festival 2020. Erika's work has taken the form of performance for stage, installation, experimental film, site specific/responsive performance, scenography and projection design. Most recently she has been experimenting with live-stream video and digital spaces as sites for intimacy and choreography of attention. Her work and collaborative projects have been presented locally and internationally by PAUL Studios Berlin, Powell Street Festival, Toronto Love-In's PS:We are All Here series, Surrey Art Gallery's InFlux, Kinetic Studio's Open Studio Series, Shooting Gallery Performance Series, Upintheair Theatre's rEvolver Festival and La Serre's OFFTA festival of live art. She has been supported by organizations including New Works, SummerWorks, VIVO Media Arts, plastic orchid factory, Dance West Network, Boca De Lupo, Theatre Replacement and Company 605 in the creation and development of her works to date. Locally she engages with two diverse collaborative groups: Mardon + Mitsuhashi and Erika Mitsuhashi & Francesca Frewer.    About Tara:   Tara Cheyenne Friedenberg, is an award winning creator, performer, choreographer, director, writer, and artistic director of Tara Cheyenne Performance, working across disciplines in film, dance, theatre, and experimental performance. She is renowned as a trailblazer in interdisciplinary performance and as a mighty performer "who defies categorization on any level". Along with her own creations Tara has collaborated with many theatre companies and artists including; Zee Zee Theatre, Bard on the Beach, ItsaZoo Theatre, The Arts Club, Boca De Lupo, Ruby Slippers, The Firehall Arts Centre, Vertigo Theatre (Calgary).  With a string of celebrated solo shows to her credit (including bANGER, Goggles, Porno Death Cult, I can't remember the word for I can't remember, Body Parts, Pants), multidisciplinary collaborations, commissions and boundary bending ensemble creations Tara's work is celebrated both nationally and internationally.  Tara is known for her unique and dynamic hybrid of dance, comedy and theatre. She is sought after for creating innovative movement for theatre and has performed her full length solos and ensemble works around the world (highlights: DanceBase/Edinburgh, South Bank Centre/London, On the Boards/Seattle USA, High Performance Rodeo/Calgary etc.). Recent works include a collaboration with Italian dance/performance artist Silvia Gribaudi, empty.swimming.pool, (Castiglioncello, Bassano, Victoria and Vancouver), ensemble creation, how to be,  which premiered at The Cultch, and her solo I can't remember the word for I can't remember, toured widely, and her newest solo Body Parts has been made into a stunning film which is currently touring virtually. Tara lives on the unceded Coast Salish territories with her partner composer Marc Stewart and their child.

In this episode we welcome Mark Mangini, sound designer of films such as Blade Runner 2049, The Fifth Element, and Gremlins in conversation with film producer Matt DrakeMark Mangini has made it his life's work to create the unimagined worlds and fabricated sonic realities of the most epic films you can imagine. Known for films including Blade Runner 2049, Star Trek I, IV and V, The Fifth Element, and Gremlins, Mark is a six-time Oscar nominated sound designer, winning twice for Dune and Mad Max Fury Road.We go behind-the-scenes as Mark shares the secrets behind creating the most memorable sound art of these monumental films.This conversation was recorded during the 2023 Vancouver International Film Festival.–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations. The Greater Vancouver International Film Festival Society is a not-for-profit cultural organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF), and year-round programming at VIFF Centre. See what's playing now at viff.org.

In this episode we welcome Meredith Hama-Brown, director of the feature film Seagrass, in conversation with Sonja Baksa, Programmer + Program Lead at VIFFHaving decamped to a Gabriola Island couples' retreat in a last-ditch attempt to save their crumbling marriage, preoccupied Judith (Ally Maki) and Steve (Luke Roberts) leave their young daughters to their own devices. In turn, 11-year-old Stephanie (Nyha Breitkreuz) quickly ditches six-year-old Emmy (Remy Marthaller) in favour of a pack of unruly teens and their accompanying temptations. Abandoned and adrift, the introverted Emmy grows fixated with an eerie cave and convinced that her late grandmother has been conjured as an unseen ghost.Drawing from her own childhood experiences, writer-director Meredith Hama-Brown demonstrates a profound talent for eliciting unspeakably nuanced, frequently heartbreaking performances from Breitkreuz and Marthaller. Likewise, she deftly investigates the unique tensions of Judith and Steve's interracial marriage (including her infatuation with another man). All the while, Norm Li's highly observant cinematography provides a practically mesmerizing degree of intimacy. A deftly orchestrated, deeply moving portrait of a family at the brink of implosion, Seagrass sees Hama-Brown exude compassion and conviction in an accomplished debut.Meredith Hama-Brown is an actress, producer, and director. She is best known for her short Broke Bunny (2018), which won the Telus Sea to Sky Award at the Vancouver International Film Festival. With this short, she also won Best Narrative Film Award at Las Cruces International Film Festival and Best Film Award at the Future of Film Show. In 2020, Brown was selected for the TIFF Filmmaker Lab and was awarded the Canada Goose Fellowship for her first feature film, Seagrass (2023).This conversation was recorded remotely in March 2024.–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations. The Greater Vancouver International Film Festival Society is a not-for-profit cultural organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF), and year-round programming at VIFF Centre. See what's playing now at viff.org.

Kate Horsman is a breathwork expert who has been integral to Dr. Mindy's healing journey. Kate's trauma-focused breathwork approach aids in releasing stored traumas, which is particularly beneficial for women navigating perimenopause and menopause. In this episode, Kate and Dr. Mindy discuss the transformative impact of breathwork on healing, emphasizing cellular-level trauma release in contrast to other techniques. Kate shares her healing journey and the importance of relational healthcare in fostering deep healing spaces. The conversation delves into various breathwork practices, highlighting the role of breathwork in emotional detox and trauma processing for holistic healing experiences. To view full show notes, more information on our guests, resources mentioned in the episode, discount codes, transcripts, and more, visit https://drmindypelz.com/ep229 Kate Horsman is a Nature-based Holistic Therapist and Breathwork Therapist. This field merges her education and work as a Professional Counsellor, Therapeutic Breathwork Facilitator and Mindfulness leader in Vancouver, BC Canada, the sacred and ancestral lands of the Squamish, Tsleil-Waututh and Musqueam Nations. Her education is dimensional, including multiple modalities to approach healing work. Her schooling has brought her to Professional Counselling (VCCT), Mindfulness-Based Stress Reduction (MBSR) and Nutrition (CSNN), and Plant-based science (eCornell), melding the bridge betw Check out our fasting membership at resetacademy.drmindypelz.com. Please note our medical disclaimer.

On today's episode of Asked and Answered by Soul, Jennifer Urezzio and Tien Neo Eamas explore the big ideas of binary identity, cultural awareness, and the importance of releasing the ego attachment to judgment and the need to be right so that our Souls can access and stand in freedom and create a new dimension of awareness.  Join us here today as Jennifer and Tien share that it's time for us to be fully responsible for our part in what's happening in our world, and do the work to share wisdom, shine light and spread joy while having fun ourselves. When we consciously choose to be more interested in creation, generating light, and being joyful, that's when we are able to truly shift and impact others.About Tien Neo Eamas Tien is the 1st Asian transman to come out in Vancouver BC 2002 and his experience of racism, gender and trans hatred, family violence and more has been the training ground for him to shine finally and for him to share his purpose my Soul Purpose - Transcending Gender, so that we can Connect Soul to Soul. Tien is Singapore-born, of Chinese and Indigenous Southeast Asian blood, now living in Vancouver BC, the indigenous land of the Musqueam, Squamish, and Tsleil-Waututh people. Tien Gender Guide, an artist, performer, and a spiritual teacher. The Asked and Answered by Soul podcast is dedicated to helping you understand that your Soul is the answer. If you want to learn more about your soul's answers and purpose, access your free guide at www.themythsofpurpose.com. And, you can purchase our God magnet at https://jurezzio.etsy.com/listing/1623450013/refrigerator-magnet-borg-of-goodness. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we welcome Corey Payette, director of the movie musical Les Filles du Roi, in conversation with the film's editor Christian Díaz Durán.Adapted from Urban Ink's stage production, this locally-shot film screened at VIFF 2023. Les Filles du Roi tells through song the powerful story of the young Kanien'kehá:ka girl Kateri and her brother Jean-Baptiste, whose lives are disrupted upon the arrival of the “Daughters of the King” in ‘New France' (now Montreal) in 1665.Corey Payette is an interdisciplinary storyteller, writer, composer, producer, and director in film and theatre. Since 2014, he has been the Artistic Director of Urban Ink, a position first held by Marie Clements, at one of Canada's most ambitious theatre companies. Payette wrote the music, lyrics, and directed the acclaimed musicals Children of God, Les Filles du Roi, and Starwalker, among others. He is a member of the Mattagami First Nations, with French-Canadian and Irish ancestries. Les Filles du Roi is his first feature film.This conversation was recorded at VIFF Centre in March 2024.–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––This podcast is brought to you by the Vancouver International Film Festival.Presented on the traditional and unceded territory of the xʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) nations. The Greater Vancouver International Film Festival Society is a not-for-profit cultural organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF), and year-round programming at VIFF Centre. See what's playing now at viff.org.

Cleantech Podcast - Rueben George of the Tsleil-Waututh Nation 'It Stops Here: Standing Up for Our Lands, Our Waters, and Our People'

On this episode of See How We Run!, we're joined by two cultural workers: Asia Jong, an emerging curator, arts facilitator and who was one of the co-organizers of Ground Floor Art Centre, a collectively-run DIY gallery, studio and project space with a focus on supporting early emerging artists; and Vitória “veto” Monteiro, an emerging visual artist, arts facilitator, ​​and current Board President of grunt gallery and Acting Curator of Learning and Engagement at the Contemporary Art Gallery. Hosted by SFU VOCE staff member and emerging visual artist Kathy Feng, the three are in conversation about some of Asia and Vitória's previous work and individual practices. They explore how to create opportunities for emerging artists, and the history of Ground Floor Art Centre and other DIY spaces similar to it. They also talk about incorporating accessibility into the gallery, opening up spaces through workshops and prioritizing access needs, as well as the importance of centering care and joy in arts and cultural spaces. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/series/see-how-we-run/230-from-a-place-of-care.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/230-from-a-place-of-care.html Resources: Vitória's website: https://vitoriamonteiro.ca/ Vitória's instagram: https://www.instagram.com/vetosea/ Contemporary Art Gallery: https://cagvancouver.org/ grunt gallery: https://grunt.ca/ Asia's Instagram: https://www.instagram.com/asiajong/ Ground Floor Art Centre: https://www.instagram.com/groundfloorac/ Bios: Asia Jong: Asia Jong is an independent curator, arts facilitator, administrator and writer from Armstrong, B.C. currently based in Vancouver, on unceded and traditional Musqueam, Squamish and Tsleil-Waututh territories. She co-ran Ground Floor, a DIY art space and collective which supported early-emerging artists, operating through the values of care, hospitality, and a positive approach to failure. Vitória “veto” Monteiro Vitória "veto" Monteiro (b. Brazil) is an arts worker, facilitator and visual artist. In their art practice, they explore the intricacies of language abstraction, the anti-archive and the reprocessing of information. Navigating the fields where information dwells, veto's work provides a new realm for knowledge to co-exist that is silent, inarticulate, and abstract. veto works as the Acting Curator of Learning and Engagement at the Contemporary Art Gallery, along with serving as the Board President at grunt gallery. Their community practice centers accessible, joyful, and more tender approaches to existing within art and cultural spheres. As a facilitator, they reimagine office culture and modes of productivity, shifting towards cultivating workspaces that prioritize care. By exploring ways of incorporating play, stimming, and self-expression into office culture or the day-to-day, veto roots these shifts as powerful acts of resistance. veto is based on Skwxwú7mesh, xʷməθkʷəy̓əm , and səl̓ilwətaɁɬ lands or so-called “Vancouver”. Cite this episode: Chicago Style Feng, Kathy. “See How We Run! From a Place of Care — with Asia Jong and Vitória Monteiro.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, December 12, 2023. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/series/see-how-we-run/230-from-a-place-of-care.html.

“when we turn our next goal or our next desire to something meaningful, something truly life-altering from the inside, heart opening… when we do that then the circle [of life] emerges and we realize that it's been there all along.” - Andrea Menard IN THIS EPISODE… What is rematriation and why is it so important for our future? Circular living and circular thinking The beautiful side of fear Inclusivity as a trait of the Sacred Feminine WELCOME ANDREA MENARD Andrea Menard is an accomplished Métis singer/songwriter, actor, speaker, wellness trainer, and the founder of the Sacred Feminine Learning Lodge. As seen in USA Today, Andrea is an influencer in feminine leadership and was named one of WXN Canada's Most Powerful Women: Top 100 Award Winner in 2020. An advocate for rematriation and reconciliation, Andrea helps all-gendered people to reclaim and embody the qualities of the Sacred Feminine. She is also the author of the Seeds from the Sacred Feminine Wisdom Cards, (Mango Publishing) which contains 52 gentle, land-based teachings and beautiful paintings by Metis painter, Leah Dorion. One of the co-stars of the new hit CTV series, Sullivan's Crossing, Andrea is a five-time Gemini-nominated actress, a 16-time music award winner, and was named ACTRA National's “Woman of the Year” for 2021. She has released 5 award-winning albums, including her latest Michif language album, a symphony show, 2 television programs, and her TEDx Talk called “Silent No More” has reached almost 200,000 views. Andrea  has performed for royalty, prime ministers, governor-generals, residential school survivors, families of the missing and murdered Indigenous women, and even sang her song “Peace” to the world's NATO generals.  Born in Manitoba, Andrea is a proud member of the Metis Nation of Canada. Her Metis family originates from St. Laurent, Manitoba. Andrea currently lives in the unceded traditional territory of the Squamish, Tsleil Waututh, and Musqueam peoples, also known as Vancouver, British Columbia, Canada. CONNECT WITH ANDREA WEBSITE: www.andreamenard.com LINKEDIN: @andreamenard TWITTER: @andreamenard FACEBOOK: @andreamenardmusic INSTAGRAM: @andreamenardmusic YOUTUBE: @andreamenardmusic iTUNES: @andreamenard SPOTIFY: @andreamenard SOUNDCLOUD: @andreamenard BANDCAMP: @andreamenard EMAIL: admin@andreamenard.com RESOURCES MENTIONED IN THIS SHOW ~ ANDREA'S SEEDS FROM THE SACRED FEMININE WISDOM CARDS THE SACRED FEMININE LEARNING LOUNGE HOLY HIIT!? THANKS FOR LISTENING! Head to iTunes and leave a review for the podcast! It really helps the podcast out and would mean the world to me

Esperanza Soto welcomes new recruits to a U.S. drone centre. Run entirely on wind energy, the centre is part of the U.S. Army's Green Military Movement. One of the drone operators is a climate refugee from Vancouver. What choices will she make when climate refugees attempt to cross the border from Mexico?A heads up that this episode contains military violence, so keep that in mind when deciding when and where to listen.Rolling Hills, Green Pastures was written by Carmen Aguirre. Find the transcript here.Climate Change and Other Small Talk is  a worldwide tour for your ears - minus the carbon footprint and lost luggage. Audio dramas from 9 creative teams around the globe will entertain as well as explore our climate crisis. And maybe even what could get us out. --- FOLLOW US---Sign up for our newsletter to get bonus content including discussion guides and a listening party hosting guide: https://www.sunnydrake.com/climatechangeandothersmalltalkFollow Sunny, the series creator, on Instagram: instagram.com/sunny_drakeFollow Sunny Drake Productions on Facebook: facebook.com/sunnydrake.creationsTwitter: twitter.com/sunny_drake --- CREDITS ---Written and directed by CARMEN AGUIRREStarring: MONTSERRAT VIDELA SAMPER as Esperanza SotoLILI ROBINSON as The Drone Operator CHARLIE DEMERS as The Floor Supervisor and Friend Sound design and music by JOELYSA PANKANEA Episode Produced by ELECTRIC COMPANY THEATRE with support from SUNNY DRAKE PRODUCTIONSEpisode Producers CARLA RITCHIE and NATALIE LEFEBVRE GNAMEpisode Production Manager CARLA RITCHIEAudio mixing by HEATHER BROWN and RICHARD FERENRecording engineer MONARCH STUDIOS Special thanks to BC Arts Council, City of Vancouver Cultural Services, Canada Council for the Arts, Monarch Studios, and Progress LabElectric Company Theatre acknowledge the unceded, ancestral and traditional territories of the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and səlil̓ilw̓ətaʔɬ (Tsleil-Waututh) people. As artists who live, work and create on these lands, Electric Company strives to be allies with, to learn from and to acknowledge the rights of Indigenous Peoples. --- SERIES CREDITS for CLIMATE CHANGE AND OTHER SMALL TALK ---Created by SUNNY DRAKEProduced by SUNNY DRAKE PRODUCTIONS in association with WHY NOT THEATRELead Producers: FANNY MARTIN and NAJLA NUBYANLUVConcept Dramaturg: KEVIN MATTHEW WONGImpact Producer & Climate Dramaturg: CHAPRECE HENRY Communications Producer: DANIELA GERSTMANN Central Audio Producers: HEATHER BROWN and RICHARD FERENSeries funders: Canada Council for the Arts, Ontario Arts Council and Toronto Arts CouncilSee our website for full credits - it truly does take a village to raise a podcast.

This week on Killer Women, our guest is Lisa Brideau (‘bree-doe'). Lisa was born and raised in Nova Scotia, Canada in the unceded territory of the Mi'kmaw People. She has a B.Eng in Aerospace Engineering from Carleton University and an M.Sc in Urban Planning from the University of British Columbia and currently works as a sustainability specialist for the city of Vancouver. When she takes breaks from trying to mitigate catastrophic climate change, she likes to write speculative fiction or practice her waltz. She lives in Vancouver, BC (the unceded territory of the Musqueam, Squamish, and Tsleil-Waututh peoples). Killer Women is copyrighted by Authors on the Air Global Radio Network   #podcast #author #interview #authors #KillerWomen #KillerWomenPodcast #authorsontheair #podcast #podcaster #killerwomen #killerwomenpodcast #authors #authorsofig #authorsofinstagram #authorinterview #writingcommunity #authorsontheair #suspensebooks #authorssupportingauthors #thrillerbooks #suspense #wip #writers #writersinspiration #books #bookrecommendations #bookaddict #bookaddicted #bookaddiction #bibliophile #read #amreading #lovetoread #daniellegirard #daniellegirardbooks #lisabrideau #sourcebookslandmark #sourcebooks

Episode Summary Brooke and Carla talk about parenting as radicals and youth autonomy, but more importantly, they talk about adult supremacy, the history of it, the ways it influences all of our lives and strategies for confronting it as parents and non parents. They breakdown childism, and talk about how the most important thing you can do is listen to the youth and how community is once again the answer to many societal woes. Guest Info Carla Joy Bergman (She/they) is a writer, producer, podcaster, schemer and causer of trouble. Their book Trust Kids! is out from AK Press and can be ordered here. You can find Grounded Futures at GroundedFutures.com or @GroundedFutures on Twitter and Instagram. You can find Listening House Media here. She also cohosts the Grounded Futures podcast with their son Uilliam. Host Info Brooke can be found at Strangers helping up keep our finances intact and on Twitter and Mastodon @ogemakweBrooke Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Carla on Adult Supremacy Brooke 00:15 Hello, and welcome to Live Like the World is Dying your podcast for what feels like the end times. I'm Brooke Jackson, your host for this episode. Today we have the honor of talking with author Carla Bergman. We're going to discuss parenting here in the end times. But first, we'd like to honor our membership and the Channel Zero network of anarchist podcasts by playing a little jingle from one of the other podcasts on the network. Jingle jingle, jingle, jingle, jingle jingle here. And we're back. Carla, thank you for joining us today to talk about parenting. Would you please introduce yourself? Let us know what you do, your pronouns, share where you're from if you're comfortable disclosing that. Carla 01:58 Great. Hi, Brooke. Thanks for having me here. I love this podcast. It's a real honor. Yeah, I'm Carla Joy Bergman. I use she/her, they/them pronouns. I'm calling in from Musqueam. Squamish and Tsleil-Waututh lands, also known as Vancouver and the Pacific Northwest, across the border in Canada. Yeah, I, well, I do a lot of things. I'm a bit of a autonomous scholar, writer, producer, a podcaster or schemer, causer of trouble. I don't know, that's always hard to put yourself on there. Like what do you do? Yeah, I'm a mom, friend. I'm a white settler with Irish and Welsh ancestry. Yeah. Brooke 03:03 Yeah, well, we're really glad that you are here and taking the time to talk about this topic with us today. I know that you just released a book back in November called "Trust Kids", which looks like you can get from AK Press. And they have print ebook and audiobook available. There's probably other sources to get it as well. So I'd love to talk about your book a little bit. And then you know, if that leads into some broader conversations about parenting in general, and especially, you know, parenting here in the end times and how we support each other as leftists, you know, I think that would be great to talk about too. But let's, let's start with your book. I'm curious why you wanted to write the book, like what inspired you to write it? Carla 03:50 It's like, intergenerational? It's a project that comes across many, many timelines. Yeah, so it's called "Trust Kids Confronting Adult Supremacy" and while stories on youth autonomy and confronting adult supremacy, oh, boy, it's really hard to pinpoint a moment. It's so it's so cool to have the privilege to reflect back in your past and you get to evoke where you are today on the past. Brooke 04:20 Yeah, feel free to talk about all of the things that inspired you in the process. Carla 04:24 Thanks. Yeah, I mean, I've always had a problem with hierarchy and with authority, which goes way back to when I was a little kid. I was definitely the kid who stood up to teachers who bullied kids and other parents or other adults who bullied kids, including my own, and obviously, it was meant with not always a lot of kindness, and often a lot of violence. So it's something that's always been kind of in me to be aware of adult supremacy. But really, it wasn't until I had my own child, that I had to really put the practice of youth autonomy and thinking through adult supremacy in the everyday and every night. Brooke 05:11 I'm curious if you feel comfortable sharing the age of your child or children? Carla 05:16 Yeah. So my oldest is 28. And my youngest is 18, the oldest is Zach, and the youngest is Uilliam, and Uilliam and I do a podcast, that's part of the Channels Zero network as well called Grounded Futures. And yeah, and Zach. Both of them wrote for the book, Uilliam did it their own chapter, their own section, and then Zach and I co wrote a piece together. Yeah, so.. Brooke 05:43 Man, that's great. Carla 05:45 Yeah. So, you know, Zack, and I got....and my partner, we got involved in alternative education and youth liberation kind of worlds. We were like, really fortunate because we were working class family and, and I got diagnosed with lupus, like there was all these things that were making it like, well, how am I going to not send my kid to regular school. But I was fortunate to live in a city where there's a dem... that was...it was like, almost 48 years, it ran...ademocratic preschool that was publicly funded. So that meant it was free to attend, as well as a free school, and there was parent participatory, and it was, you know, it went through all different kinds of renditions, and tried all different kinds of models, and but really, at the center was and at the center was this idea of youth liberation and children, self directed sort of education styles, I, you know, through that, at the core of all my work is this notion of solidarity, like how to think about this conversation of youth autonomy and undoing adult supremacy, amidst and alongside all the other horrors of, of empire, whether it be ableism, racism, classism, and whatnot. And I really noticed that a lot of kids, you know, they don't a lot of families can opt out of school, and they can't actually do this. So, I really wanted to move the conversation away from 'school or not school,' because it just marginalizes the, the work and because it becomes siloed. And really, adult supremacy is in it's always in the room. It's, it's it is like at the core, it's at the center of all other oppressions. You know, we just keep replicating this horrible system by raising kids with internalized adults supremacy. And so yeah. Brooke 07:41 That part of the subtitle really stuck out to me, the adult supremacy part, which, you know, sorry to interrupt you, please keep going. But I definitely want to dive more into adult supremacy discussion. But... Carla 07:54 I mean, I think that this conversation, so I'm just gonna really get really to the heart of it. So about 12=13 years ago, I was co director of a youth run arts and activism space in Vancouver that was at the center was youth autonomy and radical politics and this intersectional praxis of working alongside other struggles and being in solidarity with them. And I was really noticing from other radicals that you know, youth liberation, youth autonomy, children's rights, all that stuff was almost always left off of the the oppression chart or pie. And so I would bring it up, and it would be like an afterthought. And they'd be like, oh, yeah, right, of course. And slowly, you know, we've seen that grow. However, what I noticed was I faced a lot of vitriol from a lot of radicals that I was privileged, that I was privileging kids and like that, all this stuff, and I was like, "Wait a minute, like, you know who's privileged is like the middle class family who moves across town to the rich neighborhood to put their kid in the better school like," no, no, no, like that's nuanced this a little bit like. So I came up with the phrase "Solidarity begins at home," which was really the orientation of this book to begin with. And if you follow it on AK Press, they often post about it calling it, "Solidarity Begins at Home," because I was really noticing that anti authority, anti authority folks particularly were like, "Except for with my children, I'm an authority." Or, you know, "Oh, Carla and her weirdness being friends with our kids," or whatever, like it just was just marginalizing the conversation, when really the issue is adult supremacy and, and, you know, I'm just a curious person. So I'm like, "Why doesn't that resonate?" Like it's something we've all experienced at different degrees. Absolutely. This is a really uneven white supremacist, colonial, racist, ableist world. But we've all experiencedi it. It's actually a place where we could connect and have a more generative conversation. And yet it just keeps getting marginalized. And so I just really had to think about how to center it more. And so, on the one hand, I'm saying "Solidarity Begins at Home." But I'm also decentering parenting in the conversation, because I think like this is just so much bigger and beyond like, parenting. It's everywhere that a young person encounters an adult, the adult supremacy world, and it's everywhere, like Malika Radway, who wrote for the book, like, and she does, "Raising Rebels" podcasts with our kids. Like they said, you know, "Adult supremacy is in every single room you're in," you can't...it's just like whiteness, you can't, right? So yeah, so I didn't feel ready to write it. I always had a kind of what's the word like, I guess it's about consent, like, I really needed it to have my kids full consent to talk about our life. And to talk about this in a way that I wanted to, especially that framing of 'solidarity begins at home.' So that's, that's the reason why I held off until I had their, you know, really, they're full consent. And, you know, different people, different adults, different parents, different radical parents write about their kids in different ways. This isn't a judgment, this was just my own ethos with my kids, right? So that's why it took 12 years. I just actually found a new Google Doc from 2012. That said, new book "Solidarity begins at home. "Listen, Adults," or something I was going to call it. Brooke 11:41 Yeah, it sounds like you not only have their consent, but kind of their enthusiastic consent. And they both, you know, wrote for it and participated in that which, you know, what a joy to be able to do that with them. Carla 11:54 Yeah. And my son, the oldest one did the audio book, which is really special Brooke 11:59 Oh, wow, that's really cool. I, my daughter is 11. And we're firmly in that tween phase right now where there's both the child and the budding teenager that, that show up in her and it's a interesting age, for sure. And I just have the one. But I want to rewind slightly back to adult supremacy, to get us on the same page here. And we, you know, what does that phrase mean to you? How do you define that? How do you see that in the world? Carla 12:35 Right? I mean, it's really, it's always evolving and changing, the more I like, learn, and like, explore and research and talk to people who are real nerds and researchers. Two of the folks who wrote for the book, Toby Rollo and Stacy Patton, really do a deep, deep look at the history, the roots of adult supremacy. And so it's, it's hard for me not to start there, because it's like, my mind is just kind of blown. You know, it really goes back to early colonization in the....in Europe. You know, we hear this from indigenous folks on, you know, on the lands we're both on that, you know, this is not how people do kinship. This is not like the...kind of like patriarchal, heteronormative hierarchical family. It's not, you know, and that, that that's not how it is. And so, way, like it goes way back, this kind of I don't even, I can't even pinpoint it, but it definitely predates capitalism, although like it, you know, it got more entrenched during capitalism to have the house set up the way that the patriarchal family, the way it was set up, like kids had to be subjugated from their parents and the patriarchal parent was being subjugated by, you know, the whole system of capitalism, right, yeah. But it actually predates all that in it. And it goes back to early colonization. And it was by design. It was to sow seeds of control, distrust, and this idea that, I think Toby calls it protocitizenship, that children aren't fully human. They don't have any rights. You know, there's 13 states that still have paddles that can, people can still paddle in schools in the US, I don't know if you know, that and spent, you know, like, you, you will you get fined and go to jail if you beat your dog, but you won't if you beat your kid, as long as they can't see any bruises. You know, so this is like, it's ongoing, this idea that childhood is just a phase, you know, this kind of just creation of this thing that's like less than, was by design. And it's become, you know, it got more entrenched through psychology, the whole, you know, we don't even need to go into that. But even eugenics, like early eugenics was practiced on children...kind of way where children who were street involved and didn't have parents or were, you know, out of care kind of kids. They were sterilized first. Stacy Patton is a doing a book right now on the history of lynching children in the south. she had to actually go to Europe to get to the root of it. And it was practiced first on children there. So... Brooke 15:31 Emotionally, I don't think I could handle that kind of research. Carla 15:34 Yeah, me neither. I just want to get...this is what I said, like, I didn't have all this information like a couple of years ago. And so this isn't where I would have started the conversation. However, I used to say like that this is a Western...Euro Western colonial way of being in the world, and like the hatred of children, they have childhood and, and the violence against children is a construct within colonization. I did know that, but I didn't realize how severe it was. And so alongside the other horrific systems within colonization, I like to call it Empire because it's like a hydra, all of it, capitalism, ableism, ageism. We're still we're fighting all those battles still in use. The problem with adult supremacy is that it just keeps reenscribing itself because, yes, yeah, yes, you can see how it just, it's not that's why I'm not really I'm not a proponent of youth liberation as such. And why I talk about autonomy instead is because it's it needs to be intersectional, it needs to be intergenerational, it needs to be...we have to undo adult supremacy, we can't just focus on doing youth liberation siloed over here, because they grow into adults, and then they become adults supremacists. Right. And like, do you know what I mean? it's kind of like...it is one of...it has mobility, in terms of getting out of being the oppressed to becoming the oppressor. Not unlike class... Brooke 17:13 So if I'm understanding it, then adult supremacy.... Carla 17:20 I could give you a definition. Brooke 17:24 Well, let's see if, well let's see if I picked it up from that. It's the idea that adults are all and always supreme to children, who are just going through a phase and to some degree, it's acceptable to enforce that adult supremacy through violence? That's kind of from all those things. Brooke 17:54 Yeah. And so, if I get it correctly, parental supremacy is like within the bigger circle of adult supremacy, right? Like... Carla 17:54 Yeah, and psychological violence, physical...like all kinds of...it is a violent act. It's a colonizing of the mind and soul and body. And yeah, like, you know, the whole, the whole idea is to prepare your kid for adulthood, which is just ridiculous. Like, they are a full human already, that things need to be discovered. And they, you know, like, all of us, guidance is important. mentorships are important skill sharing is important. Presence is important. Love is important, and ultimately care, right? Yeah, but they....and they are fully human already. They are no less, no more, you know, some maybe, you know, whatever, it's, you know, it's relational. But, the idea adult supremacy is children are under developed, they're not fully human, they need to prepare for ultimate adulthood. And that is the supreme holding of what it means to be fully human, is to be an adult. Carla 18:46 Yeah, I mean, I've always liked Bell Hooks' thing she called, she called it the patriarchal family, like, it didn't matter what gender you were, or how you configurated your family, where if there's adults, taking care of children it was a patriarchal family. And I really liked that phrasing, because I think that's a way to maybe push back against some of the what happens with some of the feminists ideas around parenting that, you know, like a woman, you know, like, I'm talking more like, I'm probably aging myself, but I'm doing more like this second, third wave of feminism where it was, you know more about their rights than it was their children's because they were so oppressed under the patriarch of the family or whatever. And yes, and you know, Bell Hooks came along and was like, you're a patriarch too within that adult supremacy. Yeah, yeah. Brooke 20:02 So, um, we talked about the, you know, physical psychological abuse factor of that adult supremacy. I'm curious what other ways you would point out that it manifests itself in society...families and, you know, adults in general, and maybe there's some, you know, insidious ways that we don't even think of, you know, that wouldn't immediately come to mind that you could teach us about here. Carla 20:28 I mean, it's everywhere. You know, I, I'm not on the socials at all. I left fully back in the spring, but when I was, I was constantly asking my fellow podcasters, and journalists and thinkers and opinionerrs, to please stop calling the most vile human beings on this earth childish, and children and toddlers. It's right there. You know, that is where it's at. Can you... and people would be like, "What do you mean?" And I would be like "Change 'child' to any other group. Woman..." and then their eyes, they're like, "Oh, my God, I'd be canceled. If I called Trump a whiny woman," or whatever. Put any group in there. Right. I don't really want to go down that road. But, you see what I mean. So that's a one that I have to...We just actually, Grounded Futures, just re-released it because it's not stopping. Right? Because so, that's a really, really huge way. It's all those biases, right, those social biases. So, like I mentioned earlier, I was the co director of a youth run arts and activism space, that was free to use, it had a lot of anarchist kind of ethos running around it. It was co founded. It was founded by six youth and Matt Hearn, back in 2001. And my son was on the collective and we did a whole lot of cool stuff. But it was incredible how many adult organizers would email me and ask if they could come in and give a workshop on how to run a space. Or how to run a collective. I'd be like, I think you all could come down and learn something from this youth collective, but that's pretty like a bias, right? Like, I was like, this is the most functional club I've ever worked with, like I've, you know, been in a lot of collectives like, I don't think age has anything to do with it. It's about like some other things going on around power. You know, like, I...Yeah, so there's this idea that they were...it was flaky, and that they didn't know what they were doing. And so that was just another bias, an ageist....it's, it's just terrible. Yeah, I watched it just go down all the time. Another storieas an anecdote...I'm sure you have many....My kid when they were really, my youngest, when they were really little, and we'd go grocery shopping. And they were really good at picking out avocados and fruit. And one of the people working in the store, like slapped their hand and said, "No, you're not allowed to touch fruit." I was like, first of all, don't ever touch my kid. Second of all, they're better at it than me. You know, like I just, you know, like, it's that kind of that kind of like, they just....the person couldn't even...it was just so reflexive. Like, they couldn't even imagine that this five year old knew what they were doing. Stuff like that. It's just constant. It's just everywhere. And I'm sure you you can, you know....and I do it myself. And I want to say, because I know I when I talk about this, it can come off like I have it figured out. I confront my adult supremacy and particularly my power every single day in my relationship with my youngest, like, every single day it comes up in subtle and overt ways because of maybe I'm tired or and the more we get, the more we uncover it, the more we see. The more we get into the like, the nuance of power, like the nuance of like persuasion that you know, like that I hold, the more I'm like, "Dang it!" Yeah, yeah. Brooke 24:19 There's another example I just thought of, too, that I think often crops up around this time of year with people visiting family so often. The hugging example. You know, not making your kid go hug somebody because he's "Oh, you know, hug me." Even if it's you, the parent, like "Hug me goodbye." You know, don't make don't make your kids have that physical interaction with another human being. Carla 24:46 Thanks for bringing that up. It's like it's so true. Like kids live...like especially little kids...live a extremely nonconsensual life. From bedtime, to food, to like touch right, and every thing in between. And parents, you know, there's a lot of nuance in that conversation around parents and parenting, and but it's real. All right. And, you know, people are always trying to do workshops on teaching consent, and I'm always like, just gonna fail if you're not living with your kids. Brooke 25:18 Yeah. Carla 25:19 It's just gonna fail. Like it's so embodied, like, children just live such a nonconsensual life in lots and lots of ways because of this, because of adult supremacy. So yeah, thanks for bringing up...getting right to the right to the point. And, you know, it's interesting because thinking of parenting like my...sorry, my, my youngest is Uilliam, but we often call him Liam, that I do the podcast with, so he does a lot of the social media for Grounded Futures. And he often feels a bit gaslit by like, kind of the algorithm that comes through that one around like radical parenting and anarchists and stuff around, like on so called holidays on how cool it's going with their kids in that and because then they go on theirs where it's very much mostly trans and LGBTQ+ youth, ranging from 16 to like 25. And all his friends and all his mutual's are in trauma on that day because of nonconsensual hugs, from having to mask, from having from being misgendered, from not being believed that they're trans or I can even be, are non binary, or whatever, the whole gamut, right? And, and I hadn't even really thought about, like how algorithms work. And I was like, well, that's really hard. And he's saying, "I'm not saying that those radical things aren't happening that I'm seeing on Grounded Futures. It's just like, you can get in your bubble and think everything's better. And then you go to this other thing, and you're like, "Ah, the youth are actually not doing well, right now. Overall." Yeah. Brooke 27:02 Yeah, I've often been told as a parent that I have raised a very rude child, because, and I'm not going to try and pretend that I've been some sort of perfect, you know, no supremacy, children autonomy kind of thing. I'm human. I'm not, I'm still working on it. But, that was something that I noticed and chose to do differently early on in her life about not making her hug people or touch people kissing people goodbye. And even, you know, not necessarily forcing her to say goodbye to somebody. You know, I did a lot of giving her the option, you know, "We're going to leave now, would you like to say goodbye to Grandma?" or what have you. And so as she's gotten older, you know, some of those things that I didn't force her to do, she kind of didn't learn, and now she's old enough to where she understands politeness. You know, and I can suggest, you know, it's more polite in this situation, to say goodbye to this person, you know, and she can still choose then how she wants to do it. She can understand the social dynamic of why she's making that choice. Carla 28:11 That's beautiful. Brooke 28:12 You get accused of being a bad parent, or a rude parent or, or whatever it is, because you don't force your kids do these social things. Carla 28:20 I can't believe how many adults came through the Thistle that would say, "Oh, the Thistle youth are rude. And I was like, "You really have a hard time with like sharing your power, hey?" Like, I just would call it what I saw. Like, actually, what I saw was like, you actually want to come in and have kids, like, passively listen to you. And be polite, so called, you know, nice. But, they're like, they're not buying what you're selling. And they're like, "I don't want to do this." And you're thinking they're rude and entitled. I was like, This is what youth autonomy looks like. This is what sharing power looks like. This is what getting out of young people's way looks like. Yeah, I have a really similar thing with my kids. And I, my youngest, like really cared about relationships to the point where like, we've been unpacking this, where it was all overt, but they they took the social niceties on really young, but they had it all figured out. They're like, "At so and so's house, I have to like say 'please,' and 'thank you.' At so and so's house, I get to eat whatever I want, but I'm not allowed to swear. And I just listen because I want to have these friendships." I was like, wow, that's really cool. And also please don't mask. [emotions] Brooke 29:33 Isn't that so challenging? Carla 29:35 Yeah, it's a hard one. Brooke 29:37 Yeah, and mine lives in two households that are you know, very extreme opposites. Carla 29:42 Right. Brooke 29:42 So, the things she's allowed to say and do in this household are much more, you know, open and she's got a lot more autonomy and authority to do things and then she has to, you know, in that house, in order to fit in and not you know, not make waves, she feels like she has to you know, dial it back and behave in certain ways. And that's hard to see. Carla 30:05 It's also practice for life. I mean, you know, until we deal with this, I mean, you know? It's a hard one. Brooke 30:12 Yeah. Yeah. At Least for the world that we currently live in. Carla 30:15 Yeah. Yeah. Brooke 30:17 But yeah, while we're talking about like the liberation of children, I am curious if you would like vision with me, what would relationships look like between parents and children, or society and children if we were treating them in ways that were autonomous, and, you know, honoring them as the human beings that they are? Carla 30:38 Oh, I'd be dreaming. And here's why. Because everything would slow the F down, like so much, like, first and foremost, because there'd have to be a lot more or listening, a lot of questions. And that...I used to, I used to call it the friendship bar, how I trained myself, like, supported myself in my learning and making mistakes with my youngest was like, and I think, John Holt, this a John Holt quote, like never, you know, "Never say to a young person, what you wouldn't say to the person you hold in highest regard." It's a really good bar, it really, it really is. I can't...you know, it seems, you know, a lot of people throw quotes and people go, "Yeah, yeah, yeah," but I can't express it enough how much it has helped a lot of other fellow co conspirators who want to undo adult supremacy when I share this with them, and they're like, "Right!" You know, and I think we can do this with some of our closest friends too. Or some of our, you know, maybe if we have some hard times with a partner, like we can be a little bit more snarky with them than we would with somebody we hold in high regard. So like, I mean, I think it's just a good practice across the board to like, figure out what is the most generative, you know, responsible, trusting way to come into relationship with anybody? And yeah, and one of the things we really strive for in our house is this notion of solidarity. My oldest said this on a talk about the book the other night, I hadn't really...it was really nice to hear the feedback, but he's like, you know, "it was always really transparent, that this was the goal at our house, that we were in solidarity with each other." And this is why I use the term solidarity because and, you know, this changes based on their age because they can, you know, they're littler bodies, they have littler nervous systems and stuff, right? But like, it's not...I'm not a child centered home, either. I think that's when we can get into some weird reinscribing individualism. We're very much a relationship centered home no matter what the configuration is, even when we've had roommates and whatnot. And like, it's like, just everything's transparent and slows down. Like, you know, like, food, all the conversations, bedtime, sleeping, care. I had, I had a chronic illness for the big chunk of my children's lives, that's pretty much healed, but that that involved a lot of solidarity and a lot of care going in all directions, right. Like I I used to joke that I parented from bed. Ha ha ha But it was true, right? So yeah, I would like to hear some of your dreams, but like, I just right away, there'd be a lot of listening, a lot of curiosity, a lot of play, a lot of tantrums. But we'd got to have them too. You know? Brooke 33:28 Yeah. Yeah, the thing that stands out to me the most, there is the thing about slowing down, because that is definitely such a huge difference I notice, you know, between the way I would sometimes do things, and my friends with children of the same age, or what I see, you know, now when I'm looking around at different parents and what they're doing that, yeah,you have to engage more with the child. It's not....there's the the jacket debate, right, That you have with little kids, because they never want to put on a frickin jacket. And you have some parents that are like, "Well, they need this jacket, and I'm just going to shove their little bodies into it." And, you know, they have the debate once and they're like, "I'm not gonna fight with a three year old about this jacket." And then they just force it onto their kid every time. Whereas, I mean, you can sit down and talk about that more, you know, "I think you should put on the jacket because this" or you know, "Let's step outside and feel the cold outside and see if you change your mind," and, and then ultimately, also having to honor what they land on, you know? The kid says, "No, I'm not gonna put on a jacket." That's, you know, it's a slower process and then at the end, letting go of that final bit of, you know, authority or autonomy. Like maybe you still take the jacket to school with them, you know, they have to carry it perhaps, but you don't force them to put it on, but it is slower. So your life has to allow for time for that. And you know, of course under capitalism, the the empires you say that we are in, it makes it so hard to do that and then especially if you have multiple children that are maybe all small at the same time, you know, you've got three of them arguing with you about maybe three different things all at once. It's tough. Carla 35:11 Yeah. I mean, and this is why like "Trust Kids", I just want to go on the record isn't a parenting handbook at all. Like if...the essays are stories on youth autonomy, people...youths have written for it. Adults have written about their experience growing up in youth liberation environment, to more theoretical pieces, but and then a lot about confronting adult supremacy. So, it's a book for adults, for sure, and about us doing this work together. But it's not a parenting handbook, because at the core for me, Liam always says this on the podcast, like he's like, you know, "People often ask my mom for advice. And she's always like, "I can't give you advice, because I don't know your child, and they don't know what they need. Like, if you asked them? Like, it's just like, you know, that's my advice. Ask your kid."" I love the coat example. Because it's so you know, like, you're late, you have to pick up your, you know, you have to do the thing, you got to do all the things. And my kids are like the opposite. My oldest, always over dresses, and I used to always have to carry his coat halfway, and then the other ones the other way. So, I just, you know, it's back to like, I think what my Zack said the other night on that call, or that show, the episode, or whatever we did, the public, the book launch at Firestorm was that it was always just really transparent. Like, he never felt like, confused, but what was happening, so I was just always really real, I'd be like, "Dude, you always are hot within 10 minutes, like, can you not wear like 50 coats, oh my God, and because I don't...physically can't carry it, like, I don't have enough strength. So we need to like figure," but that took time, like that kind of negotiating conversation and being in solidarity with my physical body and not being able to carry the coat in 10 minutes in the walk. And him like wanting to like pile on the three sweaters and the coat. He's still like that. You know, like, it was like, yeah... Brooke 37:04 Yeah, as you just pointed out, there are times when, like, you're running late, so you don't necessarily have the time to take to do that. And then, you know, you need to know for yourself as a parent, you know, what, what you want to do in that situation. How you want to handle that. Do you want to be later and take the time to do it? You know, if you want to honor your principles to never shove this child into the jacket, you know, it's it's again, it's not it's not easy. It takes some practice and some forethought. Carla 37:33 Or let them go without a jacket, you know, let them experience it. Brooke 37:36 Right. That's what I did. Carla 37:39 Yeah, exactly. Brooke 37:40 She got cold sometimes. Carla 37:41 I mean, yeah. And even me as a kid like, my you know, so called autonomy was also known as that word 'neglect,' you know, so like, no one around ever, so I was like, I often in the winter would have like no socks on and I'd be running around and like a tank top and..because I early years and northern Alberta, and then down here in the Pacific Northwest, I had like thought it was like balmy, warm you know, and so when my youngest was like, "I don't like wearing like, big coats, and like, as a kid, he would run into the ocean at five in December. And I was like, right, I was like that, you know, also, it's back to that, believing that when they tell you, you know. That's what trust really is, is believing people's experience and perspective. And when they say "I don't...I get hot, I get really hot." And you're like looking at the temperature like, I feel like you're gonna get cold, but you just gotta let go. Brooke 38:39 Yeah, that's a really difficult component. I'm curious, you know, how you would respond to somebody who, you know, maybe wants to point out that, well, you know, kids, they aren't good at looking that far ahead, right? Because their prefrontal cortex isn't fully developed. They are going to be good at seeing that they are going to need this jacket down the line or, you know, whatever the the thing is, that they, you know, maybe haven't developed the capacity to comprehend. And that would mean maybe their argument for why you 'have to' have to in air quotes force them into the jacket. Carla 39:13 I mean, again, just Yeah, I mean, again, just being I mean, it's, I like this, I like this example, because it's not life and death. But, you know, like, you know, the compromises is that I need you to like, throw an extra coat in your backpack, or I'm going to carry one. Well, I you know, this is what care looks like. I'm going you know, we're going to be together so I'm going to throw an extra coat in the in the car. You don't have to wear it, or whatever. Like I just think just being real like. Back to what I said earlier about, like, how would I...How would I talk to my partner about this? Who was, who's being ridiculous, in my opinion, and like, it'd be like, "What are you doing? Like it's like snowing and super cold and you are wearing just like a hoodie," um, Yeah, we would just have a real conversation about maybe some...infuse it with some humor. But yeah, when they're really, really little like, I mean, you know, I definitely when you have like two kids, like, I would have to pick up my oldest from wherever he was, you know, at 11 years old across town and then the youngest at 2 doesn't want to like, leave where...they didn't like transitions, so didn't want to leave the park and whatever. It's like this....Yeah, there's a there's a, there's a lot of tears. And it's just like, what I got good at was realizing that, oh, he needs like, really clear messaging, like 10 minutes before, eight minutes before, five minutes before, and then they stopped like the the tears he...like he just...I had to like, cipher, it decipher it, you know, it could be like, "Oh, okay. Right." Because, you know, he was just so in the moment, so present, which is also what I think the world would be like if we had less adult supremacy, or none. Would be, we'd all be way more present with each other. And maybe wouldn't worry so much about wearing an extra coat because life wouldn't be so serious. Brooke 39:15 Yeah, that makes sense. Another thing I was curious about is, you know, we're in the end times now, sort of, you know, we're seeing the the collapse of capitalism, a rerise of fascism, you know, societal crumbles, there's kind of a lot going on. And, do you feel like, I mean, this topic of adult supremacy is, is probably always important. But is it more important now that we're in these, you know, sort of end times? Does it? Do we need that even more as society collapses? Or? I'm just curious what you... you see them saying? Carla 42:05 Yeah, no, no, I think like, I think I would pivot just a little slight pivot. Because what I'm...I mean the book, people who have read the book, really do notice that the book has an intergenerational scope throughout it, is that yeah, we need like, we need to recover, reimagine, and grow what it means to be in family and kinship together, like we need larger family, like, we wouldn't be...even like the story about the coat and that would be so much more manageable if we lived in a more multi generational, larger community, right, in the way we're meant to live, so and that is connected to adult supremacy because the nuclear family, it's all connected around, like controlling, subjugating majority of the population so that people could profit more, right, that or have more land whether, you know, predates really does predate capitalism. So, yes, I think that, you know, to quote Donna Haraway, "Making kin is the single most important thing we need to be doing right now." But we need to think about that cross species, across bloodline, beyond bloodlines, and way beyond borders. And for it's like it, we need it for our survival, and ultimately, to thrive more. I thrive way more when there's way more other humans around all ages sharing the load of whatever it is, like nerding out together, doing a puzzle playing, cooking, cleaning, doing work, making income, you know, sharing, sharing the load sharing the joys, I think it's really connected to the end times that it's more urgent than ever, but it's a reclaiming, you know, it's a recovery. It's not a...we don't have to imagine it, we know how to do it. You know, it's connected to mutual aid and webs of care and all that good stuff. But it's, you know, like, I live in a city so I don't have to prep prep, you know, I don't have...I don't live off in the boonies, you know, I don't have to worry about having a generator and stuff and I think like it was, you know, I'd like to think of myself more like mycelium like if a disaster strikes, I'm going to be like mycelium, I'm just gonna go and offer support and care and there's going to be plenty and people are going to show up because we know that in disasters, right? But if we had more, just more multi generational, multi species kin and families, that would even be better. I don't know If that answered your question, but, yes, you know, I want I want to abolish adults supremacy. From day one, I think it's always been a terrible thing. It's definitely had times when it was worse for some kids more than others still is worse for some kids more than others. But yes, it's connected to webs... Brooke 42:13 Yeah, how that ties into what we need with the collapse of society here, the collectivism in the broader webs of kinship are unimportant. And eliminating muddled supremacy is going to be happy to be part of that. I really liked the way you frame that there that it's, we're not building this new thing, we're going back to, you know, what we used to do. And really, I think, fundamentally, how we're wired as well, you know, the research indicates we are very wired for community and kinship and connection and all of that. So it's getting back to our truer selves to be to be together in those ways. And then that does lead me into kind of the last broad topic that I wanted to consider with you, which is, you know, you and I are both parents, so we can talk about our experiences and what we need and so forth. But for people who aren't parents, don't have kids of their own that want to support their friends who are parents and, you know, help, you know, revolutionize parenting here in this adult supremacy and build the kinship, what, you know, what kind of things would you say to them? That would be? What can they do to help? What can they do to to learn more? And to help build that as the non parent? Carla 46:31 Yeah, I think if you feel...well, first of all, do your own work on undoing your adult supremacy and like really go deep into like, all the places like you're probably really...every adult out there has dealt with it. And so you will probably have some internalized adult supremacy and some trauma and hurt around it and different degrees varying degrees. So first and foremost, like, just look at it, look at it. Notice how you show up for young people if if you are in young people's lives. And you know, listen more, just listen more, listen way, way more to young people. I think like, you know, when parents write about this topic, there's this like paradox of centering ourselves. It's like, you know, but this is, this is one of the reasons why I didn't want to do the book for a long time. But I was up for it. I was up for it, because it's important. And I intentionally invited in a lot of lot of people who aren't parents to write for the book, because I think it's really crucial. We cannot do this alone as the parents, like we just can't, like we need everybody, we need everybody on this, to undo this like massive, massive like bias. It is still one of the largest ones that's ignored. I am really rare. We are really rare. I'm not talking about radical parenting. I'm talking about people who notice adult supremacy, and like point it out. Like, it's a small, isolating community. I often feel really alone, I feel really gaslit. I have a crew of people we talk, live globally think, unfortunately. But it's just how it is. Like I'm talking about this nuance of like noticing adult supremacy. I have a lot of people who do radical parenting. I know a lot of people who are into revolutionary mothering. I know a lot of people who are into like school abolition and radical education and pedagogy stuff and use liberation, but not all of them connect to this larger systemic piece. Brooke 48:27 Yeah, it's kind of a Venn diagram that some of those overlap into it, but they're not fully... Carla 48:33 Yeah. And so, I just ask more people to really tune into it. Notice it. Call it out when you see it. It's all the frickin time. Like, you know, the other you know, disability justice activists and organizers and their allies have done a such a great job of changing the use of those words in media to describe the horrors and the vile people. But, there's two that still really are used constantly and one is saneism. Like so calling someone like Trump insane is just an insult to anybody who has madness. Brooke 49:16 Yeah. Carla 49:17 And because like, I don't know about you, but the mad folks in my life are nothing like Trump. And the like, yeah, some pathos going on for sure. But, like, you know. And then the other one is, you know, the childish toddler and just call it you know, just call up ask people to stop, to not do it. And comedians are the worst and you know, the other one is, I guess, you know, I mean, it's still okay for comedians to make...to not be so great about body politics, especially fat politics, like fat body stuff shaming, like that one still can pass a little bit, but it's it's also getting more people are you know, due to organizers and activists and those of us who push back against that, but the children one is the big one. Sanism and childism and are the two. So, if you're a fellow adult out there, a person who is not a young person and you're on the socials and you have a platform, join, join, join, join us in inviting folks to stop doing that. Because, you know, my kid, like, he was like, four...I don't know what it was, like 15 or something when Trump was first on the presidency stuff, and he was noticing it all the time. He's like those...every adult who calls him a child in front of their kids, their kids must like internalize some hatred. Like they must look at Trump. Look at their parent. Look at Trump. Look at the parent and go "Wow, my parents claim this really awful evil person that they clearly hate a child. They must hate me too." Yeah, I was like, Thank you for saying that. Like, my, my brain went, "Right?" Like that is like, oh, like I cried. It was so hard to hear that, like, you know, he was 14 at the time. And he that's what he saw, or 12 or something. And I was like, "Right. You're right." Yeah. I don't think it's intentional. I don't think the parent doing that is thinking they're doing that. Brooke 51:25 Oh, of course. Of course. Yeah. If someone were to replace it with a word like immature, do you think that still has the same connotation and problem? Carla 51:35 Yeah, I have a list. I have, I can share I we we put it up. I was telling you, we put it up. I used to....I have it's called "Trying to find a way to describe a billionaire, a politician, a fascist: Here's a list of words to use instead of calling them a child toddler or childish." And because we really worked on not using sanist language as well. So, careless, mean, rash, hot headed, imput. I have a speech impediment. So sometimes I can't say words. Manipulative. I have speech apraxia. Manipulative, entitled, jerk, foolish, impulsive, irresponsible, imprudent, ill advised, greedy, violent, liar, asshole, shitbag, racist, fascist, reckless, ridiculous. And there's so many more. You know, like, Just say what you mean? What do you know, I had friends go, "But you know, I don't know what to say." I'm like, "Well, what are you trying to get at?" "Like, oh, I'm trying to say that they're like a jerk." I'm like, "Just call them a jerk." Brooke 52:36 Yeah, that's a good one. Shitbag is a pretty good one. Carla 52:39 Yeah, it's my favorite. Yeah, it's like, it's a good one. Let's try that. Brooke 52:45 You know, there's an activist here in town where I live that is very conscious of ableist language, and including, like mental health things. So like the word 'sane' or 'insane,' for instance, but also, some of the ones that go along with that, like 'crazy,' I think maybe 'foolish' might be in there. And I was in a, I think, a Facebook group with them. And if someone would use one of those words, they would, they had kind of a little template that they would say is, you know, you know, "Here's this word that you chose to use. Here's a little bit of like, where it comes from, or like, what, you know, the, the sort of negative history of it. And then here's a list of like, antonyms that are not, you know, ableist or sexist, or, you know, body shaming, or et cetera, et cetera, that you could use instead of that word." Yeah. Carla 53:32 Did they also point out childism? Brooke 53:36 Yeah, and I don't I don't remember that one. But this, what you were just saying that, like, I hadn't thought about childish as being one of those words. I don't think I use it a lot in general. But, you know, I'm gonna add that to my vocabulary. Carla 53:50 Yeah, like so or they're like, "the sniffling little baby?" Like they do that a lot, right? Like, comedians and sort of YouTubers and stuff that are talking about, you know, the ruling class. So they, you know... Brooke 54:06 You can call them whiny without having to say, 'whiny baby,' you can just like so they're like whiny. Carla 54:10 They're punching up and punching down at the exact same time with that, you know, definitely go after those who are horrible, fascist and racist, you know, but stop calling them 'children' and 'toddlers' and yeah, yeah. Brooke 54:29 No, I really like that, you know. The fellow that, you know, did all the work. Does all the work to point out the ableist language, you know, definitely had got me thinking in the last couple of years about other words that you know, maybe tie back to something like that and so I'm glad that you shared you know, this additional language that then I can work on and be aware of and improve. Carla 54:53 Yeah, it's, it's always we're always working on it and learning and you know, like I the ableist language off, you know, I remember, it really came into the fore around 2009--2010. Like it really, you know, in radical communities like we were really aware of first, the more physical ableist the stuff and then it moved into body mind, but I still saw the sanism stuff like, you know, it still was okay to call someone like Trump insane. Like, maybe not 'crazy,' but you could call him insane. So I've been also being loud about that one as well. Brooke 55:31 Interesting. Yeah, yeah. And that's kind of where my question came from about, you know, well could I just call them immature instead? I figured that was going to be a 'no,' but I'm really glad you have that list to share. And I might see, maybe, could email that list and I can see if we can get that posted up. Carla 55:46 Sure and it's at on Grounded Futures. We're on both Twitter and Instagram, just at Grounded Futures. It's a platform, multi art platform created by youth and women and gender nonconforming folks. Brooke 56:03 Cool. Well, while you're plugging things, are there other things that you want to plug, obviously your book, you got to replug that for us. Carla 56:11 Yeah, you can get "Trust Kids" over at AK Press or wherever you buy books. There's an audio book and a Kindle or whatever it is. And I also have a project called Listening House Media, where we do we do mostly audiobooks, but we also publish political pamphlets called Lowercase. You can check that out listeninghousemedia.com. I'm doing the audio book for my other book called "Joyful Militancy" right now, which is really exciting. I just want to put that out there. Because I know people wanted it to be an audio book, since it came out five years ago. And so that's really exciting. Brooke 56:49 Is that also available from AK? Carla 56:51 Yeah, it won't probably be out until like, January or February. But yeah, and then GoundedFutures.com is where you can find a lot of my other works. Yeah. Brooke 57:02 Great, well, Carla, I really appreciate you being on the pod today and talking with us about parenting and ending adult supremacy. To our listeners, thanks so much for listening. If you enjoy our podcast, please give it a like, drop a comment or a review. Subscribe to us if you haven't already. These things make the algorithms that rule our world offer our show to more people. This podcast is produced by the anarchist publishing collective Strangers in a Tangled Wilderness. You can connect with us on Twitter @TangledWild and also on Instagram. If you check out our website tangledwilderness.org you'll discover we have a new book available for preorder. It's called "Escape from Incel Island" written by the one and only Margaret Killjoy. If you preorder it nowj, you get a color poster with your copy when they ship in February. The work of Strangers is made entirely possible by our Patreon supporters. Honestly, we couldn't do any of it without your help. So if you want to become a supporter, check out patreon.com/strangersInatangledwilderness. Yes, it's a long one that's patreon.com/strangersinatangledwilderness. There are cool benefits at various support tiers. For instance, if you support the collective at $10 a month, one of your benefits is getting 40% off of everything on our website, including if you want to preorder Margaret's new book, and we'd like to give a specific shout out to some of our most supportive Patreon supporters, including Hoss dog, Michaiah, Chris, Sam, Kirk, Eleanor, Jenipher, Staro, Kat J., Chelsea, Dana, David, Nicole, Mikki, Paige, SJ, Shawn, Hunter, Theo, Boise Mutual Aid, Melissia, Paparouna, and Aly, thanks so much for listening Find out more at https://live-like-the-world-is-dying.pinecast.co

Gina Badger (they/she) is a clinical energetic herbalist. They offer care through their private practice, Long Spell, and collaborative projects such as Wet Coast mutual aid kits. Gina is a queer nonbinary femme of mixed Western European ancestry born in Treaty 6 territory and currently living on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh nations (Vancouver, Canada). In this episode, Eryn and Gina talk about: Gina's journey with plants! Building an embodied relationship with plants Personal healing-oriented plant communication Looking to the plants as teachers Orienting toward plant relationship Ways to give plants attention What relationship with plants looks like for them in the winter Blog for this episode: www.living-open.com/blog/gina-badger  Subscribe to the Joy Notes substack here and get a copy of the Religious Trauma support workbook here. Connect with Gina on their website, Instagram, or over email at gina@longspellherbs.com. Footnotes from Gina: Episodes from KPFA radio show the Herbal Highway: “Herbal Energetics” (15/Feb/2023, originally aired 1/May/1999) and “Honoring our Elders: Karyn Sanders,” (2/Nov/2022) Joanna Macy's Work that Reconnects Chani Nicholas's Week Ahead Podcast for the week of 30/Jan/2023

Author and professor Carrie Jenkins joins us this week to discuss her newest book, Sad Love: Romance and the Search for Meaning, and some of the principle themes in it. She goes into detail about questioning the relationship between happiness and love, eudaimonic love, "lovecrafting," and more.Carrie Jenkins is an author and philosophy professor who lives and works on the unceded territories of the Squamish, Tsleil-Waututh, and Musqueam First Nations. Carrie's first novel, Victoria Sees It, was published in 2021 by Penguin Random House Canada, and shortlisted for the Frye Academy Award XIII and the Ethel Wilson Fiction Prize. Her non-fiction books include What Love Is and What It Could Be (Basic Books, 2017) and Sad Love: Romance and the Search For Meaning (Polity, 2022). If this show is helpful to you, consider joining our amazing community of like-minded listeners at patreon.com/Multiamory. You can also get access to ad-free episodes, group video discussions, bonus episodes, and more! Treat yourself to some stories to turn you on or help you drift off to sleep with an extended 30-day free trial at DipseaStories.com/multiQuality lube is essential for good sexual experiences. Try our absolute favorite, Uberlube and get 10% off plus free shipping with promo code MULTIOrder a sexy gift box from our sponsor, Like a Kitten, and get 20% off with our code MULTI at LikeAKitten.com/multi Get a free month of Feeld's Majestic membership and explore open-minded online dating with our link: multiamory.com/feeld Multiamory was created by Dedeker Winston, Jase Lindgren, and Emily Matlack.Our theme music is Forms I Know I Did by Josh and Anand.Please send us your feedback and questions to info@multiamory.com, find us on Instagram @Multiamory_Podcast, tweet at us @Multiamory, check out our Facebook Page, visit our website Multiamory.com. We are a proud member of the Pleasure Podcasts network.