Queen Of The Bands: Carnival And “Monarchy” In The (416)

Queen of the Bands: Carnival and “Monarchy” in the (416) is a solo multimedia gallery installation which explores the complexity of Queenliness through the audio and photographic documentation of four women who perform as the head female masqueraders within the complex political framework of Toronto Caribbean Carnival's 2017 King and Queen competition. The Canadian national narrative reserves Queenliness for historically dominant European figures such as the Queen of England, so what does it mean to be a woman of colour performing as a queen in a Canadian carnival celebration? The complexity of this history and the prominence of African masking traditions in carnival Mas’ making, among other cultural influences in the Caribbean, contribute to the notion of Queenliness within the framework of carnival. <div>The purpose of my photographic investigation is both to capture a tangible element of carnival’s relationship to Emancipation Day history in Toronto and, among other things, to examine the women’s representation and power in Afro-Caribbean communal celebrations. My additional objectives were the following: First, to evaluate how the historical framework of Emancipation Day in Ontario has shaped the current production of these celebrations in Toronto. Second, to contextualize the head female masquerader’s position within the historical framework of emancipation and carnival. Third, to determine the role carnival celebrations play in defining a racialized woman’s identity in Canadian society. Fourth, to investigate how employing documentary photography practices can shape the understanding of Emancipation Day and contextualize African Canadian history. Lastly, to investigate the effect British monarchal representation in Canada has on Queenliness when performed by women of colour.</div>

Queen Of The Bands: Carnival And “Monarchy” In The (416)

Queen of the Bands: Carnival and “Monarchy” in the (416) is a solo multimedia gallery installation which explores the complexity of Queenliness through the audio and photographic documentation of four women who perform as the head female masqueraders within the complex political framework of Toronto Caribbean Carnival's 2017 King and Queen competition. The Canadian national narrative reserves Queenliness for historically dominant European figures such as the Queen of England, so what does it mean to be a woman of colour performing as a queen in a Canadian carnival celebration? The complexity of this history and the prominence of African masking traditions in carnival Mas’ making, among other cultural influences in the Caribbean, contribute to the notion of Queenliness within the framework of carnival. <div>The purpose of my photographic investigation is both to capture a tangible element of carnival’s relationship to Emancipation Day history in Toronto and, among other things, to examine the women’s representation and power in Afro-Caribbean communal celebrations. My additional objectives were the following: First, to evaluate how the historical framework of Emancipation Day in Ontario has shaped the current production of these celebrations in Toronto. Second, to contextualize the head female masquerader’s position within the historical framework of emancipation and carnival. Third, to determine the role carnival celebrations play in defining a racialized woman’s identity in Canadian society. Fourth, to investigate how employing documentary photography practices can shape the understanding of Emancipation Day and contextualize African Canadian history. Lastly, to investigate the effect British monarchal representation in Canada has on Queenliness when performed by women of colour.</div>

The Romance of Canada: Nationalism and Canadian Historiography

This is a short overview history of the relationship between Canadian historians and Canadian nationalism. It maps the historiography of Canadian nationalism against its significant manifestations in Canadian society and developments in nationalism scholarship internationally. Three conjunctures when the fate of the nation loomed large in Canadian historiography are featured. Evidence from the Canadian Historical Review (chr) is highlighted throughout, and, for each conjuncture, relevant articles from the chr are provided for further reading. In reflecting on this history, this article considers Canadian historians’ accomplishments and failures in understanding Canadian nationalism as well as the contemporary politics and praxis of their relationship with nation.

CSACI position statement: transition recommendations on existing epinephrine autoinjectors

Epinephrine is the first line treatment for anaphylaxis, an acute potentially life-threatening allergic reaction. It is typically administered intramuscularly in the anterolateral thigh at a dose of 0.01 mg/kg of 1:1000 (1 mg/ml) solution to a maximum initial dose of 0.5 mg. Currently in Canada, epinephrine autoinjectors (EAI) are available in three doses, 0.15 mg, 0.30 mg, and 0.50 mg. There are currently no published studies comparing 0.3 mg and 0.5 mg EAIs in the paediatric or adult populations to compare clinical effectiveness. However, as weight increases above 30 kg, the percentage of the recommended 0.01 mg/kg epinephrine dose from an existing 0.3 mg EAI decreases resulting in potential underdosing. As such, The Canadian Society of Allergy and Immunology (CSACI) recommends that for those who weigh ≥ 45 kg, physicians could consider prescribing the 0.50 mg EAI based on shared decision making with patients.

Islam, indigeneity, and religious difference in a secular context: Canadian case studies

This paper analyzes the hardening religious difference in contemporary Canadian society and explains why the presence of Muslims, including new converts, constantly incites in the public imagination the primordial threat of Islam to the secular accomplishments of Canadian society. Relying on the available data and previous research on the historical formation of the secular in Canada, the author attempts to detect a paradox within the state-lead politics of recognition that unintentionally creates the conditions for new communal conflicts” (warna kuning) diubah menjadi “Relying on the available data and previous research on the historical formation of the secular in Canada, the author attempts to detect a paradox within the statelead politics of recognition that unintentionally creates the conditions for new communal conflicts. By using an inductive generalization, the author argues that the perceived incompatibility between Islam and secular values is derived not so much from cultural and theological differences or actual political threats posed by Muslims or Indigenous converts. It instead emanates from the self-understanding of the majority of Canadians that defined the nation as essentially Christians and simultaneously secular.

Cultural identification of a person in the works of William Kurelek

Ethnic groups in Canada try not to dissolve in a foreign national environment and to preserve their identity. Polish-Ukrainian relations are an important topic in the context of studying the immigrant Canadian environment. William Kurelek was interested in this issue and managed to prove the role of Ukrainians in shaping a multicultural Canadian society. The authors of this study aimed to characterize the preconditions and history of the thematic series of Ukrainian immigrants and The Polish Canadians on the basis of artistic works. The works of William Kurelek were characterized and special attention was paid to Polish-Ukrainian motives in his work. The models of Ukrainian-Polish relations through the author's prism of understanding and observing the traditions and culture were derived. Issues of religious tradition, prairie duties, folk celebrations, upbringing, ethnic life and friendship were raised. In his paintings, William Kurelek raised these issues.