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DESCRIPTION:This year the Feminist Research Colloquium will be virtual! \n
 \nThe presentations are available in an asynchronous video format.  The li
 nks are guaranteed to work until April 17\, 2022. \n\nOn the evening of Ap
 ril 12th from 6:00 to 8:20 PM ET\, the presenters will participate in a li
 ve Q and A session via Zoom. \n\nMore details and video links are forthcom
 ing! \n\nLive Q and A Session (via Zoom) Schedule\n\nYou need to register 
 to get the zoom link for the live Q and A session. REGISTER HERE!\n\n6:00-
  6:05 Dr. Alex Ketchum and Dr. Rachel Sandwell make introductions\n\n6:05-
  6:20 Panel 1 on the Digital: Thai Hwang J\, Kari Kuo\, Matthew Martino\, 
 Emilie Rossignol-Arts\n\n6:22-6:37 Panel 2 on Art: Rachel Habrih\, Gwen Ha
 ller\, and Jemima Maycock\n\n6:39- 6:59 Panel 3 on Cultural Productions: A
 beer Almahdi\, Emma Blackett\, Sherine Elbanhawy\, Erika Kindsfather\n\n7:
 01- 7:16 Panel 4 on Sound: Laura Boyce\, Christina Colanduoni\, Emily Leav
 itt\n\n7:18- 7:38 Panel 5 on The Family\, the Home\, and the Mother Figure
 : Valentina de la Borbolla Iruegas\, Eilidh Jurus\, Natalie Tacuri\n\n7:40
 - 8:00 Panel 6 on Human Rights: Taylor Douglas\, Kate Ellis\, Gabriela Gas
 parini\, Catherine Steblaj\n\n8:02-8:17 Panel 7 on Education: Amanda Chiu\
 , Amy Joyce\, Maggie Larocque \n\nClosing remarks\n\nTotal 5 minutes per s
 tudent of synchronous questions\n\nAll the videos posted in advance.\n\nAb
 stracts and Asynchronous Video Links (in order of panels)\n\nVideo Links w
 ill be up by April 9th. \n\nGSFS Joint Honours Students\n\nValentina de la
  Borbolla Iruegas\n\nMy joint honors thesis focuses on the class\, race\, 
 and gender dynamics of live-in domestic work in upper-middle class househo
 lds in Mexico City. I study the way these dynamics shape the structure of 
 the home\, and how the physical architecture of the house shapes the dynam
 ics. Rather than describing the individual experiences and perspectives of
  domestic workers and employers\, I am interested in the way their interac
 tions are bound by the context they exist in and how histories and discour
 ses of race and class inform the boundaries of cohabitation. In my present
 ation\, I will highlight my second chapter. As an ethnographic exercise\, 
 the chapter titled 'The House\, The Home\,' walks the reader through my ow
 n house in an attempt to reveal the meanings behind boundaries\, structure
 s\, and spaces that are seemingly neutral or purely utilitarian. The use o
 f ethnography is central to my work because it is a way to represent the i
 nherent contradictions of domestic work. By weaving together academic anal
 ysis with my personal experience\, I aim to disrupt discourses that flatte
 n the multiple dimensions of the relationship between domestic workers and
  employers. Most importantly\, I aim to destabilize myself from the positi
 on of a reliable narrator of my own story and that of others. I will show 
 you myself and my home\, with all its leaks and cracks\n\n____\n\nTaylor D
 ouglas\n\nMy joint honours thesis focuses on the gross human rights violat
 ions committed against Indigenous women by the Canadian government. Within
  the range of oppression and violence perpetrated by the colonial settler 
 state\, Indigenous women are especially at risk of violence or murder. Thi
 s is in direct violation of their right to live free from violence\, and\,
  as I will argue\, constitutes discrimination under all international and 
 domestic human rights codes. My presentation will focus on relevant intern
 ational legal principles\, as well as examining how Canadian legal precede
 nt and The Charter of Rights and Freedoms interact with international huma
 n rights legislation to deem current state actions against Indigenous folk
 s unlawful\, using First Nations Child & Family Caring Society of Canada e
 t al. v. Attorney General of Canada as the most relevant precedent for suc
 h an argument. Situating my argument in the various incidences of violence
  against women in British Columbia\, I will prove that Canada is recklessl
 y committing acts of discriminatory violence against Indigenous women. \n
 \n___\n\nThai Hwang J\n\nIn my thesis\, I explore how colonial memory migh
 t be articulated and mediated by ‘Asian’ diasporic subjects on the interne
 t with an emphasis on the Korean diaspora. The diasporas of previous (and 
 still) colonized nations are often punctuated with a sense of loss and hau
 nting of silence that weave their way in between muddied genealogies and a
 ncestries. With this sense of haunting and absence\, I wondered how this m
 ight map out onto the online matrix? What are digital hauntings and digita
 l ghosts? What are the possibilities and also the impossibilities of imagi
 ning into the future and retrospectively online? And how are subjects meet
 ing im/possibility in this present digital moment? In my presentation\, in
  particular\, I discuss two films Ringu (1998) and Lion (2016)\, and how t
 hey articulate haunting on new technologies. Finally\, I discuss social me
 dia diaspora archives and how subjects are currently collecting around the
  past and loss online.\n\n___\n\nKari Kuo \n\nWhat happens when an undergr
 aduate student of history\, gender studies\, and social studies in medicin
 e\, experiences an unexplainable medical condition that gives her chronic 
 yeast infections for the majority of her university years? \n\n'A Cure to 
 Chronic Googling? A Testimony of the Chronic Vaginal Experience in the Tec
 hnological Era' is my attempt to unpack the power structures that restrict
  vaginal health justice through the feminist methodology of testimony. Per
 sonal stories about my experiences dealing with healthcare\, pharmaceutica
 ls\, and looking for information through Google are woven together with cr
 itical analyses of 'women's health\,' Western biomedicine and the technolo
 gy industry. I argue that chronic vaginitis sufferers’ attempts to find go
 od health information\, especially on the web\, are limited due to the soc
 ial and epistemological conditions that structure medicine\, the pharmaceu
 tical and technology industries\, and the relationships we have with our b
 odies. The concluding chapter explores the question\, “is it a cure\, or a
  feminist community\, that we want?”\, and encourages all marginalized peo
 ple to testify to their personal medical experiences to reveal the structu
 ral inequalities that connect us. In this video presentation\, I speak abo
 ut the personal and academic experiences that inspired my research and rea
 d edited excerpts from the thesis itself. Physical or digital copies of th
 e thesis will be accessible for those interested.\n\n__\n\nEmilie Rossigno
 l-Arts on Female Gurus\, Feminism\, and the World Wide Web: Questions of G
 ender Equality \n\nFemale gurus have gained positions of authority and pow
 er in a socio-political climate where feminist discourses of gender equali
 ty are increasingly given the spotlight on an international stage. However
 \, these women partake in a largely male\, Brahminical ascetic tradition w
 hich often reinforces a division between males and females. Female Gurus\,
  Feminism\, and the World Wide Web delves into the websites\, teachings\, 
 and non-profit organizations of female gurus Anandamayi Maa and Jadguru Sa
 i Maa. By analyzing how both these figures negotiate with\, neglect\, and/
 or embrace feminist discourses of gender equality\, this thesis hopes to i
 llustrate the various ways in which internationally renowned female gurus 
 possess the power to rewrite male\, Brahminical interpretations of the Hin
 du tradition. In doing so\, this thesis suggests that they behave as inter
 stices of disruption\, creating spaces of agency for women in the Hindu tr
 adition. This is largely accomplished by reconciling the importance of dha
 rmic duty as wives and mothers within the lives of Hindu women with the gr
 owing prevalence of feminist discourse through teachings and non-profit or
 ganizations. Through the power of the internet\, female gurus possess the 
 power to challenge the status quo. This presentation will focus on the rol
 e of Amma\, the hugging guru\, and her potential to create change.\n\n___
 \n\nCatherine Steblaj on Surviving the State: An Analysis of How the Ameri
 can State Responds to Sexual Violence in the 21st Century \n\nMy honours t
 hesis explores the ways in which the state responds to sexual violence and
  how it is represented in American society. Ultimately\, I argue that the 
 frameworks we view sexual violence within currently serve to enforce state
  power through upholding carceral violence while providing little support 
 for survivors. This relationship of the state and sexual violence is explo
 red through a framework of analyzing the construction of the victim\, vill
 ain\, and hero to demonstrate how the state enforces this narrative in reg
 ard to the issue instead of acting to prevent it and ameliorating the harm
  caused. The chapter I will be presenting focuses on the construction of a
  gendered\, racial\, and sexual American identity\, and on the role of vio
 lence in enforcing these social categories. Through an analysis of the Tra
 ns and Gay Panic Defence Prohibition Bill\, my work critiques the weaponiz
 ation of identity factors to excuse violence and of the reluctance of the 
 state to disavow it. By viewing sexual violence as a structural phenomenon
 \, my work ultimately aims to expand our thinking on the issue beyond inte
 rpersonal acts\, yet rather as manifestations of state violence enacted on
  the social body. \n\nGSFS Honours Students\n\nAmanda Chiu\n\nInspired by 
 my own experiences as a racialized student enrolled in 51�Թ���’s
  Gender\, Sexuality\, Feminist\, and Social Justice Studies (GSFS) program
 \, this thesis aims to explore the ways in which my program\, as well as a
 djacent or equivalent programs at other Canadian universitites (such as Wo
 men and Gender studies/Social Justice Studies)\, perpetuate epistemic viol
 ence towards Black\, Indigenous\, and Person of Colour subjects when situa
 ted within the contexts of the history of such programs in North America a
 nd the frameworks of institutionalized feminism in the academy. By identif
 ying the oppressive processes evoked by colonial and racist structures emb
 edded in the university\, the site from which these programs enact epistem
 ic violence towards BIPOC students and subjects is located. In identifying
  the structures integral to producing epistemic violence via institutional
 ized feminism\, the future trajectory of feminist academia\, discourse\, s
 cholarship\, and activism can be traced. This thesis draws on a variety of
  resources including autoethnography\, BIPOC testimony\, qualitative and q
 uantitative data to disrupt the very regimes of white feminism that are co
 nfronted by this body of work. I specifically aim to outline my findings o
 f the prevalence of white dominance in GSFS equivalent/adjacent programs r
 eflected in the demographics of faculty\, the diversity of authors include
 d in first-year required courses syllabi\, and student testimony. These fi
 ndings are concentrated in Chapters 3 and 4. \n\n___\n\nKate Ellis on Tran
 sphobia\, anti-autistic ableism (mentions of self harm\, suicide\, and eat
 ing disorders)\n\nTrans Exclusionary Radical Feminist (TERF) Movements’ Ob
 session with Autism explores the motivations behind “gender critical” orga
 nizations focusing on and raising concern about the growing number of auti
 stic youth identifying as transgender and accessing gender-affirming treat
 ments. In creating my honours thesis\, I have broken down statements from 
 materials produced and circulated by the UK-based pressure group Transgend
 er Trend to understand the assumptions that cause gender critical groups t
 o view autistic transgender youth as a cause for concern. In this presenta
 tion\, I will be exploring a specific blog post on the Transgender Trend w
 ebsite titled “Autistic Girls : Gender’s silent frontier” by Jane Galloway
 \, an autistic cisgender adult woman. My presentation will use this case s
 tudy to explore specific arguments used by gender critical groups and grou
 nd these arguments in the larger academic and societal contexts that enabl
 e them.\n\n___\n\nJemima Zoë Maycock\n\nJemima’s thesis is in conversation
  with the larger field of activists\, organizers\, and scholars visualizin
 g and working to undo borders. She debates the role art plays in decoloniz
 ing the US-Mexico border\, particularly in confronting notions of sovereig
 nty\, citizenship\, and development\, which are intricately embedded withi
 n. As a guide\, she looks at the intentions\, processes\, and social locat
 ion of the artist to work through the nuanced role of art at the US-Mexico
  border. She explores how the camera\, specifically photojournalism and vi
 rtual reality\, fails to interrogate colonial structures and misrepresent 
 Latin and Central American refugees and their experiences. The focus of he
 r presentation will be to use this same guide to investigate the way art d
 ismantles ideologies embedded within the border as well as how it decoloni
 zes the representation of refugees and forced migrants. Jemima turns to ar
 tists\, who are impacted by the border\, probing what might be. Specifical
 ly\, she speaks on the work of UndocuQueer artist Julio Salgado\; the Repe
 llent Fence designed by the Indigenous artist collective\, PostCommodity\;
  and the textile art of Janette Terrazas\, also known as Mustang Jane. Art
 ists\, who are impacted by this border and take control of their narrative
 \, produce within a decolonial ethic. Beyond this\, their art is a form of
  activism\, serving as an emancipatory tool for the artist as well as work
 ing to decolonize the structures embedded within the border. \n\nWMST 601 
 Graduate Students\n\nAbeer Almahdi on ​​“Meilleur Souvenir!”: Analyzing de
 pictions of Egyptian women in the colonial postcard\n\nFrom the European E
 nlightenment\, to Bonaparte’s 1798-1801 military campaign\, and finally\, 
 the rise and fall of British colonialism from 1882-1956\, Egypt has been s
 ubject to the violence and current legacies of the European colonial proje
 ct. Colonialism often took the form of gendered violence through the polic
 ing\, sexualization\, and overall instrumentalization of Egyptian women’s 
 bodies to reinforce colonial patriarchal domination. Gendered violence rep
 eatedly manifested itself through popular cultural representations—such as
  the postcard. Fetishistic and orientalist depictions of Egyptian women pe
 rmeated colonial-era postcards\, and continue to be auctioned-off and coll
 ected. The postcard is an interesting object of study\, as it operates bot
 h as an artistic photograph and as a mass-produced souvenir intended for i
 nternational circulation. Postcards are a form of encouragement\, enticing
  the recipient to make a similar trip\, and view similar sights—in this ca
 se\, partially-nude\, nameless Egyptian women. These postcards continue to
  actively circulate e-commerce websites\, such as ebay\, instead of being 
 laid to rest in the archive. This study excavates the postcard as a popula
 r cultural artifact\, as a way to interrogate the larger structures of col
 onialism that inform these artifacts. This study adopts a feminist post-st
 ructuralist materialist critique\, to address the way these physical image
 s reproduce cultural mythologies of Egyptian womanhood for the colonial ga
 ze. As an Egyptian woman researcher\, I inevitably see myself reflected wi
 thin these images. Thus\, I incorporate auto-ethnographic methods\, as a w
 ay to assert the importance of Arab women’s self-representations\, as orie
 ntalist cultural mythologies continue to persist as a contemporary colonia
 l legacy.\n\n___\n\nEmma Blackett: BLUE CRUSH CINEMA: Oceanic (Media of) F
 eeling and Settler-Colonial Women\n\nThis paper discusses the settler-colo
 nial femininity at work in two films that foreground the Pacific ocean\, B
 lue Crush (John Stockwell\, 2002) and The Piano (Jane Campion\, 1993). Wit
 h these film readings it offers a critique\, albeit admiring\, of the femi
 nist new materialist call to turn towards water\, the project Astrida Neim
 anis calls a “hydrocommons of wet relations.” The feminist hydrological tu
 rn aims to amplify the oceanic sensorium’s potential to dissolve the alway
 s-illusory boundedness of Western subjectivity into a recognition of water
 y enmeshment\, and it aligns importantly (though does not often directly e
 ngage) with Indigenous Pacific and trans-Pacific Asian anti-colonial hydro
 politics. Bringing feminist hydrologic into conversation with film theory 
 and psychoanalysis\, what I call blue crush cinema has the following eleme
 nts and functions: (1) It tells of a white settler woman with a powerful d
 raw towards the water—here crush has a double valence\, referring to both 
 her longing to enter the sea and the potential violence of oceanic pressur
 e\; (2) The ocean is at once literal and psychic-metaphorical\; (3) The fi
 lm camera allows water’s diffractive animacy to distort human form\, a dis
 tortion that hydrological feminists associate with dissolving Western subj
 ectivity\, and that Julia Kristeva associates with “oceanic feeling\,” but
  (4)\, in the end\, the blue crush momentarily satiates the woman’s death 
 drive and thus enables her to return to colonial work. This final function
  has critical implications for feminist readings of water\, which may work
  paradoxically to recuperate Western thought by scattering its elements in
 to the sea.\n\n____\n\nLaura Boyce: Transitory Monuments and Site Specific
 ity: Rebecca Belmore’s Ayum-ee-aawach  Oomama-Mowan: Speaking to their Mot
 her and Wave Sound\n\nIn 1991\, Anishinaabe artist Rebecca Belmore constru
 cted a massive wooden megaphone as a response to the 1990 “Oka Crisis” whe
 re the Canadian government used military power against the Mohawk land def
 enders in Kanehsatà:ke. Instead of aiming the megaphone at the government\
 , Belmore decided to “turn it towards the land\, so that [Indigenous] peop
 le could speak to [their] Mother\, to the Earth…” (Belmore qtd. Beaucage\,
  1992). The megaphone then toured to various indigenous communities across
  Canada and has since been part of other rituals and museum exhibitions. I
 n 2017\, she constructed four conical listening devices to be placed in fo
 ur national parks\, these artworks mimicked the landscape and encouraged v
 isitors to listen to the land as part of LandMarks2017/Repères2017\, commi
 ssioned by the Canada 150 fund. The site specificity and mobility of both 
 objects\, positions them as “transitory monuments” (Hopkins\, 2017). This 
 paper asks: What happens to these artworks when they are placed in colonia
 l institutions like museums or commissioned for a colonial celebration? Ho
 w do their sonic qualities change across sites? Through an analysis of the
 se objects and particular installations of them\, I build upon pre-existin
 g multidisciplinary scholarship to argue that Belmore’s interactive sound 
 artworks use site specific ritual to expand beyond the sites themselves. B
 y transporting indigenous voices\, integrating voice with environment\, an
 d inviting people to listen to the land\, Belmore sounds “poetic protest” 
 through indigenous feminist dialogue across disciplines\, across space\, t
 emporalities\, and various environmental media all while blurring the boun
 daries of voice\, body\, and land.\n\n____\n\nChristina Colanduoni on Blin
 dness and Violence: The Disabling Effects of Operatic Conventions\n\nCompa
 red to earlier eras\, nineteenth-century opera saw considerable number of 
 disabled bodies on stage. Whereas most studies of opera and disability hav
 e focused on the connections between derangement and physical disfiguremen
 t and femininity and madness (Linda Hutcheon and Michael Hutcheon\, 2000)\
 , this interdisciplinary project draws on existing scholarship on literary
  representations of blindness (Weygand\, 2009) and disability and performa
 nce studies (Sandahl and Auslander\, 2005)\, to form a new approach toward
 s operatic depictions of blindness. Similar to gender theorists\, disabili
 ty scholars have stressed the social construction of disability as somethi
 ng produced in relation to a disabling environment (Davis\, 2002). Drawing
  on feminist music scholarship on vocality (Hadlock\, 2004\; Clement\, 201
 4)\, this project considers how the two operas Belisario (1836) and La Gio
 conda (1876) accommodate their blind characters within the musical environ
 ment produced by Italian opera conventions of the nineteenth century. Gend
 ered expectations around voice types play a large part in these representa
 tions of blindness\; the baritone Belisario and contralto La Cieca possess
  different levels of agency despite sharing the same disability. Blindness
  imbues Belisario with a sense of intelligence and military prowess\, whil
 e La Cieca’s blindness helps construct her as a religious figure with spec
 ial spiritual insight. By analyzing the vocal output of these characters\,
  this paper examines the ways in which the death and aestheticized sufferi
 ng of these two blind characters is exacerbated by nineteenth-century oper
 atic conventions. Their marginalized positions on stage reveals a hierarch
 y of disability in nineteenth-century opera that viewed blindness as less 
 artistically valuable than other disabilities.\n\n___\n\nSherine Elbanhawy
  on A Literature Review of Arab-Canadian anthologies: A gendered analysis 
 as identity formation\, self-representation and cultural production\n\nAra
 b immigrants have received less academic attention than other minority gro
 ups in Canada. Most research on Arabs in Canada focuses on the challenges 
 of exile\, language-learning\, and Dubois’ double-consciousness\, which ad
 dresses people who experience a sense of ‘twoness’ as trapped between two 
 worlds. Moreover\, post-9-11\, Arab-Canadians as a hyphenated identity oft
 en became equated as Arab-Muslims\, which entailed an erasure of other lin
 guistic\, ethnic\, and religious minorities within the SWANA region (South
 west Asia and North Africa). This study contributes to a better understand
 ing of the literary contributions of Arab-Canadians by conducting a litera
 ture review of both Anglophone and Francophone anthologies\, the differenc
 es in the dynamics can be addressed between Arabs living in Quebec vs. the
  rest of Canada\, especially within the context of Quebec’s secularism bil
 l 21. Therefore\, this study will show how these anthologies have enabled 
 them to self-identify and reaffirm their existence as part of the communit
 y through multi-ethnic\, multi-lingual\, multi-religious self-representati
 on. A comparative gendered analysis will enable a focus on why some anthol
 ogies have decided to focus on women writers or have curated the collectio
 n through a feminist lens. The challenges and complexities of the lives of
  Arab-Canadian women reveal how they have resisted inequities\, refused co
 mpliance\, and challenged representation using both languages. These antho
 logies generate a nuanced\, self-representation of their hyphenated identi
 ty\, their sense of belonging and their existence as cultural producers in
  Canadian multicultural societies.\n\n___\n\nGabriela Gasparini on Discred
 iting the Notion of Credibility: Domestic Violence Cases in the Wake of #M
 eToo\n\nLegal cases of domestic violence are stringently dependent on the 
 notion of credibility – the likelihood that the victim is truthful. As a r
 esult\, the court rejects most victims due to the narrowness of credibilit
 y criteria. Existing research on this topic is slightly dated\, where find
 ings on credibility remain unchanged. What I believe is lacking\, however\
 , is research transgressing sociology and criminology and taking into cons
 ideration feminist historical events. The #MeToo movement\, growing in pop
 ularity in 2017\, drew much attention to violence against women. While #Me
 Too is a great outlet to feel heard\, it would not be accomplishing much f
 or victims without translating into sociopolitical level changes. The curr
 ent study uses a qualitative discourse analysis of four domestic violence 
 cases from Canada using the Lexis Advance Quicklaw database (two cases fro
 m the year 2006 and two from 2019). I chose these years to give enough tim
 e before and after the movement’s momentum to see an impact in court. If #
 MeToo has had an effect on legal cases\, the results should uncover more s
 ympathetic language cues toward victims in 2019 compared to 2006\, which s
 eems to hold true. These results will specifically be unpacked as the focu
 s of my talk. The unique analysis of #MeToo transgresses the sociopolitica
 l and criminal standpoint and instead grounds the research in feminist and
  intersectional thought. This interdisciplinary use of feminist\, sociolog
 ical\, and criminological research offers new insights into how cases shou
 ld be handled in court\, while also ensuring victims are receiving proper 
 tailored solutions.\n\n___\n\nRachel Habrih on “Ya raï\,”: Presenting a ti
 meless genealogy of raï through four Algerian women artists\n\nRaï\, a gen
 re unique to Algeria\, started in the early 20th century in the Western Al
 gerian city of Oran as a musical mode of resistance. Raï has been a vessel
  to express opposition to government corruption\, Islamic fundamentalism\,
  and patriarchal (post/neo-)colonial power structures by self-consciously 
 running counter to accepted artistic and social norms. The word raï itself
  includes a wide range of meanings\; opinion\, to see\, free will\, though
 t\, judgment\, all definitions that relate to the genre’s truth and storyt
 elling nature. The name of the genre also speaks to the improvised nature 
 of raï\, which I will use to argue the genre as performance art. In fact\,
  raï songs always include the lyric “ya raï\,” a call for one to express o
 pinion\, also symbolizing a call for inspiration of lyrics—a ritualistic p
 ractice unique to performance. By incorporating various mediums\, includin
 g videos\, music snippets\, photos\, and visual art\, this article aims to
  create a holistic database of four Algerian women artists and present a t
 imeless genealogy of raï through themes of individuality\, spatiality\, te
 mporality\, and affectivity present during raï performances\, parties\, an
 d gatherings. I specifically use the concept of queer spatialities and tem
 poralities to highlight raï’s timelessness—a musical genre that exists bey
 ond timed and spaced bounds. In this study consisting of the various disci
 plines of musicology\, ethnography\, gender theory\, and art history\, I u
 nderstand raï as a space of knowledge production conducive to feminist dia
 logue.\n\n____\n\nGwen Haller on Beyond the Muse: Collaboration and Forced
  Proximity at the Exhibition of 31 Women\n\nSurrealism\, at its heart\, ai
 ms to dismantle and transcend existing boundaries - of propriety\, of cano
 n\, and of discipline. As an artistic movement\, it rejected conscious con
 trol of the creative process in favour of the pursuit of the unconscious m
 ind. In practice however\, these works of art were often plagued by the ob
 jectification of women. Despite this misogynistic thread\, women within th
 e movement were able to advocate for themselves within personal and profes
 sional surrealist networks - negotiating boundaries to collaborate and pro
 voke. One such provocation was the 1942 Exhibition of 31 Women - in which 
 women working in Surrealism took centre stage for the first time. Displaye
 d artists Leonora Carrington and Dorothea Tanning\, alongside gallerist Pe
 ggy Guggenheim\, worked in forced proximity due to a shared lover and spou
 se - surrealist painter Max Ernst. These women\, despite personal turmoil\
 , were able to collaborate on an exhibition that shattered convention. It 
 is vital to recognize the ground- breaking nature of the show in the conte
 xt of the 1940s New York City art scene\, while simultaneously acknowledgi
 ng that today’s feminist curation and exhibition practices have moved far 
 beyond those of Guggenheim. By centering the exhibition and its works\, it
  is now possible to synthesize discussions of visual analysis\, curatorial
  practices\, architecture\, interior design\, and microsociological networ
 ks - instead of following the trend in existing literature to generalize a
 nd anthologize. The inclusion of close reading of exhibition criticism and
  memoirs situates the exhibition as a key moment for women working within 
 the surrealist movement. \n\n___\n\nAmy Joyce on ‘Who Said It’s a Man’s Wo
 rld?’: A Survey of 19th Century Community and Student Newspapers Respondin
 g to Women’s Education in the Maritime Provinces\n\n Grace Annie Lockhart 
 was the first woman in the British Empire to gain a bachelor’s degree from
  Mount Allison University in 1875. Despite the importance of the Maritime 
 Provinces as an early site of women’s achievement in higher education\, hi
 storians have yet to explore in-depth the experiences of women. Did women 
 enter a hostile environment? And if so\, what was the impact on their educ
 ation? To answer these questions\, one must understand the environment the
 y were entering. An effective way to examine the popular opinions about wo
 men’s education is to explore student magazines from various universities 
 and local newspapers and analyse how these papers presented their ideas to
  their communities. For this paper\, the focus is on Dalhousie University 
 and the Halifax community. The opinions of students and local communities 
 can offer new insights into the attitudes towards women’s education in the
  Maritime Provinces. This research will identify the differences between s
 tudent opinions and the local community and the potential differences that
  could arise in differing coverage found in these resources. While it is c
 lear that the question of women’s education affected all Canadian institut
 ions\, the regional approach taken will allow for a more detailed examinat
 ion of the realities on the ground in the Maritime Provinces. Ultimately\,
  researching women’s entry into higher education helps us understand the g
 ender differences in present-day higher education.\n\n___\n\nEilidh Jurus 
 on Urban/Rural Differences in Canadian Childcare: Old Concerns\, New Insig
 hts\n\n Childcare is a long-lasting\, inadequately addressed concern with 
 specific gender implications. The role of mothers and the role of workers 
 are oftentimes at odds with one another: women continue to remain primaril
 y responsible for childcare despite their surge in the paid labour force. 
 For instance\, working mothers of preschool aged children are more likely 
 to reduce their paid labour force participation than working fathers (Full
 er and Qian 2021). While there is considerable research on varying aspects
  of childcare\, little is known about urban-rural differences. This presen
 tation will consider urban/rural differences in childcare arrangement type
 s\, revealing new insights that provincial comparisons obscure. Incorporat
 ing a feminist-sociological lens\, this presentation will examine urban/ru
 ral childcare characteristics as grouped into three categories: formal car
 e\, informal care\, and parental care. Following\, the study sample\, draw
 n from Statistics Canada national survey data\, comprised of parents with 
 children 5 years old and younger living at home full-time\, is evaluated u
 sing descriptive statistics. It is long accepted that childcare is a femin
 ist and gender issue that disproportionately impacts working mothers\; how
 ever\, the exclusion of urban/rural differences overlooks the experiences 
 of many families\, based on factors such as education\, income\, and race.
  This presentation includes urban/rural differences in childcare with the 
 aim of filling this gap transgressing current research on the topic.\n\n__
 __\n\nErika Kindsfather on Between Art and Activism: Unravelling the Trans
 formative Politics of Humor in Evelyn Roth's Creative Recycling Practice\,
  1970-1975\n\nIn 1972\, artist Evelyn Roth embarked on a road trip from Va
 ncouver\, British Columbia to St. John’s\, Newfoundland\, holding public w
 orkshops on crocheting discarded videotape into hats and sculptures. Roth 
 invited news stations to film the events and crocheted hats for media pers
 onnel as they interviewed her\, demonstrating her technique while creating
  a playful metaphoric tangle of videotape in the process. Based in Vancouv
 er during a time of heightened activist organizing around the incipient en
 vironmentalist movement\, Roth found ample ground to bridge her existing s
 trategies of textile re-use and her political values through the new frame
 work of recycling. Wearing a costume of crochet videotape\, Roth adopted a
 n entertaining public persona to counter the systemic marginalization of w
 omen artists working with feminized “craft” media and prompt widespread en
 gagement with the ecological concerns motivating her work. While historica
 l sources situate her at the forefront of artistic activity intertwining a
 lternative creative practices and environmental activism\, her contributio
 ns to these domains of cultural signification remain scarcely studied. App
 roaching the archives of Roth’s career through feminist methodologies deve
 loped across disciplines\, this research aims to locate the politics of he
 r creative recycling practice. I examine Roth’s strategic use of humor and
  play\, situating her work in relation to countercultural artistic activit
 y and dialogues on ecological care proliferating across North America in t
 he 1970s. I argue that Roth’s playful approach to art and activism demonst
 rates the potential to critique the dominant cultural practices driving en
 vironmental destruction and raise public consciousness around these issues
  through accessible creative techniques.\n\n____\n\nEmily Leavitt on An Et
 hnography of the Electroacoustic Music Industry in Canada\n\nAndra McCartn
 ey’s 1995 study of women electroacoustic composer-performers in Canada fou
 nd that “to be a woman composer of electroacoustic music is to straddle tw
 o worlds\, both gendered male”. As such\, this paper builds on McCartney’s
  work and asks how her conclusion has evolved since the 1990s. To answer t
 his question\, I interview six composer-performers currently working in th
 e electroacoustic music industry in Canada. I uncover that\, despite the e
 fforts of my consultants and scholars alike\, there continues to be gender
  bias and stereotyping occurring in electroacoustic music spaces. From thi
 s\, I identify the need for intervention and reinvention\, on behalf of wo
 men\, queer people\, and gender non-conforming people\, so as to increase 
 representation and establish equality in both performance and academic spa
 ces. My work is divided into three categories: (1) Performing\, Composing\
 , and Existing in Stereotypically “Male” Spaces\; (2) “Women’s” Strategies
  of Performing and Composing\; and (3) Post-Human and Queer World Building
 . I engage with feminist\, queer\, and post-human frameworks to situate th
 e varying and diverse responses received from participants and I employ th
 ese perspectives to highlight the interdisciplinarity key to conducting a 
 balanced\, yet political and situated\, ethnography (Bosma 2006\; Wong 201
 5\; O’Shea 2020). The necessity of these frameworks becomes clear when loo
 king to represent all genders and viewpoints equally in electroacoustic mu
 sic environments\, as I endeavour to forward supportive\, safe\, and balan
 ced electroacoustic music environments not dominated by men\, and this wor
 k functions as a foundation upon which future research looking to improve 
 electroacoustic music environments can occur.\n\n____\n\nMatthew Martino o
 n White Noise: Linguistic Appropriation and Digital Blackface on TikTok\n
 \n Much of what is considered Western anglophone internet culture has been
  stolen from African American Vernacular English. Ubiquitous phrases such 
 as “lit\,” “bae\,” “squad\,” and “on fleek” that originated from Black com
 munities are treated as deracialized internet language and co-opted by whi
 te users. This paper examines this broader phenomenon of linguistic approp
 riation through the video-sharing platform\, TikTok\, which allows users t
 o sample other creators’ voices. More specifically\, I conduct a critical 
 sonic and visual analysis of TikTok posts that appropriate Black women’s s
 peech for the creation of popular memes mocking their behaviour. This pape
 r argues that the non-consensual sampling of Black women’s voices on TikTo
 k\, though seemingly innocuous for many white users\, ultimately reproduce
 s anti-Black racism. Focusing on three Black female creators who have been
  sampled by over ten thousand users each—Coco Jones\, Brianna Blackmon\, a
 nd Jasmine Collins— I illustrate that the exaggerated physical gestures wh
 ite users perform while sampling these Black voices are directly descenden
 t of the minstrel show\, including the practice of blackface. In addition\
 , I analyze TikTok’s affordances to argue that white users take advantage 
 of the platform’s audio-editing features to engage in a form of minstrel p
 erformance online. This research spurs new insights in the disciplines of 
 feminist media studies\, critical race studies\, and sociolinguistics\, fa
 cilitating intersectional dialogue across disciplines. Contrary to the bel
 ief that performing Black women’s voices belongs to a harmless internet cu
 lture\, this paper demonstrates the quotidian ways that practices on TikTo
 k reinscribe decades-old racist and sexist values. \n\n___\n\nNatalie Tacu
 ri on “This is Show Business”: Examining Gender Norms and Racialization Pr
 actices in Season One of Dance Moms\n\nDebuting in 2011\, Lifetime’s reali
 ty TV show Dance Moms quickly became a viral hit. Dance Moms intimately ca
 ptures the experiences of the Abby Lee Dance Company’s (ALDC) Junior Elite
  Competition Team as they rigorously train and rehearse for dance competit
 ions across the United States. Despite the popularity of the show and succ
 ess of the ALDC over eight seasons on air\, Dance Moms has received signif
 icant backlash from viewers\, media outlets\, academics\, the broader danc
 e world\, and the cast themselves for issues pertaining to racism\, sexual
 ization\, emotional\, verbal\, and physical abuse\, bullying\, and exploit
 ation. This presentation will specifically analyze the ways in which the y
 oung dancers on the show are hypergendered/hypersexualized and racialized 
 by examining the following research question: How are gender norms and rac
 ialization practices (re)produced and contested in season one of Dance Mom
 s? This presentation will focus on two key performances that call for femi
 nist analysis: Electricity and They Call Me\, Laquifa. Drawing upon an int
 ersectional\, interdisciplinary perspective from the fields of dance educa
 tion\, feminist media studies\, and feminist studies more broadly\, I argu
 e that Dance Moms is a crucial media representation of the ways in which g
 ender and race are deeply entangled within U.S. competitive dance culture.
  Additionally\, I assert that Dance Moms represents and produces gendered 
 and racialized identities that have a negative impact on the young girls’ 
 identity development and the ways in which dancers are appropriated as fem
 inized\, sexualized\, and racialized beings by broader society.\n
DTSTART:20220412T220000Z
DTEND:20220413T003000Z
SUMMARY:51�Թ���Feminist Research Colloquium 2022
URL:/igsf/channels/event/mcgill-feminist-research-coll
 oquium-2022-337848
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