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Title: Truong/Tram family videos : Muny : baby shower : Ngày Đầy Tháng
Description: A video clip recording from 1992 consisting of a Khmer-Krom family celebrating a birthday. Project and donor(s) contributed description follows: "The Truong/Tram family’s home movie footage shot in VHS format on January 25th 1992, captures the 1-month old birthday party of their youngest son in Brantford, ON, shortly after moving from Hull, Quebec. A full and lively gathering, their celebration includes families chatting over a community meal, speeches, gift giving, dancing to 80’s music, and loving footage of a peaceful baby enjoying the party. The Truongs/Trams are of Khmer-Krom ethnicity, translating to 'Khmer of the South'. The Khmer-Krom are an [unrecognised] Indigenous group and ethnic minority in the South of Vietnam. Many Khmer people who inhabited the same refugee camps in Vietnam later immigrated together to Canada. When the Truongs/Trams arrived in Hull, Quebec (now Gatineau, Quebec) in 1989, they were able to regularly connect with a Khmer community at gatherings like these. The Troung/Tram family have since relocated to Toronto ON where they continue to celebrate and take pride in their identity, and attend Khmer language and dance classes. The Khmer Buddhist Temple of Ontario in Hamilton remains central to them and their community. Mother, Trinh Nha Truong, was happy to share her footage with Home Made Visible because she wants to show other Canadians that ‘our people live in Canada too.’"
Type: VHS
Accession / Box: 2018-018 / 001
Date: 25 January 1992
Identifier: 2018-020 / 001 (01)
Identifier (PID): yul:1148420

Title: Benzaine family videos : La Ronde
Description: Item consists of a Morocan family's home movie featuring two children and a woman entering the park to ride the carousel, bumper cars, and ferris wheel amongst many other children’s rides. Footage contains a 360 degree cityscape views of the Jacques-Cartier bridge, Longueuil, and Montreal (ncluding the Olympic Stadium). Donor(s) and project contributed description follows: "A couple take their young daughter down to La Ronde on a warm sunny afternoon. Opened since 1967, this amusement park continues to be a popular family attraction during the summer season and a common childhood experience for many Montrealers. Yousra remembers going to the park with her family every couple of years and the excitement this visit would bring. She recounts how they"would be out from the day until night". When asked about her memories of the day, Yosura remembers most clearly the bumper cars and atmospheric nostalgia of being in that place. Like many families with home movies on older formats, she grew up seeing the tapes throughout the years, but stopped once her family no longer had a VHS player. Born and raised in Montreal, but with Moroccan heritage Yousra describes herself as being"someone with two identities [we] are culturally bilingual… I try to define myself and not let others define me.""
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-072/001(01)
Date: 1998
Identifier: 2019-072/001(01)
Identifier (PID): yul:1153686

Title: Edralin family videos : tricycle
Description: Item consists of a Filipino-Canadian family's home movie featuring a child and adult holding hands and walking, and a child riding a tricycle. Donor(s) and project contributed description follows: "Martin’s little sister and his mom are walking by Martin’s elementary school, Metropolitan Andrei Catholic School on Mississauga Valley Blvd. The school is located right by their home across highway 10. The Edralins lived at this residence until Martin was around 10 years old, and then moved further west to Erin Mills. The family moved because his mother wanted a bigger detached house with a bigger lawn. There is a community of Filipinos in Mississauga, and growing up, the Edralins had a close-knit group of family friends. In 1983, when the footage was taken, there were no condos in the neighborhood. When Martin used to attend Francis Xavier Secondary School at the intersection of Mavis Rd. and Matheson Blvd, there was a farm across the street. Demographically, the neighborhood has changed immensely. At his elementary school, there were about three Asian families, four black kids who were brothers and the rest of the children were white. Martin shares that he grew up in Sauga at a time when there wasn’t a lot of POC, and recalls sticking out at his elementary school. He dealt with a lot of racism but doesn’t necessarily think of his childhood as a bad experience. Although the comments weren’t hateful, but rather "kids being kids," "anything that makes you feel different hurts." It wasn’t until middle school and high school that his environment became more diverse. It was still predominantly white but all the non-white people were sort of grouping together, and there was comfort in having others around who identified with each other’s experience, and who were not quite fitting in with the majority."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-069/001(09)
Date: 1983
Identifier: 2019-069/001(09)
Identifier (PID): yul:1153231

Title: Edralin family videos : swing set
Description: Item consists of a Filipino-Canadian family's home movie featuring two children and a doll on a swing set. Donor(s) and project contributed description follows: "At a neighborhood park, close to their townhome on Mississauga Valley, Martin and his sister aged 4 and 2 are playing on the swings, and filmed by their father. On the third swing they’ve placed a Cabbage Patch Doll on the swingset. The dolls were really big in the eighties, and unopened ones were worth a lot of money. Martin and his sister would often go to the park and play together whenever their parents allowed them, but they were never unsupervised. Growing up, Martin only had one cousin who lived in Canada near Pape Station, and then Markham. He spent a lot of time playing with his sister. There is a community of Filipinos in Mississauga, and growing up, the Edralins had a close-knit group of family and friends. In 1983, when the footage was taken, there were no condos in the neighborhood. When Martin used to attend Francis Xavier Secondary School at the intersection of Mavis Rd. and Matheson Blvd, there was a farm across the street. Demographically, the neighborhood has changed immensely. At his elementary school, there were about three Asian families, four black kids who were brothers and the rest of the children were white."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-069/001(05)
Date: 1983
Identifier: 2019-069/001(05)
Identifier (PID): yul:1153199

Title: Lu family videos : family dinner eating Injera and Tsebhi from a large dish
Description: Item consists of a home movie of a family eating a meal together and discussing a Portuguese related class assignment. Project and donor(s) contributed description follows: "Lu Asfaha’s family begins the day by preparing their home roasted coffee for the Jebana (coffee pot) on the Assumption of St. Mary. Raised in a family of Christian Orthodox, Lu grew up taking the day off to observe this religious holiday with her family. Food, drinks and even a custom cake is ornamentally laid out to celebrate the day. Lu can be seen animatedly gesturing to the camera as she talks to her uncle behind the camera, a common occurrence in their home movies. The only footage selected that did not take place on the Assumption of St. Mary is a typical family dinner of the Asfaha eating Injera and Tsebhi from a large dish. Common to many cultures from across the African continent, her family can be seen eating by hand, enjoying the flavourful dish. The adults appear to handle the spice level better than the children. When asked about her identity, Lu speaks of the unique experience of being Eritrean in Toronto. Being from an East African identity that has a significantly smaller population compared to the Somali and Ethiopian one, the specific social location of Eritreans tends to be either rendered invisible or lumped in with the dominant East African identities represented in the city."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-055/001(03)
Date: [1994?]
Identifier: 2019-055/001(03)
Identifier (PID): yul:1152864

Title: Dhoré family videos : Halloween fairy princess
Description: Item consists of an Indo- and Black-Carribean family’s home movie featuring a girl wearing fairy princess costume singing a song and an adult wearing a witch costume. Donor(s) and project contributed description follows: "Shanti’s sister’s farm is a treasured place in their family’s collective memories. With 90 acres of land, the farm was a beloved retreat to the country for the Toronto family. In the footage, Leyla can be seen showing her picked grapes to her mother. Above them, Shanti’s mother picks grapes from their pergola. Having recently started ballet classes, Leyla is wearing a pink ballet outfit complete with her own tutu. Endured by her outfit and feeling affection, Leyla is hugged by her grandmother At almost 4 years old, Layla and her grandmother are preparing the lights (diyas) for Diwali. In the Caribbean, the diyas would be lit outside the home, but since the family lived in an apartment the practise was kept to inside the home. Carefully, Leyla is guided in helping her grandmother. Her mother was a retired nurse to prepare for the holiday. Leyla grew up watching her grandmother during her daily prayers and helping on Diwali. In rare form, Shanti is in front of the camera. As the family documenter, Shanti is usually the one behind the camera. Dressed as a witch, Shanti can be seen posing with her daughter who decided to go as a fairy princess this year before their evening of trick-or-treating."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-059/001(04)
Date: Oct. 2001
Identifier: 2019-059/001(04)
Identifier (PID): yul:1153180

Title: Joudaki family videos : Iran vacation
Description: Item consists of footage of landscapes, cityscapes, and heritage sites in Iran. Project and donor contributed description follows: "Both Bita and her father, Abbas, contributed to this write up. Bita felt protective of her family and their image, and chose to contribute a clip that didn’t centre people but a place. The scenery itself is a beautiful valuable contribution of a country in flux. In 1998, Abbas visits Iran with his daughter Bita for the first time in sixteen years since moving to Canada. Bita at the time was a shy eight year-old and recalls that she didn’t speak for the first three weeks of the trip and that this was her first time leaving Canada. In this clip Abbas is alone behind the camera capturing historical sites. He was prompted to take this trip because an Iranian friend in Vancouver couldn’t go home and asked him to make these movies of Cyrus the Great, Isfahan, etc. and to bring them back to show on local Persian TV. He did end up making these movies on a miniDV camcorder but never did give them to his friend. The clip starts out at night time in Shiraz, with the Takht-e Lamshid built for Cyrus the Great. Then moves on to Isfahan, the "Great Mosque" that in farsi they call the Shah Mosque based in Naghsh-e Jahan Square. Abbas recalls at the time wondering how locals knew he hadn’t been living their for 16 years. People could tell that he had left and was living somewhere else. For Abbas, these clips show a country rich with stories and pride. After years of searching for these tapes, they found them again in the summer of 2018 the night before Bita returned to Iran for the second time in her life."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-029 / 001 (01)
Date: 1998
Identifier: 2019-029 / 001 (01)
Identifier (PID): yul:1152026

Title: Jog family videos : playing cards
Description: Item consists of a Japanese and Indian family's home movie featuring children and a man playing cards. Project and donor(s) contributed description follows: "We’re in a suburban backyard in Ottawa, ON and it’s summer time in 1984. Sonia, age 4 and her younger sister, age 2 are playing with a swing set and an inflatable tipi likely from Canadian Tire. The inflatable has a small hole to pop your head in, and has imagery of the trope of the "Indian" and the "cowboy." This was strange for Sonia to see when revisiting the footage, because this type of imagery likely wouldn’t be sold anymore. She and her sister are singing songs in Japanese (her mother’s mother tongue) and Marathi (her father’s mother tongue). The Japanese songs are ones she still recalls and sings to her own children. The Marathi songs are familiar, and Sonia recalls her father teaching them to her, but she doesn’t remember their titles, or know what they mean. Sonia grew up in Ottawa, and moved to Toronto as an adult. Although she was the minority in school as one of two non-white children, she doesn’t remember feeling out of place. Her parents said that other children called her "blacky" but she doesn’t recall this happening. In relation to Home Made Visible, Sonia says, "The process of drawing out pieces of history and indicating its value, [and] that it deserves to be preserved is incredible.""
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-038/001(11)
Date: 1984
Identifier: 2019-038/001(11)
Identifier (PID): yul:1152741

Title: Jog family videos : backyard
Description: Item consists of a Japanese and Indian family's home movie featuring children playing with a swing set and a "cowboys and Indians" tent. Project and donor(s) contributed description follows: "We’re in a suburban backyard in Ottawa, ON and it’s summer time in 1984. Sonia, age 4 and her younger sister, age 2 are playing with a swing set and an inflatable tipi likely from Canadian Tire. The inflatable has a small hole to pop your head in, and has imagery of the trope of the "Indian" and the "cowboy." This was strange for Sonia to see when revisiting the footage, because this type of imagery likely wouldn’t be sold anymore. She and her sister are singing songs in Japanese (her mother’s mother tongue) and Marathi (her father’s mother tongue). The Japanese songs are ones she still recalls and sings to her own children. The Marathi songs are familiar, and Sonia recalls her father teaching them to her, but she doesn’t remember their titles, or know what they mean. Sonia grew up in Ottawa, and moved to Toronto as an adult. Although she was the minority in school as one of two non-white children, she doesn’t remember feeling out of place. Her parents said that other children called her "blacky" but she doesn’t recall this happening. In relation to Home Made Visible, Sonia says, "The process of drawing out pieces of history and indicating its value, [and] that it deserves to be preserved is incredible.""
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-038/001(04)
Date: 1984
Identifier: 2019-038/001(04)
Identifier (PID): yul:1152734

Title: Jog family videos : at the lake
Description: Item consists of a Japanese and Indian family's home movie featuring a family playing in the water, exiting the lake, and a child narrating their surroundings. Project and donor(s) contributed description follows: "We’re in a suburban backyard in Ottawa, ON and it’s summer time in 1984. Sonia, age 4 and her younger sister, age 2 are playing with a swing set and an inflatable tipi likely from Canadian Tire. The inflatable has a small hole to pop your head in, and has imagery of the trope of the "Indian" and the "cowboy." This was strange for Sonia to see when revisiting the footage, because this type of imagery likely wouldn’t be sold anymore. She and her sister are singing songs in Japanese (her mother’s mother tongue) and Marathi (her father’s mother tongue). The Japanese songs are ones she still recalls and sings to her own children. The Marathi songs are familiar, and Sonia recalls her father teaching them to her, but she doesn’t remember their titles, or know what they mean. Sonia grew up in Ottawa, and moved to Toronto as an adult. Although she was the minority in school as one of two non-white children, she doesn’t remember feeling out of place. Her parents said that other children called her "blacky" but she doesn’t recall this happening. In relation to Home Made Visible, Sonia says, "The process of drawing out pieces of history and indicating its value, [and] that it deserves to be preserved is incredible.""
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-038/001(08)
Date: 1984
Identifier: 2019-038/001(08)
Identifier (PID): yul:1152738

Title: Burke family videos : England '1990
Description: A video clip recording representing a portion of the VHS cassette from 1990 featuring two women and a girl dancing; panning shots of the garden, street, and views of the city; and the family chatting around a table in the backyard with music playing in the background. Project and donor(s) contributed description follows: "'The year is 1990, and the Burke Family is on vacation in Bristol, England. This is filmed where Leah’s father, Sam grew up. All of Leah’s aunts and uncles had houses in the same neighbourhood, and this is a family reunion of sorts. Here, Leah, age eight or nine, dances to ska and lovers rock with her mother, Rita and Great Aunt Sweeney, while her dad is seen off in the background, and her older brother, Jason, films. Her dad has roots in Jamaica and her mother has roots in Guyana. At different points in their lives both immigrated to England, and later met each other there. Her parents then set off to Canada during the Pierre Trudeau years in 1972 to raise a family. The Burkes now call many places home.'"
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2018-029/001(02)
Date: 1990
Identifier: 2018-029/001(02)
Identifier (PID): yul:1150174

Title: Wong family videos : family reunion 70
Description: Project and donor contributed description follows:"A clip documenting the Red Packet (hóngbāo) ceremony taking place at Mr Wong’s 70th birthday celebration in 2002. During this ceremony family members were called up in a particular order to accept a red envelope of money from Mr Wong. Deanna Wong, Mr. Wong’s daughter who found and digitized this video, recalls that family members were called up according to age and lineage. For example, Mr. Wong’s siblings would be called first, followed by their children and grandchildren. In this video Mr Wong's eldest son, Terry was called first, and then, since their middle son Ted was not present, Deanna, the youngest of the three, came next. Following her came Terry's kids from eldest to youngest. And since Deanna nor Ted had children at the time, the eldest cousin and his wife, and their kids etc followed. As the eldest of 13 siblings, Mr. Wong would have had many envelopes to hand out! Originally from Hong Kong, Mr. Wong came to Canada to study engineering at McGill University in the mid-1950s, where he met Deanna's mother. Mrs. Wong's father, Deanna maternal grandfather, immigrated to Canada in 1921 and paid the $500 head tax in order to enter the country. Mr Wong's father, Deanna’s paternal grandfather, was a doctor specializing in acupuncture, which was illegal in Canada at the time, so he settled in California. Now his family lives around the world, including the United States, Singapore, Japan and in various places in Canada. This milestone birthday presented a great opportunity for a family reunion. And to accommodate everyone, this celebration took place in the home of Deanna’s eldest brother and Mr. Wong’s eldest son, Terry. Now a longtime resident of Toronto, Deanna calls Winnipeg home where she and her two brothers grew up. Although they were one of the few families of colour around, she remembers her neighbourhood and her experiences fondly. Her parents, particularly her mother, worked hard to build a Chinese community where the children could have Chinese friends and be exposed to their culture. They started a Mandarin school, even though Cantonese was their mother tongue, and began a summer camp. Family and community come together again at this celebration, one of many for the Wong family."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-040/001(01)
Date: 2002
Identifier: 2019-040/001(01)
Identifier (PID): yul:1152082

Title: Isaac family videos : Sacré-Cœur Christmas concert
Description: Item consists of footage of speeches, performances such as children singing, and audience members at a francophone Catholic school's Christmas recital. Project and donor contributed description follows: "Stella Isaac’s sister films her at her elementary school, École élémentaire catholique du Sacré-Coeur during their annual Christmas concert in 2004 at la Paroisse du Sacré Coeur located at Sherbourne and College. The footage captures a particular experience and community of mostly Black students of Congolese, descent attending the French school, which was located at Sherbourne and Bloor. Now located near Christie Pits, the community and neighborhood is no longer remembered in the same way. On stage during the concert the school’s principal mentions the students’ practice of prayer exemplifying the experience of religiosity at the school. Education at Sacré-Coeur is rooted in Catholicism and Christianity. Stella recalls a time when students in the class would put their Bibles and crosses on their tables before tests for an extra blessing. This was normal practice. Stella enjoyed attending a Catholic School and has fond memories of the experience, especially when receiving mentorship from particular teachers who pushed their students to prepare for success in their futures. ""I have a slight obsession with this time period and this school, especially as it relates to what it was like educating Black students. It was in an environment where I had a teacher that completely pushed us and believed in us and our intelligence. The footage also documents images of Stella’s younger brother, Jordan, who has Down Syndrome. She describes him lovingly: "It was nice seeing my little brother making tons of noise and yelling my sister’s name, rubbing my mom’s face." In relation to Home Made Visible, Stella shares: "It’s great to allow families the opportunity to revisit old footage, explore their history and share that. A lot of people don't think of Black people in Canada just existing. It’s a great way to change the Canadian narrative."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-030 / 001 (01)
Date: 2004
Identifier: 2019-030 / 001 (01)
Identifier (PID): yul:1152025

Title: Jean Augustine interview: Equality under the law button
Description: Recording consists of an interview with Jean Augustine in which she briefly discusses the Equality under the law button.
Type: videorecording
Fonds: Jean Augustine fonds (F0515)
Identifier (PID): yul:256666

Title: Burke family videos : Christmas '92 : Singing
Description: A video clip recording representing a portion of the VHS cassette from 1992 consisting of a brother cooking breakfast on Christmas and a sister filming a tour of the house. Project and donor(s) contributed description follows: "It’s Christmas, 1992, and within the short span of this clip the presence of almost Leah Burke’s whole family is felt. From her dad offscreen singing along to gospel (Mahalia Jackson’s ‘Go Tell It On the Mountain), to her brother, the then sullen teenager, seen cooking pancakes for family breakfast, to finally Leah, who weaves through the house filming. She reveals herself as the documentarian in a mirror reflection waving ‘Hi’. In present day, Leah recalls, ‘This is a typical Burke house family moment’."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2018-029/001(05)
Date: 25 December 1992
Identifier: 2018-029/001(05)
Identifier (PID): yul:1150176

Title: Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 1 of 3
Description: Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. The children are reciting; reciting a shopping list, nursery rhymes like “itsy bitsy spider,” and their ABCs. The video letter of the boys learning to write and spell is a way to build and maintain a relationship with their grandmother from afar. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs.”
Type: video files
Fonds: Home Made Visible collection (F0723)
Date: 9 Feb. 2003
Identifier: 2019-034 / 001 (01)
Identifier (PID): yul:1152049

Title: Jean Augustine interview: The Jean Team button
Description: Recording consists of an interview with Jean Augustine in which she discusses the Jean Team campaign buttons.
Type: videorecording
Fonds: Jean Augustine fonds (F0515)
Identifier (PID): yul:256702

Title: Bleeding to Life
Description: An essay-performance, this media-archaeological examination celebrates the revolutionary potential of recognizing and engaging with our collective, gaping wounds. Taking Caravaggio’s The Incredulity of Saint Thomas as a point of departure, I construct a narrative that links the production of subjectivities in “post”-colonial contexts, with the technosexual networks of resistance and coded information exchange that grew out of the government-manufactured crack epidemic in oppressed neighborhoods throughout the late 70s/early 80s and today. Indebted to the writing of Donna Haraway, Jussi Parikka, Hortense Spillers, & Kanye West. Created specifically for the Dark Diction event on January 16, 2015 at JACK in NYC, organized by Social Health Performance Club. Tattoo work was done by Josh Kil, photos by Laura Blüer, and video by David Ian Griess, and are featured here with those collaborators’ permission.
Type: Moving image
Date: Fall/Winter 2016
Identifier: intensions8-iandeleon
Identifier (PID): yul:1156010

Title: Simulacra, by Steve Hudak
Description: Simulacra represents the culmination of research project exploring spatial and environmental similarities called Mixed-Reality Machinima. The work considers the phenomenological similarities between Grand Theft Auto IV and New York City. Mixing live footage shot in NYC with real-time-rendered video game footage and Second Life footage is what defines this mixed-reality experimental film genre. All research was completed under the supervision and guidance of Dr. David Harris-Smith in the New Media and Communications Masters program at McMaster University. Machinima as a film genre is still young, and while it resonates within gaming culture it has created minimal impact outside of this informed community. However its potential to create film quickly, creatively, and effectively make it a powerful and underutilized tool. What differentiates machinima from computer animation is the production process. An animation production each scene is rendered by a computer in stages, Cinematography, lighting, environments and characters develop slowly, until a scene is ready for final rendering and that output is what the audience experiences. Machinima production more closely resembles a film set, where the environment, lighting, and characters are always rendering in real-time, like a video game. Characters move and interact in real time by joystick, keypad, or keyboard and the screen view is recorded directly and edited, and that output is what the audience experiences. The final work can take many forms, the mixed reality prefix indicates the addition of real footage with rendered footage yet retains filmic conventions. Simulacra resides within and explores the constraints of cinematic practice as described by filmmaker and academic Leo Berkeley (as cited in Horwatt, 2008). With research into film production practice, low and micro budget filmmaking, improvisation, and machinima, Berkeley is a foremost expert on the subject. The narrative and cinematic devices employed in Simulacra directly and intentionally connote filmic expectations; these devices are no less derivative than the content. The work in Berkely's terminology would be less avant-garde and more experimental, as the construct devising it is contrary to normal film making techniques. The work relies directly on them for privilege; just as a frame or a plinthe contextualize art from the world, film and filmic narratives derive contextuality from cinematic devices. Thus the intention in Simulacra has been to employ them openly, strategically allowing the widest possible entry within the media landscape the work is designed to inhabit. In this way the work is meant to test/potentialize a viewership outside of the informed machinima audience. The term 'mixed reality' carries the connotation of referential multiplicity and the contextuality/phenomenology of reality. By 'mixing' them there is an indication that there can be more than one; which intentionally problematizes the distinction between the real and the non-real. This multiplicity creates an interesting reference to fact vs fiction, and whether ideologically there is a disjuncture in mixing them. It is this disjointed effect of multiplicity that Simulacra means to creatively consider.
Type: Moving image
Date: Spring/Summer 2014
Identifier: intensions7-stevehudak
Identifier (PID): yul:1156002

Title: X, by Rebecca Belmore
Description: Performed on June 17, 2010 Wall of the Price Chopper, 181 Brock Street, Peterborough, Ontario Performance for Mapping Resistances exhibition. Curated by Wanda Nanibush as part of the Ode’Min Giizis Festival June 17-18, 2010, Peterborough, On Materials: A black truck, an assistant and a trumpet player, bags of milk, four buckets, water four cushions in the colours used in Robert Houle’s “Mohawk Summer,” four stones, a brick wall. Videographers: Nick Ferrio, Jessica Rowland Edited by: Nick Ferrio
Type: Moving image
Date: Fall/Winter 2012
Identifier: intensions6-rebeccabelmore
Identifier (PID): yul:1156001

Title: Ati-atihan: Mother of Philippine Festivals, by Patrick Alcedo
Description: Every January, thousands of people from far and near dance, play music, and pray for three days in the streets of Kalibo, a town in the province of Aklan in the central Philippines. They are celebrating the Ati-atihan, an annual festival in honor of the Santo Ni–o, the Holy Child Jesus, and in remembrance of the indigenous Atis—commonly known as the Negritos—who are the putative ancestors of the Filipinos. The day before the third Sunday when the Ati-atihan reaches its climax with a grand procession, the local government of Kalibo holds a street dancing competition that tourists and residents await with much anticipation. In January 2009 I collaborated with photographer Nana Buxani, videographer Fruto Corre, and editor Florencito Fernandez to document the Ati-atihan and produce the present multimedia project. As a way of calling additional attention to the idea of social constructivism deeply embedded in the Ati-atihan performance—an artificial construction reiterated by the editing and selection of photos and ambient sounds, I asked my brother Peter Alcedo, Jr., who has played music for the Ati-atihan, to compose an original score for the project. In Ati-atihan: Mother of Philippine Festivals, I focus on five participants to illustrate the Ati-atihan’s ever-changing synthesis of sacred and secular, traditional and modern, local and global, serious and playful. This is part of a collaborative project. As a combination of photos, sounds, narration, and music, this multimedia project offers one model for articulating Ati-atihan’s cultural and historical complexity brought about by colonialism and the porosity of Philippine borders. Like any embodied performance, one could immediately conclude that to experience Ati-atihan one has to go to Kalibo during the festival season. But this multimedia project does not push solely for that kind of travel and experience. Rather, its images and the way they have been arranged to move across the screen challenge the limits of the viewer’s location. To experience a festival such as the Ati-atihan, it has become necessary in the contemporary world to also encounter a cultural phenomenon outside of its physical locale and in the virtual realm, an encounter that adds to and re-affirms the hybrid discourse implicit in the performances of this particular festival.
Type: Moving image
Date: Fall 2010
Identifier: intensions4-patrickalcedo
Identifier (PID): yul:1155999

Title: Borders, by Alexandra Gelis
Description: Borders, 2010, is a 3 minute intimate photographic exploration of the bodies belonging to six queer individuals. This animation, made up of hundreds of high-resolution photographs, unabashedly examines the evidence of physical change and transformation: surgery scars, tattoos, and other traces. The bodies are fragmented, as are the stories affiliated with these traces, and identities remain delightfully elusive. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alexandragelis2
Identifier (PID): yul:1155998

Title: One Dollar Click, by Alexandra Gelis
Description: One Dollar Click, 2009, features a 2 minute trip through 400 islands in Kunayala, home of the native Kuna community in Panama, and follows everyday routines and a mixture of signifiers that transforms cultures. Alexandra Gelis is a Colombian Venezuelan, Toronto based multidisciplinary artist with a background in photography, web design and visual arts. She works with photography, video and digital art to explore the image in relation to memory, migration and encounters. Her use of sequential photographs focuses on her relationship with communities where she has worked facilitating photography and video workshops. She also has developed a series of works documenting intimate performances and translating them into photomontages and video installations. Her video work has been shown in several venues in Toronto, Colombia, Venezuela, Panama and the U.S..
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alexandragelis1
Identifier (PID): yul:1155997

Title: A Silence Full of Things, by Alejandra Canales
Description: Political torture continues as a practice used to undermine the “enemy.” As spectators, most people can look away or turn it off. Others live with marked bodies and memories triggered by everyday smells, sights, and sounds. The central question behind this work was how to make a film about someone’s experience of torture. What kind of strategy and what kind of filmscape could embed the sensorial experience? What are the images and sounds? Furthermore how does one make the boundaries of documentary permeable? To be able to look again and ask new questions. A Silence Full of Things gave me the possibility to touch on the issue of political torture from a new perspective: the memory of the senses. From there a filmscape was created that proposes new relations between testimony, sensorial memory, image, sound and the sensorial entanglements of the audience. The film juxtaposes the poetic beauty of intimate imagery with a story about the physical, emotional and psychic wounds of political torture. Miriam narrates and performs her story. It is in this deliberate theatrical performance where shifting relations occur and the story becomes individual and universal at the same time. A Silence Full of Things is self-conscious about strategy, form, style, and effects. The internal composition of the film is made up of a relationship to close up images in order to arrive at the core of the pain through the beauty of the voice and the images: the fragility and delicacy of the lace, the yellowness of the day of the capture, and Miriam’s look to the audience at the film’s closure. Her face leaves us imagining being hit in the stomach. We cannot escape being affected by her expression. What, when and how we imagine documentary films to be saying are other matters. A Silence Full of Things leaves a sensorial mark, and it open questions on how we read the gestures, the signs and the words. Educated in Australia in performance, television, film and video production, Alejandra Canales is currently completing her Doctorate of Creative Arts at the University of Western Sydney. She has taught at the University of Western Sydney and at various community organizations. Her films have been shown at festivals internationally where she has gained recognition from the Film Critics Circle of Australia, and the Women’s International Film Festival among others. Alejandra Canales can be reached at alejaca@hotmail.com
Type: Moving image
Date: Fall 2010
Identifier: intensions4-alejandracanales
Identifier (PID): yul:1155996

Title: D'Arcy Island, an installation by Don Gill
Description: "British Columbia has a leper colony. Its existence is not widely known, for those who compose it are of a race whose affairs never reach the public ear.” (The Dominion Medical Monthly: Ontario Medical Journal, No. 6, Vol. XI, Toronto, December, 1898.) In the nineteenth century D’Arcy Island, a small island off the east coast of Vancouver Island was used by the city of Victoria to quarantine residents diagnosed with leprosy after the discovery of the disease in a few people in 1891. The exhibition D’Arcy Island is part of a larger project, Carceral Landscape, which is concerned with the use of landscape as a device for human incarceration. The idea of Carceral Landscape was germinated by photographer Ansel Adams’s belief that the sublime beauty of the natural environment surrounding the internment camp at Manzanar, California inspired and helped Japanese American internees transcend their detention during WWII. D’Arcy Island critically considers the use of an island as a site of detention or banishment. “While the floor of the Owens Valley is desolate, very hot in summer and very cold in winter, the surrounding mountains are spectacular, especially the Sierra Nevada on the west, culminating in Mount Whitney rising fourteen thousand five hundred feet above the valley floor. The Inyo Range to the east is more of desert character and of lower elevation but is very beautiful in its own way. I have been accused of sentimental conjecture when I suggest that the beauty of the natural scene stimulated the people in the camp. No other relocation centre could match Manzanar in this respect, and many of the people spoke to me of these qualities and their thankfulness for them.” (Ansel Adams: an Autobiography. Little Brown, 1998. Pg 220) D’Arcy Island was exhibited at the Southern Alberta Art Gallery in Lethbridge Alberta in Fall 2006.
Type: Moving image
Date: Spring 2008
Identifier: intensions1-dongill
Identifier (PID): yul:1155990

Title: Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 3 of 3
Description: Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. Muslim by faith, the children practice memorizing the Quran in Arabic. Their parents teach them to recite one line at a time to ensure that they learn at a young age. They know that seeing this would bring their grandmother joy and make her proud. The video letter is a way to connect with her through these recitations of a shared faith as she doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
Type: video files
Fonds: Home Made Visible collection (F0723)
Accession / Box: 2019-034 / 001 (03)
Date: 9 Feb. 2003
Identifier: 2019-034 / 001 (03)
Identifier (PID): yul:1152051

Title: Javeed family videos : I & A (ages 7 & 3) Feb 2003 video letter for India Grandma : part 2 of 3
Description: Project and donor contributed description follows: "In the Javeed family’s apartment in Scarborough ON, two boys aged between 3 and 7 create a video letter to their grandmother who resides overseas in India. Both boys are born and live in Canada. The children are practicing Urdu by reciting what they know: a well-known Indian nursery rhyme about a thirsty crow, and a biryani song that the family made-up because the boys found it amusing. The video letter of the boys practicing Urdu is a way to build and maintain a relationship with their grandmother who doesn’t speak English. The video documents shifts in communication technologies, at a time prior to the use of communication apps like whatsapp, used to keep in touch with family. Scarborough was quite diverse by the early 2000s, and the boys generally felt connected to their peers, although their mother remembers they had experienced racism and some issues at school. She attests that they grew up differently than she did as a first generation immigrant, wherein she felt like an outsider in Toronto in the early eighties. The family had a lot of discussions as they were growing up about these issues, and ensured the boys were familiar with current affairs."
Type: video files
Accession / Box: 2019-034 / 001 (02)
Date: 9 Feb. 2003
Identifier: 2019-034 / 001 (02)
Identifier (PID): yul:1152050

Title: Skills Needed to Encourage Students to Share their Accommodation Needs
Type: video recording
Date: 2022-01-100
Identifier: Skills Needed to Model Inclusive Teaching.mp4
Identifier (PID): yul:1155424

Title: Accommodation in Form and in Substance
Type: video recording
Date: 2022-01-100
Identifier: Accommodation in Form and in Substance.mp4
Identifier (PID): yul:1155423

Title: Shifting the Responsibility for Accommodation Dialogue
Type: video recording
Date: 2022-01-100
Identifier: Shifting The Responsibility For Accommodation Dialogue SUBTITLED.mp4
Identifier (PID): yul:1155421