Many of Winnipeg’s marginalized artists are multitalented people who fall into a wide spectrum of racial categories. Their stories need to be heard, their accomplishments deserve celebration and more work needs to be done to create a more inclusive and truly diverse space.
The capacity of Canadians to access, realize and exercise their sexual and reproductive health rights (SRHR) has been influenced by the changing tides of the nation’s politics and the shifting configurations of beliefs and customs throughout the years.
Winnipeg is known across Canada as being an ideal place for artists to hone their practice.
It’s 2020, and certain bloggers and cultural commentators have become obsessed with the question of whether “callout culture” has gone too far.
Charles Lauder (Sleepy) is the current president of the Winnipeg Circus Club (WCC). This is the third time Lauder has been elected to the position. One of the reasons Sleepy loves being a clown is “because you can dabble your giant tippy-toe in pretty much anything,” including juggling, balloons, comedy, stage shows and birthday parties.
From the very recent destruction of the homeless camps by the Disraeli Bridge, to making diamond lanes open to cabs, the City’s decisions can be head-scratching at best and heartbreaking at worst.
“The first rule of fight club is you do not talk about fight club. The second rule of fight club is YOU DO NOT TALK ABOUT FIGHT CLUB.”
What comes to mind when you think of food?
With the increase in quality and affordability of digital media, many people working in film and music have pivoted away from physical media, opting to photograph or record digitally and to release through online streaming services. But analog art isn’t dead yet.
Juice Journal launches its 19th edition of the University of Winnipeg (U of W) literary journal on Oct. 7.
Winnipeg’s long, proud history of striking has been inherited by a new generation of organizers, leaders, and rebels: students. K to 12 students, more specifically.
The experience of growing up and coming into a sense of identity can be a jarring process fraught with turmoil – for some more so than others.
Any University of Winnipeg (U of W) student or staff who’s ever chowed down on a mushroom burger or pulled-pork poutine knows that plenty of thought and care goes into the food that’s served on campus.
Fashion is bought. Style is what’s made with it. Personal style choices and the act of choosing how to present ourselves is that of taking a mutable and intangible thing and visualizing it, making it palpable.
Winnipeg’s status as a cultural hub for music, dance and drama has its roots in the vaudeville era of live theatre. An art form that flourished from the 1880s to the 1930s, vaudeville defined pop culture until it was eventually supplanted by radio and talking pictures.
Googling “body positivity” depicts what the current movement looks like: majorly, a space for white, thinner women, a smaller amount of space for Women of Colour; and a barely there space for trans, non-binary or queer folks.
Though early February saw frostbite warnings and freezing temperatures in Winnipeg, the planet overall continues to rapidly heat up. Feb. 9 also saw the Peg City Climate Jam, the first event of many produced by Climate Action Team Manitoba (CATM) to bring people together to collaborate, communicate and work toward a zero-carbon society.
Humans primally express themselves with sound. Where there is joy, there is a joyful noise. Where there is pain, there is wailing.
The Historical Building and Resources Committee (HBRC) met for the first time on July 19, 2014, providing municipal support for heritage sites in the city that had previously been given status and support through the provincial government, or through groups like the Manitoba Historical Society and Heritage Winnipeg.
“We recognize the impacts of patriarchy on preventing women, trans and gender-nonconforming folks from accessing masculine-coded skills. We think it is important to have spaces that are safe, free of judgment and encourage community building.”