Resistance and Contestation: How do we reclaim our female bodies from individual and institutional violence?
Our University of the Streets Café public conversations are much like any you’d have with friends or family around a dinner table, except with more people, more points of view, and slightly more structure. Conversations are hosted by a volunteer moderator who is there to welcome everyone and keep things on track. To get things started, there’s a guest, or sometimes two, who get the ball rolling by sharing their ideas, experiences and questions. After that, it's all up to the participants.
As we witness continued public outcry at the sexual violence perpetuated by powerful men, we may be reminded that these instances are but a fraction of a darker whole of gender oppression that permeates our world down to its core. And yet, personal experiences of gendered violence can be painfully isolating.
Can public outcries [and creative approaches dismantle the binaries of public and private] and lead to sustained and ingrained societal shifts and justice for the survivors of gendered violence? This public conversation will look at the complexity and impact of gendered violence and the ways in which we can collectively disassemble it. How do class and privilege affect the capacity to disclose and seek justice? How can women* survivors of sexual violence experience meaningful growth and validation stemming from their experiences of assault?
Sonia Bustos is a Mexican creator-interpretor (MA in Contemporary Danse, UQAM, Licence in Theatore, 2006, UNAM). She has notably performed with Cie. Sœurs Schmutt, as well as Danza Contemporánea Universitaria. Since 2012, she contributes to Gypsy Kumbia Orchestra. Sonia was granted a Vivacité bursary for her solo project Intérieur brut which addresses violence towards women and which will be presented in April 2018 at the MAI Gallery. In her practice, Sonia applies a commitment to sociopolitical engagement in art.
Liliana Zaragoza Cano is a Mexican artist, writer and feminist activist. Her work is based on a deep exploration of art, the physical self, memory, resistance, human rights, hacking and open technology. She is the author of Mirada sostenida, a transmedia arts project that consider the personal and collective reappropriation of the memories of 10 women survivors of sexual torture that took place in Atenco (Mexico) and their fight to demand justice. She is the coordinator of the Laboratorio de Interconectividades.
Emma Haraké is a visual artist and educator who also collaborates on curatorial projects and events. She is currently pursuing her graduate studies in Concordia University's Art Education Department. Her research interests include autobiographical and arts-based inquiries, memory work, storytelling and oral history. Emma has worked extensively in the non-profit sector and locates her teaching within community-based practices.
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