This volume portrays aspects of Canadian social history through the presentation of artifacts from the exhibition “A Coat of Many Colours: Two Centuries of Jewish Life in Canada”. The experiences of Jewish Canadians as recorded in the artifact labels poignantly demonstrate how important living memory can be to the identity of a people. Published with the assistance of Seagram and the Canadian Friends of Beth Hateutsoth. / Ce volume dépeint des aspects de l’histoire sociale canadienne par la présentation d’artefacts de l’exposition « A Coat of Many Colours: Two Centuries of Jewish Life in Canada/Une tunique aux couleurs multiples : deux siècles de présence juive au Canada ». Les expériences des juifs canadiens sont enregistrées dans les étiquettes des artefacts, en montrant de manière poignante l’importance que peut avoir une mémoire vivante pour l’identité d’un peuple. Publié avec l’aide de Seagrams et des Amis canadiens de Beth Hateutsoth.
This book presents the first overview of craft activity, as an integral part of Canadian culture between 1900 and 1950, and reviews the tone and focus of contemporaneous writing about craft. It explores the diversity of all aspects of craft, including makers, production, organization, education, and government involvement.
This publication reproduces the texts and labels of the exhibition along with photographs of a sample of the artifacts. It looks at the following topics: where can we live; how can we put our talents to use; and, continuity and contributions.
As video becomes an important tool to expose injustice, an examination of how human rights organizations are seeking to professionalize video activism. Visual imagery is at the heart of humanitarian and human rights activism, and video has become a key tool in these efforts. The Saffron Revolution in Myanmar, the Green Movement in Iran, and Black Lives Matter in the United States have all used video to expose injustice. In Seeing Human Rights, Sandra Ristovska examines how human rights organizations are seeking to professionalize video activism through video production, verification standards, and training. The result, she argues, is a proxy profession that uses human rights videos to tap into journalism, the law, and political advocacy. Ristovska explains that this proxy profession retains some tactical flexibility in its use of video while giving up on the more radical potential and imaginative scope of video activism as a cultural practice. Drawing on detailed analysis of legal cases and videos as well as extensive interviews with staff members of such organizations as Amnesty International, Human Rights Watch, WITNESS, the International Criminal Tribunal for the former Yugoslavia (ICTY), and the International Criminal Court (ICC), Ristovska considers the unique affordances of video and examines the unfolding relationships among journalists, human rights organizations, activists, and citizens in global crisis reporting. She offers a case study of the visual turn in the law; describes advocacy and marketing strategies; and argues that the transformation of video activism into a proxy profession privileges institutional and legal spaces over broader constituencies for public good.
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