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• A Formalism of Feeling: Queer Temporalities and Memory in PORTRAIT OF A LADY ON FIRE

  With these instances, Sciamma flirts with the coincidences present in heterosynchronic texts. What are the chances that Héloïse would still own the book so many years later, that the painter would...

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• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

  LeGrande’s performance begins with her standing in a field of tall, yellow grass. She is wearing a slightly transparent robe, and a crown of sticks. LeGrande explains these choices: “The markings...

• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

  I think about this idea a lot. I’m Pakistani by heritage, born and raised on stolen land. I live in Alberta, knowing that Whiteness has claimed this land as...

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• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

  LeGrande reminds me that connection to place isn’t always inherent. When she found herself in a strange land, she reached out to those around her to build community. She shared knowledge,...

• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

    "I exist between two cultures, not Pakistani enough to feel at home there, and not White enough to blend in here. I wonder if there is a way to merge...

• A Land I Know as Well as Myself: Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ’s MASKEKEWAPOY ᒪᐢᑫᑫᐊ

  When I moved to Edmonton nine years ago, alone, I worked as a tutor -I found little pockets of home in the mother of one girl I tutored. She would bring...

• Kathryn Armstrong

  *Kathryn Armstrong* is a consultant and media scholar who has conducted research for the Canadian Media Producers Association, worked for Ontario Creates, and the Toronto International Film Festival. She holds an...