Now is not the time for Canadians to be sanctimonious. It is time for us to be prudent and active.
I especially worry about the ways Canadians can be glib about our supposed difference from the US in our "acceptance" of "diversity."
I worry about what Trump will inspire in Canada, especially given incidents that have already occurred here since the election.
My art career often feels less like an art career and more like a career in educating, usually by using my body.
I would love to see more dialogue around the "responsibilities" of art consumers - how can audiences better financially support artists we love, artists who are doing the work, so that artists have a more solid foundation upon which to make art?
I have been and continue to be committed to art as a tool to ignite, comfort, and discomfort.
I have dedicated a significant portion of my time and artistry to making art that addresses various forms of oppression, including white supremacy, misogyny, and biphobia.
As a brown artist, I have mixed feelings about my relationship to art and my "responsibilities" post-Trump.
I think white artists have a responsibility to be not only naming white supremacy, but to be using their power and privilege to support artists of color.
When I do book readings, I always incorporate music or singing.
I used singing as a safety measure. I would pay attention to what songs the popular girls liked, learn those songs from the radio or library cassettes, and then "accidentally" sing or hum these songs in class. This would impress the girls, who would then defend me from the boys.
Making music has been connected to one of my greatest heartaches, because my own music has never quite connected with audiences. But it was this heartache that pushed me to explore other artistic avenues, like writing and filmmaking, and I ultimately feel most at home in a multidisciplinary environment.
Music is my first love, where my artistic journey began.
I recently did a reading at an elementary school in Ottawa, and one of the children asked me if I was a girl. I said yes. Another child commented that I had a deep voice. I responded: "Can girls have deep voices?" There was a pause and then the group responded, "Yes!"
Children are receptive to talking about gender creativity, confirming the importance of the book as a means to instigate this dialogue at an early age.
Children's books have great potential to reveal new possibilities to readers, because the intended audience is at an age of genuine learning.
I have always considered the aesthetic of a project, including press photos, as a means to further the message of the art itself.
Despite the fact that I'm not highly skilled in any visual art, aesthetics have always played a strong role in my art, including my first albums.
Should I be collaborating with artists of color solely because of their race and my politics? This question is weighted with my own worry that I have been invited to speak or collaborate solely because of my race, and not because of my abilities.
If anything, I have witnessed the ways my art travels, or is rendered more accessible, when sanctioned by or connected to white artists.
I am more likely to get paid for my art if it's presented alongside a white artist, so the questions around value and agency arise: What choices should I make, or do I have to make, if I want to be compensated for my work? Why isn't my art valued on its own?
As a person of color, I know race can't be stripped from admiration or preference.
In poetry, I didn't have to provide resolution. I could ask hard questions without feeling responsible for the answers.
As a general rule, I tend to collaborate with artists whose work I admire.
I continue to explore poetry.
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