Category Archives: Art

Got It For Cheap

Care to know what a bagel sounds like on the air?
Tune in on November the 13th in our Tuesday Morning After show!

Got It For Cheap (GIFC) is a traveling series of group shows including  750+ artists. All works are original works on paper and sold for the low price of $30 USD, or the local equivalent.  The goal of GIFC is to make buying original art accessible to all people and to give young artists a platform to sell their work and be exposed to a worldwide audience. On Saturday November 17th and Sunday November 18th,  GIFC will be holding their latest show in Montreal at L’INCONNUE gallery.

Tune in to CKUT this Tuesday November 13th at 8:30am for our interview with GIFC coordinator Chris Rexroad for some details on the upcoming show!
More Info


Contributors Wanted

Hey you! Yeah you! Are you so cool it hurts sometimes?
Of course you are… You’re a CKUT enthousiaste after all!

Feel like sharing the cool with our audience?
We are looking for contributor for The Morning After – Lendemain De La Veille. Wether you want to cover music, news or culture related stories, we want YOUR voice on the air!
No experience is needed! We have a bunch of workshop ready for you though  :)
email: to know more!


Repost due to technical issues and returning relevance: James Oscar on Robert Lepage’s Coeurs and “Clash of Civilizations” narrative.


 Robert Lepage& Exmachina – “Coeurs” at TOHU Theatre Feb 18- Feb 28 2015

Technical issue previous 2015 Link

tre-1408137027This is the rhythm of the night

The night, oh yeah

The rhythm of the night

This is the rhythm of my life

My life, oh yeah

The rhythm of my life (Lyrics to the song The Rhythm of the Night by Corona)

When the dusk heightens, like the amber on a stage set, those ramshackle hoardings of wood and rusting iron which circle our cities, a theatrical sorrow rises with it, for the glare, like the aura from an old fashioned brass lamp, is like a childhood signal to come home.” What the Twilight Says, Derek Walcott

The first thing one notices when one enters Montreal’s TOHU and its impressive theater space is a kind of monument. That monument is the circular stage, set in a kind of amber glare,like in Derek Walcott’s quote above.This circular stage stage whiffs first of being intemporal2 and monumentalétamorphose-dieux-3-LIntemporel/dp/2070108619 , and whiffs of being a machine like beast that will either wrest the audience into dizzying submission coupled with the spectacle to be presented, or whiffs like a stage that may remain just the machine-like beast it is, standing immobile in all its queer rustic like beauty, while the show, not that noticed nor transformative might go on.

 With Quebec contemporary theatre icon Robert Lepage’s latest production Coeurs (Hearts), the second in a series of plays,we were left somewhere between the former and latter – the former being that Coeurs was a fabulous spectacle that of course beguiled and was noticed, and the latter – that it was a piece of theater that simply remained, as the French say, inachevé, not complete nor completely transformative. And yes the point may be that not every theatre piece need be transformative nor life changing, but yes at least evocative, which Lepage’s Coeurs certainly was. But yes, of course, with Lepage, this (sense of a transformative theatre experience) is what many here in Quebec have come to expect.

In entering Lepage’s Coeurs, we are, as previously said, first and foremost beholden and greeted by this circular stage, reminiscent of the 6th century Roman Circus Maximus, which in its heyday seated over 380 000 spectators. Lepage’s theatre group Ex Machina is resident at this theatre facility. As Robert Lepage says of a circular stage for gathering as opposed to what has come to be accepted as the imposed rectangle to view theatre:

“In the 20 th century, theater began to imitate cinema more and more…We have gotten distant from the idea of gathering, that enriches the theatrical experience…The presentation/ creation in a circle permits us to recreate that feeling. “ (my transl)

 And further, in entering the theatre space, one is also struck by massive impressive clock- like contraptions above, mirroring the stage, giving the stage and these contraptions the feel of a literal time machine or suction cup one felt one was entering. The whole impressive stagecraft ensemble and theatre hall might have felt like an intemporal “stone room of black and ancient lakes”. And in a previous incarnations of Lepage’s work3, one might have also expected to find in such a “a stone room of black and ancient lakes”, an alabaster translucent creature raising “ its dripping mouth from the rimstone pool and stared (ing) into the light.” 4

 This was not case in Lepage’s Coeurs where he dives into a piece whose transhistorical world, merits and aims to engage with contemporary geopolitics were to be applauded. But, despite the deployment of a successful dramaturgy (but perhaps not dialogue), Lepage’s Coeurs fell short of diving us full fledged into transformative dark imaginary that might reveal to us something new or revelatory about our contemporary “clash of civilizations” and geopolitical games, or reveal to us something new or revelatory about the present contemporary rhythm of the night.

Looking for Common Grounds

Coeurs begins with Jean-Eugene Robert- Houdin, the father of modern magic sent by the French government to Algeria in the 1800s to quell the power of the local religion/ marabouts priests. As the story goes, Houdin performed a very impressive sleight of hand that up handed the power of a marabouts he challenged. Houdin was able to stop a bullet with an apple and have it not pierce past the apple into his chest. Houdin’s aura grew and the power of the marabouts faded, it is said. Lepage starts with this classic geopolitical charade game. Such charade games like the story of the sale of Manhattan for 24$ to the Dutch by the Lenape and many others as one might see like in the Herman Melville’s Confidence Man.Lepage equates these sort of stories in his Coeurs and previous Piques with the dissimulation one might find in card games:

Card games carry with them a system/ ensemble of rules, signs, mathematical or numerological structures, of mythologies, and especially of characters. In combining these and ordering them, we can create as many histories as there are agencies possible. Card games incited to explore different aspects of linked to gambling, but also of temporality, chance, probability, and divination.”

So with such panoply of options through this throw of the cards, as it were, the story then moves us to present time Quebec where the Quebec born/ Algerian descent taxi driver Chaffik and Québecoise Cinema Studies teacher, Judith, fall in love. Coeurs then moves back and forth through these contemporary and past narrative/s, like the deck of cards being shuffled and dealt.

 Lepage wants to display Algerian historiography, some underpinnings of our present “clash of civilizations”, and the story of how Chaffik’s family game to be in Montreal from Algeria. Of course, the formerly Quebec based Lebanese writer Wajdhi Mouwad has been deploying such a transhistorical approach for some years.

 With – the young Algerian descent taxi driver – Chaffik, his dedicated hard working Algerian father, his boisterous Algerian grandmother, the smart/ eager/liberal Québecoise- Judith, her racist Québecoise mother, her stiff hegemonic “Australian” dad, the scientific Jean- Eugene Robert- Houdin, and his boisterous drunk wife – Lepage offers us stock characters: types that unfortunately often do not go past their cardboard cutting and the “stockness” of their characters. We don’t often enter into the deep “who” of these characters. And, in such a narrative of interpersonal matching and shadowing, in such a narrative of transhistorical join the dots, this is essential. If one looks to Faulknerian gothic which can certainly be taken as the 20th century example par excellence of how to deal with nation, family (join the dots), inveteracy, love/ hate, and secret family skeletons, in Lepage’s Coeurs there were not enough of those silences and shadows that tell more than a direct dialogue ever can. At many dream-like points, Lepage employed the most beautiful hypnotic imagery of a single character making continuous circles, walking non stop around the circular stage to show the passage between past and present historical narratives. These dervish like circles started to give us the hypnotic suggestion we needed to move beyond present and past realities and project a new sense of contemporary citizenship onto past tragedies and project something new onto our own rhythms of the night.5

 I do wish Lepage would have employed more of these sort of silent ritualistic cues like the continuous circles6, rather than for instance the racist mom and dad spouting out ridiculously about their proto-son in law (Chaffik’s) terrorist leanings. One gets the point Lepage is making: Let us collectively in a theater piece see how ridiculous their racism is. But, at a certain point, one wonders about how more useful it would perhaps be to get into the head of such racists and understand exactly what is behind their false consciousness’ brawn and not brains. We remained distant from these characters (the racist mother and father) except as outsiders to their own personal (racial) hallucinations.

 Of course, Lepage illustrated very well Chaffik’s journey to find his lost Algerian grandfather but this serious journey could not mesh well with the other stories whose deep interiorities were not always illustrated as cleanly. Judith’s decision to turn to Islam and wear a hijab and her parents (formerly excommunicating her) sudden acceptance of Judith, her miscegenation and Chaffik’s grandmother as a roommate seem too tidy. But it certainly is the ending we hope for, in a multicultural society, when we are looking for common grounds in our contemporary society profusely decorated with these realities. How one lives with the Other and Other histories? It is especially Coeur’s denouement of this and its stories which is being called into question. And of course one doe shave to ask if Lepage could join the points, more often in silent coalescing assemblages rather than through the the phatic realities of everyday words.

 With brilliant stagecraft which moved with incredible bravado and sleight of hand, like the unfolding of a butterfly’s wings- slight, translucent, effervescent, effective- conveying the magic of moving through the ages from colonial Algeria to contemporary Quebec: Lepage’s stage would be at once a dinner Quebec and switch back through hidden levers and actions simply going into slits into the stage and other appearing, to then be a dinner in colonial Algeria.

But despite all this- the total-story of the play did not hold its own to develop the true cohesiveness that could entrance. Yes an awareness might have grown in audience members about how they/ we treat Others and Other histories, but what might be additionally interesting in future installments of Lepage’s trilogy or quad are characters deep explorations of necessary self questioning and sense of complicity that we should all feel when faced with History’s large questions and stories, which with present media’s daily unveilings we can no longer hide behind.

The true machinations of all characters’ personal individuations and not simply glosses

 The Rhythm Of The Night

In one of contemporary“scenography’s” greatest scenes (of the last 20 years) of complicity, individuation, interiority, and colonial history – film director Claire Denis employs an unexpected dance to finish her film. French actor Denis Lavant dances seriously to the otherwise not so serious global pop sensation The Rhythm Of The Night.


 Lavant’s character Galoup , the commander’s former bulldog, is now ostracized from his life long community in the Foreign Legionnaires, after the commander chooses another young man to lead. All the hubris and empty bubble hidden by hubris is burst and Galoup has nothing left. Not only is their a deconstruction of the empty shell of Western “power” and military life, but this character’s own opinions are burst. Denis’ film masterfully illustrates the “necessary” unpacking of Western gaze and hubris so necessary at this time. I was reminded of Lepage’s characters who played Judith’s father and mother: their own need to come clean. Lepage’s play ends and we still do not see the necessary dance7 of these characters – their own revelation/ realization. This is what I would have like to have seen in Judith’s “racist” mother and father – them naked and set before the very emptiness they were hiding behind- their complicity, individuation, interiority. It is not just the Other (as Lepage does represent with Chaffik) that we must give space to, in examining contemporary representations, but we must also give space to examine what is going on inside the head of those who ruthlessly dominate the scene, those in positions of “power”8. The complete revelation of all parties is so necessary to begin to understand the contemporary rhythm of our night: acknowledging all our complicities and finding the key to common grounds (of transparency). The such would not just be theatre which is historical but be a theater of history. And is only there, as Robert Lepage suggests from his analogy of cards that “we can create as many histories as there are agencies possible”.

1 The play is part of an ongoing trilogy or “quad” of plays, so far based on cards.

2 The round stage and hall/ theatre looks wooden and gives the feel of an early twentieth century circus. In actuality, it is one of the most technologically sophisticated stages in North America built by the Cirque de Soleil.

3 Of course despite what some critics referred to as Lepage’s traditional approach to Wagner’s Rings, Lepage’s attempts at technological innovation cannot be denied. The question regarding the various criticism of his Wagner’s Rings in 2012 was whether many critics unnecessarily heavy handed?

4 This scene from Cormac McCarthy’s The Road came to mind while being in TOHU’s cavernous theatre: imagistic, shadowy, silent, and intemporal.

5 I am thinking of Faulkner’s first few pages in his Absalom Absalom. Also to be noted, the filmmaker Claire Denis has been playing with new kinds of psychical impositions onto past histories since her earliest films.

6 The circles start to look like the American artist Richard Serra’s beautiful circle drawings or Joan Jonas’ performances with circles.

7Very well written article on the Claire Denis scene by Julie de Lorimier, “De La Danse Comme Révélateur- Denis Lavant Dans Beau Travail”, in 24 Images June/ July 2014.

8 See also Claire Denis’s L’Intrus.

The XX-Files: exploring feminism & technology through sonic production | Julia Dyck, Belen Arenas and Amanda Harvey

XXFilesRadio_artists-in-residency-1200Studio XX is pleased to welcome, from May 3rd to June 14th, 2017, as part of the 2017-18 residency program, Julia Dyck, Belen Arenas, Amanda Harvey.

The XX Files is a weekly radio show broadcast on CKUT 90.3FM. For the past 20 years, the rotating lineup of radio hosts have explored technology, art, and society from an intersectional feminist perspective.

The current hosts (Julia Dyck, Belen Arenas, Amanda Harvey) will use the residency at Studio XX to deepening the show’s potential for experimentation and disembodied performance by dissecting the themes of identity production, memory creation, and sonic ownership and boundaries.

During this residency, the artists will produce three audio documentaries including journalism, drama, sound art, original music to be mixed and produced live as a audio visual performance. Focused mostly on sonic production, the audio will be enough to stand on its own in a radio broadcast, but will be accompanied by an experimental video. The audio visual experience will act as a live radio broadcast and performance. This ephemeral performance of live mixing and collaging of interviews, original music, media samples, and spoken word will be recorded and broadcast on the XX Files radio show afterwards.

Festival Transamériques (FTA) 2017: Interview with Rimini Protokoll Re 100% Montréal director Stefan Kaegi


Preface to   Festival Transamériques (FTA) 2017 – Interview with Interview Rimini Protokoll from Berlin Presents – 100% Montreal

 How does a city represent itself? I mean really represent itself. Represent itself, not in the proportions of a kind of advertising campaign, but rather with it’s true fabric- revealing its very marrow, or as might be said in French, “dans sa veritable chair”. The representation of a city has huge implications. That is – how a city is represented is very high stakes, first for the very life bread of a city- it’ s economy. A city which promotes itself as welcoming thus might attract a larger number of “qualified” individuals that can add to its professional class and provide the very oil that can run the city’s engine, and then of course higher economic gain, tax dollars, and ultimately a better way of life “for all”.

Of course, any forward thinking contemporary person knows that a city’s realities, despite its economic power might fall short of that “for all”. The real stakes of the “for all” are part of a larger equation, an equation that might not always be the primary interest of the very architects of the city, although this “for all” might be part of the rhetoric of their framing the city, spoken at those very critical beginnings and junctures that decide a city’s next breaths of growth.

Many years ago, the urban city guru Richard Florida, at the big $ invitation of the City of Montreal had encouraged what many feel were his questionable suggestions on the vitality of his own idea of the creative class (a specific looking and thinking creative class he defined in limited and specific demographic terms) being (as he deemed)a necessary group (in that specific demographic he cited)  to come to cities, almost like a colonial entity, but of course all in the interest of “everyone’s” prosperity.

To be sure, whatever one’s assessments of Florida’s suggestions (some of whose idea of the  necessity of creativity for a city certainly rang true, but of course with possibly a limited window of who would be doing that creativity), the city-culture intelligentsia of cities like Montreal were gaga-eyed over the “then” trending Richard Florida, who  according to many felt he told these cities what they wanted to hear.

So fast forward to Montreal at its 375th anniversary and what of this city that Florida once named the secret gem of North America, only to years later retract these ideas on Montreal, and also to years later retract much of the power he felt his particular theory of the creative class held for cities.

The avant-garde theatre festival (FTA) Festival Transamériques has consecrated the task of giving a snapshot of what Montreal is, to the German theatre collective Rimini Protokoll, through their 100% project, which has been done across the globe.  And as they have said in our interview, they definitely have not just a created a portrait of Montreal’s creative class, but as their 100% Montreal program says …

“Just who are Montrealers, and what’s on their minds? Onstage 100 citizens portray 100% of the city’s population. Men, women or trans, adults, children and teenagers, atheists, Muslims and Jews, they draw a map of Montreal in a vibrant, exhilarating exercise in self-portrayal.

In this survey probe by the masters of documentary theatre the Rimini Protokoll collective, Montrealers will see themselves as they really are. Who avoids paying taxes? Who is against the wearing of the veil in public places? Who has cheated on his/her lover or spouse? Without any filters, without beating around the bush, the courageous participants of 100 % Montréal respond to all questions, both the banal and the very serious. Moving onstage as though in an organic diagram–never have statistics been so full of life!–they incarnate public opinion in sensitive fashion, dramatically revealing its unpredictable movements. A candid look at the multiple identities of our city.( From the FTA Program)

We sat down with two of the participants of 100% Montreal and with director…to discuss the ins and outs, of first choosing a representative sample of Montreal and then of initiating real talk among 100 Montrealers, on Montreal’s its 375th anniversary .

100% Montreal is a valiant attempt in its scale;  the project might have missed have not been a platform for certain particular “silently visible”  demographics like those born in the Montreal of foreign parents, feeling neither from here nor there . But then, “internal exile” might come in all shapes and forms.

The candid discussion of how many felt about trans and gay identity was a highlight of the project, according to the director. But, at the end of the day, the project’s goal is to give air to such occlusions and silences (and there are many) (yes beyond what some might consider the “vapid” lives of Richard Florida’s creative class) and as we see in the interview with two participants and  the director, 100 % Montreal certainly might have enough fodder and luminous elucidations about the pleasure and pains of being in and around 100 % Montreal,  living and playing in Canada’s French-Canadian gem, Montréal. Ultimately, a message of coexistence seems to have emanated from this grand scale documentary installation.

 Interview with Rimini Protokoll Re 100% Montréal director Stefan Kaegi

James Oscar:

How do you embed yourself, in the same sense a war reporter might embed themselves with a military unit. How do you get embedded so that “as someone from outside”, to get an accurate snapshot of representing Montreal on stage in your 100% Montreal?

Stefan Kaegi Rimini Protokoll:

I think that is not our strategy. We are inviting the whole troop/ troupe, if you want to stick to the army terms, to do something with us here. Different from If I was an actor and I needed to perform 100% Montreal and not being from the city, I would try and go into the city and get into the mood, like method acting and then I would go onstage and then very “fakely” represent, but I am not going on stage. We’re just actually helping the Montrealers to go on stage. The sensitive and complex part of it is how to find, to identify 100 people, that kind of representative. How to find the right stringers. Our strategy is that we were here a year ago I made contact with a friend of a friend from the statistical office and we started talking about how to represent the city, and we looked at numbers.

First, we tried to define gender percentages-  48% male/ 52% female would have to be onstage. We also have a trans participant which is not in the city statistics but we felt this represents the city as well. And then age groups and immigrants- but there was a discussion with them- do we go by passport, by parents birth/ origin. And so we decided for birthplace. We went by precise percent, so like in the case of the Haitian community, they represent 3% of Montreal’s population, so we included three Haitians. Then we go by neighbourhoods- five zones etc. Structures of household etc.

So we chose the statistician, who was a friend of a friend, to be the first one. Then we decided, we don’t choose the people because anyways we don’t know the city so how would we be able to choose. But also, we said also said the Festival should also not choose the 100 people, because they mainly know people from the theatre world, which is probably less than 1% of the population. So we said he,  statistician choose one, then he chose the next- the friend of his daughter, who is a different gender, age, and from a different neighbourhood. Then she chose her best friend, then that person chose their mother, mother chose pupil, pupil chose sister, and so on and so on.

James Oscar:

But aren’t you staying within a similar chain of related people? Don’t you think since you went from this person to that person, they might have more of a chance of sharing similar opinions?

(He shows me the book 100% Montreal they have printed that shows and describes each of the 100 Montrealers that were chosen. The selection started with a man from the statistical bureau, then his daughter, then a friend or classmate then mother of a classmate, then cousin of classmate, then a work friend etc until hopefully towards the 100th person, a far unconnected distance and difference might be arrived at, from the initial first link.)

Stefan Kaegi Rimini Protokoll:

No, we started with the statistician, a white man from Outremont. And you know the social experiment of six degrees of separation anyways. And they (the participants) would have never met if this project had happened. Anyways, we will see and there is a different thing we need to take care of. When we come with an invitation to take part in a cultural project, there will always be those who  say, ” Oh I have a friend and he loves theatre and he would love to participate”. But there, we always say no. No art lovers as well.

James Oscar:

So I guess what you are saying is that by the 100th person, there is no relationship to that first person.

Stefan Kaegi Rimini Protokoll:

Yeah, and there is also the fact that after 60th or 70th person chosen along this string, it becomes too complex for this one to find someone with similar ideas, because everyone in her age group, neighbourhood, in her migration structure might be gone to choose from. Our production coordinator Laurence also made sure we had people with conservative values and opinions since such a project has a certain kind of tolerance inscribed, whether you want or not , and so it is easier to find multicultural tolerant, so she made sure there were people with conservative values and opinions. And of course, we need these other ones and we do have them in the piece.

James Oscar:

I heard there was some contention about French vs English language that came up?

Stefan Kaegi Rimini Protokoll:

Yeah, there were tensions. If you squeeze the whole city into it and if and when some participants saw and  for instance said “how many people speak English and this is not my city”. This has happened. There were also tensions around the trans -woman. I was very shocked to hear about how many people were against gay adoption.

James Oscar:

Yeah, because you are asking the participants question during the show.

Stefan Kaegi Rimini Protokoll:

Yes, the show is that we form groups of people that might have had the same experiences. For instance, we ask people if they have been in a war and who has served as a soldier. And it is a very interesting group because you have some people that been in Congo and been involved in a war and we have a young woman who has worked as a psychologist for Canadian troops and never been to a war. So you have interesting combinations of who has thought of suicide and you have younger and older who stand together for all types of reasons in this group.

James Oscar:

And what do you think this can bring to a city like Montreal.

Stefan Kaegi Rimini Protokoll:

It is a bit what theatre always does. It tries to be a mirror of the society. I am not sure it will be a mirror to the audience because that is another question. Who is sitting in a theatre like this and who comes to the Festival Transamériques. But here our oldest participant, (he calls to her but she does not hear him). She is 88 years old and she has a very different mind view. She says when she grew up, it was all catholic here and she told me that at 7pm in the evening when she was young in Montreal, they were broadcasting prayers through the radio and she would go along with the radio and pray the rosaries, so it is a very different Montreal than after. She says that Expo 67 was the moment of a flip-  when Montreal suddenly turned into an international and kind of scary for society.

James Oscar:

Did she talk about that in stage or private interviews?

Stefan Kaegi Rimini Protokoll:

A bit of both

James Oscar:

So in terms of this being what is called documentary theatre. Does this just remain documentary?

Stefan Kaegi Rimini Protokoll:

It is tricky to say it is a documentary. On one hand, it tries to be. It comes along with this gesture of anthropological study and we try and be as scientific as possible, going through the numbers. But then again, what we create here is a public…for instance if one of our questions to the participants on stage is, “Who betrayed their partners?” In the space that is designated for people who answer yes to that, is a certain group who may not want to stand there, because they might know people in the audience who know them and they don’t want to be seen standing there. Also, there is a bit of artificiality in the set up that comes- music , light , video that often may it look like an opera production.

James Oscar:

But fiction can bring truth also?

Stefan Kaegi Rimini Protokoll:

Yeah, and 100% Montreal is definitely telling about the city. It is authentic or not, there are so many layers of authenticity. They are who they are saying who they are, but we rehearsed so do we transform that into something else or not. I don’t know. Transform it into something more musical? It is the numbers and the faces behind those numbers.

James Oscar:

One last one. I and a lot of my critical community are always suspicious of the early successes of the urban planner Richard Florida to influence the city about the relationship of governmentality to culture through an idea of a specifically included and excluded demographics of a particular creative class he specified being necessity to building successful cities. The fear being that culture and various other terms that come along with it like diversity often being promulgated via a governmental voice and even arts organizations starting to follow the government’s approach to how these issues are treated. Using culture to form their own agenda filled ideas of exclusion and inclusion. You Rimini Protokoll 100 % Montreal looks like an amazing citizen initiative. Why do you think something like this is important to do as a citizen and not as a member of the government.

(Off- interview: One should recall the previous Parti Québecois government’s attempts at having citizen express their views about they felt about others in their community:

In this regard citizen initiatives like Rimini Protokolll’s 100 % Montreal are of utmost necessity.

Stefan Kaegi Rimini Protokoll:

This is not just a community initiative. For instance, it is important we pay the performers. For instance, we have a contract with them. It is not that they should be volunteering for this. This is necessary because if not we would only get the tolerant, open minded people that are happy to be on stage and express themselves (he laughs), and I do not want to see that 100% Montreal crowd because that will no be the city. So for us, it is about representation as theatre always is in that sense as before the King was the one being represented in Baroque theatre. Now we are living in a democracy so we should represent the people. And it’s a complex thing -what the people is and that is the interesting side of it to ask, as well, then there are problems with it because if for instance, there are 40000/ 60000 “sans-papers” in this city. No one knows exactly where they are and we cannot have on stage because they are not in the stats. Because if they show themselves and say they are sans-papiers, they may have problems. There are limits to this work and maybe… so that the “representativity”of it, the government-like is interesting because on stage we are almost like a parliament, trying to represent, but a parliament does not have children, does not have uneducated people, does not have certain age groups, and certain migration groups that would not be speaking the language. So we might be a little closer than what the representation is than a government parliament, but then again our decisions will not be executed out there, but it probably might be better that way.


The 13th edition of Israeli Apartheid Week has started


From March 6 to 15, Israeli Apartheid Week is organized in over 150 cities worldwide including Montreal. During IAW panels, workshops, film screenings, demonstrations and cultural events are set up  so as to educate the public about the realities of colonisation and apartheid in Palestine, and to connect Palestinian activists with local activists working on related issues.

A brief review of  Israeli Apartheid Week history

IAW was first launched in Toronto in 2005 and has grown to become one of the most important global events in the Palestine solidarity calendar. Over the past decade, it has served to bolster the Boycott, Divestment and Sanctions (BDS) movement which is is a global campaign attempting to increase economic and political pressure on Israel. First, the movement aims at putting an end to Israel’s occupation and colonization of Palestinian land and the Golan Heights. Also, the full equality for Arab-Palestinian citizens of Israel is at stake here. In order to give a voice to the Palestinian people, the BDS movement has helped launch local campaigns standing in solidarity with them.

Israeli Apartheid Week in Montreal

In holding Israeli Apartheid Week on occupied Kanien’kehá:ka territory, we must remember that this event series is taking place within an ongoing colonial context. Indeed, drawing the link between apartheid in Israel and in Canada has been a central focus of past and current event series. In Montreal, Israeli Apartheid Week is co-organized by students and community organizers. Events are held on the campuses of McGill, Concordia, UQAM, and UdeM, and across the city.

In opposition to apartheid and occupation

In solidarity with Palestinian resistance

In support of social justice struggles everywhere ”

To know more about what is happening in Montreal this week, here is the Facebook event : and the website related to it

Stay tuned on CKUT 90.3 FM, co-presenting the IAW.