Canadian Dimension Magazine, July/August 2007 Issue

“The best thing you can do for New York right now is to go out and shop !” —Rudy Giuliani , September 13, 2001 (Keep reading…)

In the wake of HBO’s disappointing and history-deranging adaptation of Bury My Heart At Wounded Knee, American Indian actors, writers, aspiring directors and producers arrive at the end of the trail for their decades-long struggle to gain a footing in Hollywood:our cause is lost in the American film and television industry. (Keep reading…)

Canadian Dimension magazine, January/February 2007

Colleen Cutschall is a senior artist originally from Pine Ridge, South Dakota. For over twenty years, she has been working and living in Southwest Manitoba as an artist, art historian, educator and curator. Cutschall holds a BFA from Barat College, Lake Forest, Illinois, and a MS.ED from the Black Hills State College, Spearfish, South Dakota. She has had numerous solo exhibitions that include: Voices in the Blood, a touring exhibition organized by the Art Gallery of Southwestern Manitoba, House Made of Stars, The Winnipeg Art Gallery, and …Dies Again, Urban Shaman Gallery. Cutschall has produced numerous publications and lectures on Native issues and art nationally and internationally. She recently partook in an artist – in-residence in Bellagio, Italy. Cutschall is a Professor and Chair of the Visual and Aboriginal Art Department at Brandon University, and continues to work on her artistic practice. This is an excerpt from an interview, where she shares her thoughts on art and art issues in Manitoba. (Keep reading…)

Canadian Dimension magazine, January/February 2007

“I started to establish myself…as an Indian artist. Pardon me, establish myself as an artist who happens to be Indian.”
– Goyce Kakegamic, late 1970s (Keep reading…)

Canadian Dimension Magazine, January/February 2007 Issue

The conditions of an oppressed group’s lived experience are directly connected to the kind of resistance songs that the members of that group will produce. For example, “La Marseillaise” became the anthem of French revolutionaries in the late eighteenth century at about the same time as revolutionary Haitian slaves were gathering in the hills above Port-au-Prince to play their instruments and invoke the spirits of their ancestors. The Paris Commune, as many people know, is commemorated by “The Internationale.” What’s more, the genres of both Irish revolutionary songs and the Mexican corridos arose in concert with the Irish and Mexican insurrections earlier in the twentieth century. (Keep reading…)

Canadian Dimension Magazine, September/October 2006 Issue

Galaxy is a very good band that happens to be made up of a trio of two lesbians and a bisexual. Vocalist/guitarist Katie Stelmanis explains: “I’m totally fine with being a gay band and having that label, just as long as people know that we’re just as good, if not better, than all the other rock bands.” Katie and her collaborator, Emma McKenna (vocals and guitar), understand the importance of identifying with a specific community while fighting their way through Toronto’s crowded indie scene, but they don’t always agree when it comes to how being gay women affects playing rock music. (Keep reading…)

Canadian Dimension Magazine, September/October 2006 Issue

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Canadian Dimension Magazine, September/October 2006 Issue

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Special to Canadian Dimension

http://lap.sagepub.com/cgi/reprint/33/5/118

For 47-plus years the U.S. mass media have consistently misunderstood the essence of the Cuban revolution. Tens of thousands of daily news stories, editorial analyses, and “in-depth” reports have focused on Cuba’s communist, totalitarian government’s human rights violations, the failure of its economy, and the persistence in power of its evil but fascinating dictator-leader. Few have tried to understand or explain why it has survived the unrelenting hostility of its powerful northern neighbor. (Keep reading…)

Canadian Dimension Magazine, July/August 2006 Issue

Major social changes in the United States have fundamentally determined the evolution of jazz music, just as they have other art forms. The 1930s were the period of the rise of jazz and the organized Left. Concretely, this meant big bands and the Communist Party. Notwithstanding some early dogmatic opposition to jazz from cultural commissar Mike Gold, the party soon threw itself into proselytizing for jazz and fighting segregation in the music business. (Keep reading…)