For me, rhythm means having consistency. The piece highlights my own experience with the disruption of my daily rhythm due to COVID-19. The first half shows my routine and interactions prior to COVID-19 while the second half shows my experiences in the present day. Prior to the virus, I had a day to day routine that was filled with noise. Everyday moved quickly and I established a daily rhythm. However, when COVID-19 spread, it changed everything. I felt like I didn’t have a routine anymore because I wasn’t allowed to go anywhere. Time was moving much slower and worst of all, xenophobia was growing at a significant rate. As a Chinese Canadian, this was the first time I truly felt the weight of the color of my skin. COVID-19 changed the way that I consistently assumed that the color of my skin wasn’t something that strangers would significantly care about. However, as I got on a bus, I unintentionally scared a woman simply because of my skin color. From that point, I knew that xenophobia would affect the way people perceived me everyday. The woman was scared of the virus— which in turn was scared of me—and I was scared that she would thwart her anger towards me because I am Chinese. If looks could kill, then the woman and I ironically both feared each other. Now, due to COVID-19, I am adapting to a new routine. A routine where the color of skin rings louder than any other sound.
{"title":"If Looks Could Kill","authors":"Karen Chan","doi":"10.33137/incite.3.34723","DOIUrl":"https://doi.org/10.33137/incite.3.34723","url":null,"abstract":"For me, rhythm means having consistency. The piece highlights my own experience with the disruption of my daily rhythm due to COVID-19. The first half shows my routine and interactions prior to COVID-19 while the second half shows my experiences in the present day. Prior to the virus, I had a day to day routine that was filled with noise. Everyday moved quickly and I established a daily rhythm. However, when COVID-19 spread, it changed everything. I felt like I didn’t have a routine anymore because I wasn’t allowed to go anywhere. Time was moving much slower and worst of all, xenophobia was growing at a significant rate. As a Chinese Canadian, this was the first time I truly felt the weight of the color of my skin. COVID-19 changed the way that I consistently assumed that the color of my skin wasn’t something that strangers would significantly care about. However, as I got on a bus, I unintentionally scared a woman simply because of my skin color. From that point, I knew that xenophobia would affect the way people perceived me everyday. The woman was scared of the virus— which in turn was scared of me—and I was scared that she would thwart her anger towards me because I am Chinese. If looks could kill, then the woman and I ironically both feared each other. Now, due to COVID-19, I am adapting to a new routine. A routine where the color of skin rings louder than any other sound.","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116852718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We love our children. We send our children out into the World hoping that they will make it, We hope that our children will have a better life. We send our children to the white man’s school so they can get an education to make it, We want them to make it, We want them to have a better life. But we know that the World is not always a welcoming place for our children outside our wombs, In the bosom of Mother Earth. But… We have the rhythm of our words. The rhythm of our drums. The rhythm of our love. We must share with our children the ways of Old. We must teach them the rhythms. Then, when they go out into the World to make it, They hear the rhythms in the beating of their hearts, They hold the rhythms in their souls—to guide them when they are far from home in the white man’s world. This is a story of teaching the rhythms in a good way. This is a story of the sharing our wisdoms, as we have for thousands and thousands of years. This is a story to guide our children in the ways of the white man, So they can be safe, So they can be protected. The student is a youth in university. The Elder is teaching the youth who believes they have made it because they are learning the ways of the white man. The youth is on their way to a better life. Yet the youth is troubled. The Elder speaks of Old, The rhythms of Mother Earth and the Cosmos.
{"title":"The Student and the Elder","authors":"SunAMBee Ann Marie Beals","doi":"10.33137/incite.3.34715","DOIUrl":"https://doi.org/10.33137/incite.3.34715","url":null,"abstract":"We love our children. \u0000We send our children out into the World hoping that they will make it, \u0000We hope that our children will have a better life. \u0000We send our children to the white man’s school so they can get an education to make it, \u0000We want them to make it, \u0000We want them to have a better life. \u0000But we know that the World is not always a welcoming place for our children outside our wombs, \u0000In the bosom of Mother Earth. \u0000But… \u0000We have the rhythm of our words. \u0000The rhythm of our drums. \u0000The rhythm of our love. \u0000We must share with our children the ways of Old. \u0000We must teach them the rhythms. \u0000Then, when they go out into the World to make it, \u0000They hear the rhythms in the beating of their hearts, \u0000They hold the rhythms in their souls—to guide them when they are far from home in the white man’s world. \u0000This is a story of teaching the rhythms in a good way. \u0000This is a story of the sharing our wisdoms, as we have for thousands and thousands of years. \u0000This is a story to guide our children in the ways of the white man, \u0000So they can be safe, \u0000So they can be protected. \u0000The student is a youth in university. \u0000The Elder is teaching the youth who believes they have made it because they are learning the ways of the white man. \u0000The youth is on their way to a better life. \u0000Yet the youth is troubled. \u0000The Elder speaks of Old, \u0000The rhythms of Mother Earth and the Cosmos.","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131910802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I am a Black Woman. I am proud of who I am and I have great admiration for strong Black Women who do not put themselves in a box and conform to what society wants them to be. They are in control of their own lives and have voices. They believe in change and are setting standards that represent what I strive to achieve.
{"title":"I Am A Black Woman","authors":"Rheanna Rookwood","doi":"10.33137/incite.3.34722","DOIUrl":"https://doi.org/10.33137/incite.3.34722","url":null,"abstract":"I am a Black Woman. I am proud of who I am and I have great admiration for strong Black Women who do not put themselves in a box and conform to what society wants them to be. They are in control of their own lives and have voices. They believe in change and are setting standards that represent what I strive to achieve.","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":"147 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132866407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This creative arts-based inquiry explores an individual case of Mother Language shift and loss through poems and paintings. Language shift is often defined in the Canadian context as the process whereby “individuals abandon their native language as the principal language spoken at home and adopt another” (Sabourin & Bélanger, 2015, p. 727). But is abandon the right verb? And what about adopt? A abandona inseamnă ca ai avut o alegere de făcut. A adopta also means you had a choice and you consciously made it. What if your limba maternă hid in your body, s-a ascuns, out of fear? And what if it still lives inside of you at the cellular level, in your body’s home, adânc, aşteptând momentul potrivit to resurface? These poems and paintings explore the feelings of home as mother tongue, and the effects on identity of gradually losing a first language.
这个以创造性艺术为基础的探究通过诗歌和绘画探讨了母语转变和丧失的个案。在加拿大语境中，语言转移通常被定义为“个人放弃母语作为家中使用的主要语言，并采用另一种语言”的过程(Sabourin & b langer, 2015, p. 727)。但是放弃是正确的动词吗?那收养呢?一个被遗弃的人可能会被判死刑。收养也意味着你有一个选择，你有意识地做出了选择。如果出于恐惧，你的灵母瘤藏在你的身体里呢?如果它仍然住在在细胞水平上,在你的身体里的家,adanc,一个şteptand momentul potrivit重现?这些诗歌和绘画探讨了作为母语的家的感受，以及逐渐失去第一语言对身份的影响。
{"title":"Limba Maternă","authors":"Adriana Oniță","doi":"10.33137/incite.2.32820","DOIUrl":"https://doi.org/10.33137/incite.2.32820","url":null,"abstract":"This creative arts-based inquiry explores an individual case of Mother Language shift and loss through poems and paintings. Language shift is often defined in the Canadian context as the process whereby “individuals abandon their native language as the principal language spoken at home and adopt another” (Sabourin & Bélanger, 2015, p. 727). But is abandon the right verb? And what about adopt? A abandona inseamnă ca ai avut o alegere de făcut. A adopta also means you had a choice and you consciously made it. What if your limba maternă hid in your body, s-a ascuns, out of fear? And what if it still lives inside of you at the cellular level, in your body’s home, adânc, aşteptând momentul potrivit to resurface? These poems and paintings explore the feelings of home as mother tongue, and the effects on identity of gradually losing a first language.","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116081720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Throughout my life, my relationship to womanhood has been an ever-changing phenomenon. In reflecting on the instances that have come to define this relationship, I wrote “Gracias Mujer,” an homage to the women who have shaped my womanhood and a simultaneous rejection of all that has burdened me. In light of the gendered dynamics within Latino culture, this piece reflects on my complex relationship with my parents and my desire to find healing from personal experiences. Incorporating themes of womanhood, memory, childhood, and family, “Gracias Mujer” is an acknowledgement of my traumas, a love letter to my mother, and a validation of my desires as a Latina woman within an often-confined space. In this poem, without romanticizing them, I try to honour the sacrifices the women and ancestors in my life have had to make, expressing a gratitude for their contribution to my personhood, but also explicitly stating that the trauma that has resulted stops within me.
{"title":"Gracias Mujer","authors":"Tamara Valdivia Pariona","doi":"10.33137/incite.2.32823","DOIUrl":"https://doi.org/10.33137/incite.2.32823","url":null,"abstract":"Throughout my life, my relationship to womanhood has been an ever-changing phenomenon. In reflecting on the instances that have come to define this relationship, I wrote “Gracias Mujer,” an homage to the women who have shaped my womanhood and a simultaneous rejection of all that has burdened me. In light of the gendered dynamics within Latino culture, this piece reflects on my complex relationship with my parents and my desire to find healing from personal experiences. Incorporating themes of womanhood, memory, childhood, and family, “Gracias Mujer” is an acknowledgement of my traumas, a love letter to my mother, and a validation of my desires as a Latina woman within an often-confined space. In this poem, without romanticizing them, I try to honour the sacrifices the women and ancestors in my life have had to make, expressing a gratitude for their contribution to my personhood, but also explicitly stating that the trauma that has resulted stops within me.","PeriodicalId":402708,"journal":{"name":"in:cite journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127678720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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