EISSN : 2562-265X
Current Publisher: University of Toronto Libraries - UOTL (10.33137)
Total articles ≅ 35
Latest articles in this journal
in:cite journal, Volume 3; doi:10.33137/incite.3.34711
Cover and masthead for in:cite Journal vol. 3.
in:cite journal, Volume 3, pp 24-31; doi:10.33137/incite.3.34716
I approached the creation of these four graphics as a convergence of the skills and knowledge that I brought from my home country, the Philippines, and those that I have acquired in Canada. Combining abstract mathematics and visual art, I used concepts from graph theory, group theory, and probability theory to show a pictorial flow comparing the muddled situation in which young immigrants to Canada find themselves to the “optimal” albeit assimilated situation of those who have had time to settle (in multiple senses) into their new lives.
in:cite journal, Volume 3, pp 34-51; doi:10.33137/incite.3.34718
The painting Wounds reimagines how nonwhite and “vulnerable” bodies are expected to exist in society. Inspired by The Tattoo Project and how commemorative tattoos meaningfully integrate love and loss into “good grief” (Davidson, 2016), the painting re-imagines commemorative tattoos as wounds that result from collective and intergenerational trauma. The painting Wounds uses a social justice lens to depict how traumatic histories can be embodied in the cultural identities of future generations of the Afghan diaspora and how tattoos materialize these memories. I demonstrate this by critically analyzing my lived experience of my cultural identity. This collective trauma is so strongly embedded into my ancestors’ collective identities as Afghans, that I also see the traumatic history to be part of who I am. This autobiographical artwork and accompanying critical analysis allow for the reclamation of my Afghan cultural identity by resisting Western pressures to conform. In being vulnerable about my past, I redefine vulnerability. I remember and honour the courage, sacrifice, and resilience of my Afghan ancestors who have endured violence and wars; which has contributed to the formation of my hyphenated, Afghan-Canadian identity. I recognize that the Afghan-Canadian identity is multidimensional, multi-faceted, and incredibly nuanced. My own experiences of my Afghan-Canadian identity deeply inform and enrich this critical analysis. In this critical analysis, I am by no means generalizing the experiences of Afghan-Canadians, as every individual’s experience is valid and distinct The three commemorative tattoos depict the Canadian maple leaf, my name “Mehdia” written in Persian, and the geographical shape of Afghanistan. The painting reimagines and redefines what it means to collectively heal, both literally and figuratively. It questions whether healing is still necessary because it implies that wounds disappear, and with them, the disappearance of deep social histories that construct my Afghan-Canadian identity. Using my original painting as an arts-integrated method of inquiry, I offer a multidisciplinary portrayal of how memory is materialized on the body. This written analysis and painting creatively and critically articulate the strength and beauty that comes with vulnerability when historical and cultural wounds are resurfaced. This work further provokes deeper discussion and dialogue about the need to make meaning of the collective trauma that is ingrained within one’s cultural identity.
in:cite journal, Volume 3, pp 76-77; doi:10.33137/incite.3.34721
For fluid paintings, acrylic colours are mixed and poured onto a canvas, and then blown air is used to spread the paint out. It is difficult to predict and plan what the painting is going to look like, even with great precision when blowing the air. To me, that is what rhythm in everyday life is- unpredictable, adaptable and hectic.
in:cite journal, Volume 3, pp 2-6; doi:10.33137/incite.3.34713
Editor's letter for in:cite Journal vol. 3.
in:cite journal, Volume 3, pp 32-33; doi:10.33137/incite.3.34717
in:cite journal, Volume 3, pp 7-9; doi:10.33137/incite.3.34714
in:cite journal, Volume 3, pp 54-75; doi:10.33137/incite.3.34720
This article presents an autobiographical study of shifting queer formations in northeastern Beijing where the author participated in clubbing rituals and lived amongst members of Beijing’s queer communities. This resulted in a study of globalization and the Chinese state’s gentrification tactics which co-opt transgressive energy to infiltrate and dominate local queer spaces. Local and migrant queer bodies are using transnational means and techniques in claiming autonomy while continuously forming social spaces that subvert central power structures through affective power. These reterritorializations are then subject to global LGBT discourse, which uses gentrification of space as a form of constituting proper behaviour. Gentrification, as an international process, demands subversive energy and action in response, which ultimately defines queer youth as worthy of autonomy. These findings have research possibilities in developing Sino-queer migration within a post-positivist international relations and multiplex theory research program.
in:cite journal, Volume 3, pp 10-23; doi:10.33137/incite.3.34715
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.
in:cite journal, Volume 3, pp 78-80; doi:10.33137/incite.3.34722
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.