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I especially worry about the ways Canadians can be glib about our supposed difference from the US in our acceptance of diversity.
Vivek Shraya
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Vivek Shraya
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More quotes by Vivek Shraya
I tend to focus less on genre as a starting point and more on idea or intention and let the idea dictate genre.
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If anything, I have witnessed the ways my art travels, or is rendered more accessible, when sanctioned by or connected to white artists.
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As much as I believe in the capacity for art to create change, and as much as being an artist is physically and emotionally challenging, there is ultimately something a bit comfortable about making art in the comfort of your own home.
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My art career often feels less like an art career and more like a career in educating, usually by using my body.
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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.
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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.
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It's exciting to consider how art, in its ability to reveal, can be ahead of the artist.
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I didn't want to give the white reader an opportunity to think of racism as imaginary - a sentiment that is already a central barrier in addressing the problem.
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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.
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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.
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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!
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I always work with text orally in the writing process, saying passages aloud to measure flow.
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When I was writing, I wanted every word to be not only deliberate, but musical. Precious.
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I do use art as a site of protest, particularly in relation to dominant narratives.
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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.
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When I wouldn't leave home without my blue contacts or when I was bleaching my hair, I didn't have the language to articulate that I was trying to assimilate to whiteness. If anything, I was trying to look normal.
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I feel like I have had to catch up to the art I've made, and learn from the protagonists I have written, especially in relation to gender.
Vivek Shraya
Writing about racism requires a directness that writing a love story does not.
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I am always hesitant to call myself an activist, mostly out of respect for the activists who are using their bodies and voices to protest or activists online who are constantly engaging and educating others.
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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?
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