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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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Music is my first love, where my artistic journey began.
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Art can sometimes be separate from the artist.
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Now is not the time for Canadians to be sanctimonious. It is time for us to be prudent and active.
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In my thirties, I have felt a greater urgency to make art that highlights what it feels like to be racialized, likely due to living in a country that obscures our racism with the idea of multiculturalism.
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As a person of color, I know race can't be stripped from admiration or preference.
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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.
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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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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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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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I do use art as a site of protest, particularly in relation to dominant narratives.
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As a brown artist, I have mixed feelings about my relationship to art and my responsibilities post-Trump.
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I worry about what Trump will inspire in Canada, especially given incidents that have already occurred here since the election.
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I don't yet know what style will be required for my next novel, but my sense is that each book will involve a new relationship to language.
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I have dedicated a significant portion of my time and artistry to making art that addresses various forms of oppression, including white supremacy, misogyny, and biphobia.
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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 was writing, I wanted every word to be not only deliberate, but musical. Precious.
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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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Of course, I can't separate my queerness from my brownness - if anything, my queerness amplifies my brownness, and vice versa - but I spent so much of my early twenties trying to erase my differences, often without awareness of what I was doing.
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My interest in language is steadfast, but I think each project and its accompanying intentions dictate how language must be used.
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