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Geauthoriseerde beschrijving
Instelling

Sistren Theatre Collective

  • Instelling
  • 1977-
Sistren Theatre Collective was established in 1977 in Kingston, Jamaica and is an independent organization. It uses theatre to explore issues of discrimination faced by working-class black women. Since 1980 it has travelled throughout Jamaica, the Caribbean, North America, Europe and Africa performing plays and engaging with women.

Bold Print Inc.

  • Instelling
  • 1986-1994
Bold Print Inc. was founded and owned by Joan Turner, who was at the time, an associate professor at the University of Manitoba’s School of Social Work. The Bold Print bookstore was incorporated in 1986 and opened its doors on 7 August 1986 at 478 A River Ave in Winnipeg. The bookstore moved into the lower level at 478 River Avenue in August 1991 at the request of the new building owner. The bookstore was financed and staffed by women and sold women’s books, music and art. It collaborated and hosted readings by women authors. Heidi Eigenkind became part of Bold Print in 1987 just after Herizons Magazine had ceased publication and Bold Print had just started. Anne Kent was co-manager. Shellyse Szakacs and later Sue Peterman were casual staff, while Patricia Rawson did the accounts. Bold Print was sold in 1994.

Fireweed

  • Instelling
  • 1978-2002

Fireweed was founded in Toronto, Canada, in 1978 by a 24 women collective. Originally called Fireweed: A Women’s Literary and Cultural Journal, the journal adopted the name Fireweed: A Feminist Quarterly of Writing, Politics, Art & Culture in 1980. The foreword to the first issue described Fireweed as a “feminist journal devoted to stimulating dialogue, knowledge, and creativity among women” and stated that the journal’s collective was “committed to an editorial policy of diversity.” Collective members have included Gay Allison, Lynne Fernie, Hilda Kirkwood, Liz Brady, Elizabeth Ruth, Makeda Silvera, Carolyn Smart and Rhea Tregebov. Issues of Fireweed usually focuses on a theme or topic, such as "Writing" (#10), "Fear & Violence" (#14), "Women of Colour" (#16), "Sex & Sexuality" (#37 & 38), and "Language" (#44/45), though there are frequent "open" issues. They published the first collection of Jewish feminist works (#35) to critical acclaim. Beginning in 1982, Fireweed invited guest collectives to edit issues of the journal. This was an opportunity for under-represented groups to define their own issues.

Fireweed was committed to an editorial policy of diversity and not intended to represent a particular style or aesthetic. The collective was also committed to print both established and new women authors including works from native and immigrant communities. However, in the beginning of their history Fireweed did not completely adhere to this mandate. Most of their first issues included little or no works from writers of colour, native women, or immigrants. This exclusion created some adverse reactions from the community. By 1982, all but one woman resigned from the original collective and a new eight woman collective was formed. This collective, which included two women of colour, argued extensively about the aesthetics and contents of the journal. By the mid- to late-1980s and beyond, Fireweed began to paint a broader discussion of race, class, and sexuality. Several themed issues that gave voices to minority groups including two issues on Asian women’s writings, Lesbiantics: an issue for and by lesbian women, and a double issue on class. Even though they received letters about certain issues, themes, and writings, Fireweed never compromised their vision. The journal published fiction, poetry, reviews, essays, photographs, and drawings from women around the world. The collective encouraged women from every background to submit their works to the journal. They wanted women to articulate how they were perceived in popular culture. They had an extensive editorial system that involved a group consensus when considering submissions.

The Fireweed collective also wanted to encourage and support women to pursue writing and other arts. They continuously participated in the Ontario Arts Council’s Writer’s Reserve grant system that provided Fireweed the opportunity to recommend funding to writers for individual projects. Their continued work with the arts community created an annual Fireweed festival, which showcased various artists and works from the feminist community. The journal also showcased writing from a number of renowned Canadian artists including Margaret Atwood and Rina Fraticelli, the future head of Studio D at the NFB. Similarly to many other publications, the collective system was not entirely efficient or beneficial to the journal and began to show strain in 1983. By the mid-1990s a new organization was developed to better manage the publication of the journal. First, a 6-member editorial collective was responsible for the editorial direction especially with the development, solicitation, and selection of issue contents. The staff collective included coordinators for sales and marketing, editorials, office management, and the design of the journal itself. Finally the board collective as the legal entity was responsible for overall organizational and staff issues as well as all fiscal matters.

Fireweed was published from 1978 to 2002 with a final double issue on women, race, and war resistance. The quarterly's ISSN is 0706-3857.

Redlight Theatre

  • Instelling
  • 1974-1977

The Redlight Theatre was Toronto’s first professional feminist theatre company, operating from 1974 to 1977. Diane Grant, Marcella Lustig, and Francine Volker, who were actors and playwrights in Toronto’s alternative theatre scene, founded Redlight Theatre to give women artistic, technical and administrative opportunities in theatre. Grant, Lustig, and Volker served as Co-Artistic Directors and the theatre was run by a combination of hired staff and volunteers.

The Redlight Theatre mounted a wide range of productions addressing feminist topics such as the women’s history, gender stereotyping, and abortion. It produced original plays and commissioned work from playwrights such as Carol Bold and Margaret Hollingsworth. The Redlight Theatre’s most acclaimed production was What Glorious Times We Had written by Diane Grant, which told the story of Nellie McClung and the suffrage movement in Manitoba. What Glorious Times We Had premiered in 1974 and toured Canada for International Women’s Year in 1975. Other notable productions include Entrances (1974) written by Marcella Lustig and Francine Volker, Strange Games (1975) by Elinore Siminovitch, and Queen of the Silver Blades (1976) by Susan Swan and Margaret Dragu. The Redlight Theatre also sponsored Cleo Laine’s first concert in Canada.

In 1975, Redlight Theatre created the Playwrights Workshop to encourage women to develop professional skills in writing for the theatre. Plays that emerged from this workshop include Inside Looking In by Joann MacIntyre, Lies My Mother Told Me by Gay Claitman and Nancy White, and 10,000 Hellcats in Deepfreeze by Suzette Couture, Marcella Lustig, and Jacqueline Swartz.

Established with a grant from the Local Initiatives Program, the Redlight Theatre also received funding from The Secretary of State, the Canada Council, and the City of Toronto. The theatre never acquired sufficient funds to secure a permanent location so productions were staged in various venues, including the Matador Club, the Bathurst Street United Church, the Enoch Turner Schoolhouse, and St. Paul’s Centre. After three seasons, the Redlight Theatre closed due to lack of funding in 1977.

Slovak Studies Association (SSA)

  • Instelling
  • 1977-

The Slovak Studies Association (SSA) was founded in 1977 in Washington, D.C. during the National Conference of the American Association for the Advancement of Slavic Studies (AAASS). Attending this first meeting were Thaddeus Gromeda, Richard Liba, Thomas Marzik, Jozef and Renee Mikuš, Mark Stolárik, Anthony X. Sutherland and Edward Tuleya. The purpose of this first meeting was to discuss a tentative constitution, enabling the secretary-treasurer, Mark Stolárik, to write its first draft, and to elaborate the procedures for the election of SSA’s officers. Procedures pertaining to the election of SSA officers were also elaborated during this reunion.

The SSA promotes interdisciplinary research, publications and teaching relating to worldwide Slovak experience. This scholarly organization assists scholars interested in Slovak studies, sponsors panels on Slovak history and themes (i.e. “14 March and the Slovak State“ and “Slovak Literature as a Mirror of National Awakening“), and issues a bi-annual newsletter. In addition, the SSA “conducts all of its activities in accordance with academic freedom and completely devoid of partiality to any philosophical, political, or religious orientation“. The SSA is affiliated to the Association for Slovak, East European and Eurasian Studies (ASEES) (formerly the Association for Advancement of Slovak Studies). In 1983, the SSA was incorporated to the Commonwealth of Pennsylvania as a non-profit scholarly organization.

Press Gang Printers

  • Instelling
  • 1970-1993

Press Gang Printers was a feminist printing collective operating in Vancouver from 1970 to 1993. It incorporated under British Columbia's Companies Act as Press Gang Publishers Ltd. in April 1970. The organization included both women and men until 1974, when it was established as a women-only feminist collective.

Press Gang published its first book under its own imprint in 1976, a collection of essays entitled "I'm Not Mad, I'm Angry: Women Look at Psychiatry." Over the years, printing and publishing activities increasingly diverged, and in 1982 Press Gang established a separate collective to manage the publishing operations. In 1989 the separation was completed when the two collectives formally became distinct legal and corporate entities, Press Gang Printers Ltd. and Press Gang Publishers Feminist Cooperative. The two organizations, however, remained closely associated and continued to operate out of the same premises -- 603 Powell Street, where the shop was established in 1978, after four years in its previous location at 821 East Hastings Street.

National Association of Women and the Law

  • Instelling
  • 1974-
The National Association of Women and the Law (NAWL) is a Canadian non-profit feminist organization that has worked to improve the legal status of women in Canada through law reform since 1974.
In 1974, NAWL was created at a conference held at the University of Windsor law school. NAWL was initially headed by the National Coordinating Committee based out of the University of Ottawa Law School, Common Law Section, then later governed by a regionally representative National Steering Committee that acts as a Board of Directors and is elected by the membership. Since then, NAWL has used its unique research as a foundation for effective action and advocacy. Through its educational work, NAWL has played a vital role in raising public awareness about legal issues affecting women. NAWL has played a major role in the following milestones towards women's equality: Sections 15 and 28 in the Charter of Rights and Freedoms; the amendments to the sexual assault laws; positive changes to family law and to the divorce act; rape shield legislation; criminal harassment legislation.

Royal Commission on the Status of Women

  • Instelling
  • 1967-1970
The Royal Commission on the Status of Women was a Canadian Royal Commission that examined the status of women and recommended steps that might be taken by the federal government to ensure equal opportunities with men and women in all aspects of Canadian society. The Commission commenced on 16 February 1967 as an initiative of Prime Minister Lester B. Pearson with Florence Bird as the chair. Public sessions were conducted the following year to accept public comment for the Commission to consider as it formulated its recommendations. The report tabled on 7 December 1970 included 167 recommendations for reducing gender inequality across the various spheres of Canadian society.

Women's Employment Centre (WEC)

  • Instelling
  • 1981-1997
The Women's Employment Centre (WEC), located in Toronto, operated as part of the Canada Employment and immigration Commission (CEIC) and began under the launch of the Women's Employment Counselling Centre (WECC) Pilot Program in 1981. In this pilot program, seven employment centres with a particular focus on women's employment were opened in seven different cities across Canada as part of regular Canada Employment Centres in each city—Halifax, Chicoutimi, Toronto, Sudbury, Thunder Bay, Winnipeg and Calgary. WEC was created to assist women in entering the labour market and/or making major occupational changes, especially in non-traditional occupations (occupations that are predominantly male), such as trades, technology and operations (TTO).
The Women's Employment Counselling Centre (WECC) Pilot Program was evaluated in 1984 by Employment and Immigration Canada (the Program Evaluation Branch) and continued to operate throughout the 1990's. Many women who received advice and guidance from the WEC in Toronto were subsequently hired at various companies and organizations throughout Ontario including CP Rail, the Ministry of Transportation, CN, Toronto Transit Commission, the Toronto Star, and more. WEC eventually closed down in 1997 due to minimal support and a difficult political and economic climate within the Human Resource Development Canada (HRDC).

Canadian Federation of University Women of Ottawa

  • Instelling
  • 1991-

The Canadian Federation of University Women/Ottawa (CFUW-O) was formed in April 14th, 1910 and incorporated under the name of University Women Club of Ottawa (UWC-O). It was formed by women graduates of various universities living in Ottawa. UWC denomination was changed in 1991 to Canadian Federation of University Women of Ottawa (CFUW-O). The club is a voluntary, self-funded, non-partisan, non-profit organization, open to all women. It is dedicated to the promotion of equality, social justice, fellowship, and life-long learning for women and girls. It provides opportunities to members to socialize, educate and advocate.

The organisation offers opportunities for friendship, learning as part of external outreach groups. Study and interest groups for a wide range of interests including outdoor activities, indoor games, cuisine, book clubs, art, public affairs, music have been formed. Various events have been organized during which expert speakers intervened on educational, political, social, and cultural issues with a focus on equality for women and girls.

UWC/CFUW-O members work on local issues. Their advocacy is always based on policies which have been approved by their members. The UWC was admitted in 1919 to membership in the Canadian Federation of University Women (CFUW). The UWC/CFUW-O is also part of Graduate Women International (GWI), formerly International Federation of University Women (IFUM). The UWC/CFUW-O has also been active in both the affairs of the CFUW and the IFUW. They support CFUW-Ontario Council on provincial issues, and the CFUW National Board on national and international issues.

In 1913, the Drama Reading Circle was started. This group grew into the Ottawa Little Theatre. During the First World War, many members were involved in volunteer service with the Red Cross and St. John’s Ambulance. In 1951, the Penal Reform Study Group was responsible for the organization of the Elizabeth Fry Society of Ottawa. In the 60s, the UWC participated in the initiation of the School Volunteer Project “Step By Step”, and the Diplomatic Hospitality Committee was initiated. This committee welcomed hundred of diplomatic visitors to Canada.

The organisation supports university and college students through scholarships and awards. The club began to award university scholarships in 1935. The Scholarship Trust Fund (STF) was formed in September 1983. The purpose of Scholarship Trust Fund is to encourage and support the study and research of those seeking higher education. Through annual appeals, proceeds from various fundraising events, investing, members and friends’ donations, the Fund has given in university scholarship and awards.

Dr. Charlotte Whitton former Mayor of Ottawa, and well-known women have been presidents of the UWC/CFUW-O.

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