DOCSLIB.ORG

The Twentieth-Century Transnational

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Twentieth-Century Transnational The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange by Anne Vermeyden A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Doctor of Philosophy in History Guelph, Ontario, Canada © Anne Vermeyden, January, 2017 ABSTRACT The Popularization of Belly Dance in Toronto, Canada (1950-1990): Hybridization and Uneven Exchange Anne Vermeyden Advisors: University of Guelph, 2016 Dr. Femi Kolapo and Dr. Renée Worringer Belly dance was first performed publicly in Toronto during the late nineteenth century. While immigrants to Canada from the Middle East faced discrimination, white audiences could not get enough of stereotypical portrayals of danse du ventre. Hollywood further popularized the Orientalist image of the belly dancer, and beginning in the 1950s, star Middle Eastern dancers like Samia Gamal and Nejla Ateş were making appearances on Toronto stages. By the 1960s, American, Middle Eastern, and Canadian dancers were performing belly dance in Toronto’s hotel nightclubs and restaurants. During belly dance’s peak popularity in the 1970s and 1980s, multiple venues were running two belly dance shows a night, six days a week, and belly dance classes were so popular they were often waitlisted. Why and how did this Middle Eastern dance form become so popular between 1950 and 1990 in the city of Toronto? Various archival sources and twelve oral history interviews with professional dancers and teachers indicate that belly dance’s popularization in Toronto was partially a result of its widespread stereotypical presentation in North America as something exotic, ancient, and sexual. This contributed to a growing demand for belly dance shows amongst white Canadians, but increasing immigration from the Middle East was an even more essential element in the growth of Middle Eastern entertainment in the city. White and Middle Eastern dancers and teachers who worked in Toronto hybridized belly dance performances as they circulated transnationally, with some working and performing internationally while also developing personal and professional relationships which bridged ethnic and cultural divides. Dancers and instructors alternately embraced and resisted Orientalist stereotype in their work as they navigated a social and political context in Canada which favoured whiteness. Many also laboured to increase belly dance’s respectability by trying to distance performances from overt sexuality, or by aligning them with regional pride, spirituality, fitness, or feminism. Belly dancers, instructors, and choreographers participated in uneven processes of exchange and hybridization which characterized belly dance’s popularization in Toronto. ACKNOWLEDGEMENTS I want to thank Dr. Barbara Sellers-Young for her foundational research and for generously helping me immerse myself in the history of North American belly dance. I am also so grateful for the support and feedback of my advisors Dr. Femi Kolapo and Dr. Renee Worringer, as well as for the critical eye of Dr. Jeff Grischow. My committee’s timely and thoughtful advice was indispensable. I am also thankful for the translation assistance of Dr. Balsam Alabdulkader, my dear friend who has tirelessly supported me in my pursuit of the Arabic language. Thank you each for your expertise and support. To the global Middle Eastern dance community and the Middle Eastern dance community of Toronto, thank you—this project would not have been possible without you. Jaene F. Castrillon, thank you for helping me connect with dancers; Cassandra Shore, Garnet Kepler, Julie A. Elliot (Shira), Leila Gamal, and Sahra C. Kent (Sahra Saeeda), thank you for sharing your rich experiences and research with me. I have immeasurable gratitude to the oral history participants involved in this study: Anne Kokot (Aziza), Brenda Bell (Badia Star), Dahlia Obadia, Diana Calenti, Eddy Manneh, George Sawa, Maria Morca, Susan Karima (Susan Evans), Roula Said, Victoria Lammers (Jamila), Wagdi Bechara, and Yasmina Ramzy. Your experiences and narratives are the soul of this dissertation. Thank you for sharing both your stories and your personal photo and document collections. You are all my teachers, and I hope I have shared your stories well. To my husband Pim Vermeyden, you are my anchor, and I could not have done this without you. You are the best combined technical-moral support in existence. Finally, this project would not have happened without my friend Dharlene Valeda, who opened my eyes to the wide world of belly dance, and allowed me to steal half of her library for the better part of four year iv TABLE OF CONTENTS ABSTRACT ..................................................................................................................................... i ACKNOWLEDGEMENTS ........................................................................................................... iii LIST OF TABLES .......................................................................................................................... v LIST OF FIGURES ....................................................................................................................... vi GLOSSARY OF TERMS ............................................................................................................. vii CHAPTER I: Introduction .............................................................................................................. 1 CHAPTER II: Critical Approaches to Historical Belly Dance Narratives: Theory, Historiography and Methodology .......................................................................................................................... 29 CHAPTER III: Danse du Ventre’s North American Debut and Orientalist Contextualization in Toronto .......................................................................................................................................... 75 CHAPTER IV: Transnational Circulation’s Impact on the Hybridization of Belly Dance Performance in Toronto, 1953-1985 ............................................................................................112 CHAPTER V: Belly Dancing, Whiteness, Multiculturalism, and Identity at Metro Toronto International Caravan, 1969-1989 .............................................................................................. 173 CHAPTER VI: The Emergence of the Belly Dance Class in Toronto, 1970-1987 .................... 207 CHAPTER VII: Conclusion ....................................................................................................... 246 APPENDIX A: Interview Question Set Base ............................................................................. 253 BIBLIOGRAPHY ....................................................................................................................... 257 v LIST OF TABLES Table 1.0. The popularity of belly dance in Toronto (1950-1989) 24 Table 2.0. Ages of interviewees 59 Table 2.1. Ethnic identities of interviewees 59 Table 2.2. Birth-nations of interviewees 60 vi LIST OF FIGURES Figure 1.0 Yasmina Ramzy wearing shamadan, c. 1986. 11 Figure 1.1 Nejla Ateş pictured on Port Said album cover, 1958. 13 Figure 1.2 Toronto Planning Board map, c. 1957-1960. 21 Figure 3.0 Dancers on cover of National Police Gazette, May 20th, 1883. 88 Figure 4.0 Ad for Samia Gamal’s Toronto White Cargo performance, 1953. 117 Figure 4.1 Ad for Michael Safi's Topless Harem Revue, February 2, 1970. 139 Figure 4.2 Star Bell in West-Coast costuming, 1977. 156 Figure 4.3 Star Bell performing in Toronto’s Cleopatra, 1982. 158 Figure 4.4 Yasmina Ramzy in a red bedlah, Toronto, 1989. 161 Figure 4.5 Yasmina Ramzy on the cover of Camera Lights Magazine, 1984. 168 Figure 4.6 Badia Star while working in Egypt, c. 1984. 169 Figure 6.0 Ad for belly dance classes at the Academy of Dance Arts, 1973. 217 Figure 6.1 Cover of Maria Morca’s Belly Dance Work Kit, 1975. 223 vii GLOSSARY OF TERMS The Arabic asaya or asa literally translates to “stick.” Asa is Modern Standard :(عصا) asaya/asa Arabic, while asaya is an Egyptian colloquial term for stick. Common belly dance performances that include the use of a cane or a stick include stylized presentations of Saidi folkloric dance and tahtib. Some belly dance performances referencing Levantine folklore may also utilize a cane or stick. An almeh (pl. awalim) was the Arabic term given to a reputable singer and dancer :(عالمة) almeh who performed in private settings in Egypt, during the nineteenth and early twentieth centuries. Over the twentieth century, the term has come to be used derogatively to refer to musicians and belly dancers.1 ,Baladi can literally mean my country, but it is also used to describe “a way of life :(بلدي) baladi type of food, and style of dressing, speaking, moving and making gestures.” 2 It is a lifestyle associated with those who have come to cities in Egypt from rural areas and villages. It evokes ideas like authenticity, nationalism, and has a class association. Baladi people are among the lower classes, but they are understood as being very proud, honourable, and are considered by many the possessors of “real” Egyptian culture.3 When referring to dance and music specifically, baladi references urban Cairene styles that have been influenced by men and women who have immigrated to the city from more rural regions. Baladi dance is “heavier” than typical twentieth-century raqs sharqi. It is often more stationary, and is often performed in a galabeya as opposed to a two-piece costume.
Load more

Recommended publications
  • “Al-Tally” Ascension Journey from an Egyptian Folk Art to International Fashion Trend
    مجمة العمارة والفنون العدد العاشر “Al-tally” ascension journey from an Egyptian folk art to international fashion trend Dr. Noha Fawzy Abdel Wahab Lecturer at fashion department -The Higher Institute of Applied Arts Introduction: Tally is a netting fabric embroidered with metal. The embroidery is done by threading wide needles with flat strips of metal about 1/8” wide. The metal may be nickel silver, copper or brass. The netting is made of cotton or linen. The fabric is also called tulle-bi-telli. The patterns formed by this metal embroidery include geometric figures as well as plants, birds, people and camels. Tally has been made in the Asyut region of Upper Egypt since the late 19th century, although the concept of metal embroidery dates to ancient Egypt, as well as other areas of the Middle East, Asia, India and Europe. A very sheer fabric is shown in Ancient Egyptian tomb paintings. The fabric was first imported to the U.S. for the 1893 Chicago. The geometric motifs were well suited to the Art Deco style of the time. Tally is generally black, white or ecru. It is found most often in the form of a shawl, but also seen in small squares, large pieces used as bed canopies and even traditional Egyptian dresses. Tally shawls were made into garments by purchasers, particularly during the 1920s. ملخص البحث: التمي ىو نوع من انواع االتطريز عمى اقمشة منسوجة ويتم ىذا النوع من التطريز عن طريق لضم ابر عريضة بخيوط معدنية مسطحة بسمك 1/8" تصنع ىذه الخيوط من النيكل او الفضة او النحاس.واﻻقمشة المستخدمة في صناعة التمي تكون مصنوعة اما من القطن او الكتان.
    [Show full text]
  • Why Stockton Folk Dance Camp Still Produces a Syllabus
    Syllabus of Dance Descriptions STOCKTON FOLK DANCE CAMP – 2018 FINAL In Memoriam Rickey Holden – 1926-2017 Rickey was a square and folk dance teacher, researcher, caller, record producer, and author. Rickey was largely responsible for spreading recreational international folk dancing throughout Europe and Asia. Rickey learned ballroom dance in Austin Texas in 1935 and 1936. He started square and contra dancing in Vermont in 1939. He taught international folk dance all over Europe and Asia, eventually making his home base in Brussels. He worked with Folkraft Records in the early years. He taught at Stockton Folk Dance Camp in the 1940s and 50s, plus an additional appearance in 1992. In addition to dozens of books about square dancing, he also authored books on Israeli, Turkish, Bulgarian, Hungarian, Greek, and Macedonian dance. STOCKTON FOLK DANCE CAMP – 2018 FINAL Preface Many of the dance descriptions in the syllabus have been or are being copyrighted. They should not be reproduced in any form without permission. Specific permission of the instructors involved must be secured. Camp is satisfied if a suitable by-line such as “Learned at Folk Dance Camp, University of the Pacific” is included. Loui Tucker served as editor of this syllabus, with valuable assistance from Karen Bennett and Joyce Lissant Uggla. We are indebted to members of the Dance Research Committee of the Folk Dance Federation of California (North and South) for assistance in preparing the Final Syllabus. Cover art copyright © 2018 Susan Gregory. (Thanks, Susan.) Please
    [Show full text]
  • Belly Dancing in New Zealand
    BELLY DANCING IN NEW ZEALAND: IDENTITY, HYBRIDITY, TRANSCULTURE A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Cultural Studies in the University of Canterbury by Brigid Kelly 2008 Abstract This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world. The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions.
    [Show full text]
  • VINICIO CAPOSSELA from Tefteri: a Settling of Scores
    VINICIO CAPOSSELA From Tefteri: A Settling of Scores (non- fiction) Translated from the Italian by Elettra Pauletto Athens, March 2012 The word “crisis” comes from the Greek kríno, which means to sep- arate, sort, divide. Crisis is a concept that lends itself well to rebetiko— a type of music born of separation—and to Greece, from which Europe is pulling away, driven by the disdain that lies at the root of all rejection. People often speak of Greece with language that evokes tragedy, which, as a genre, was invented there. The word “tragedy” comes from the Greek tragudi, or song, and at its root is tragos, which means goat. Tragodia, song of the goat. Once the cultural mother of Europe, Greece has become a scapegoat for her sins. Europa, daughter to a king of Crete, seduced by Zeus. Europa of the “wide eyes,” land of the west, ever facing the setting sun. Since ancient times, Greek creations have been permeated with a sense of universality. Taken together, this body of work tells the story of man, the anthropos. And it tells the story of man and destiny, of what is happening to Westerners in this moment of “crisis,” of choices. Let’s travel there, a small tool in hand— a thyrsus, perhaps— and accompanied by music born of catastrophe. Greeks still use the word Katastrofis to describe the Greco- Turkish war of 1922, the destruction of Smyrna, and the exodus of the Greeks from Asia Minor. These million and a half refugees were the ones who, following the treaty of Lausanne, returned destitute to a motherland that no longer wanted them; brought back with them the music and customs of other places; and gathered in suburban neighborhoods, changing the social fabric of 1920s Athens (then dubbed the “Paris of the Eastern Mediterranean” by the young Greek state, which wanted to westernize Greek culture).
    [Show full text]
  • Byzantine Music Theory for Western
    Moderato a 4 J k kk 64 j k k dkk k 4 j j j j jk k k k j J Ôáéò ðñåó- âåß - áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. a k k 64 jj k dk k kk kjk j k k 4 jj k k jizk j j Ôáéò ðñåó- âåß- áéò ôçò Èå- ï - ôü - êïõ, Óþ- ôåñ, Óþ- óïí ç- ìÜò. Understanding the Byzantine Musical System Using Western Notation and Theory or Name That Tone! by Stanley Takis Most Greek Orthodox church musicians have seen references to “tones” and “modes” in liturgical texts and choir music. But many ask the question, “What are they?” How do you recognize one tone from another? What exactly is a mode? Are modes and tones the same thing? Why do chanters use those squiggly lines while choirs use “real” music? This article provides some observations and information to help “tone-deaf” or “non-mode- ivated” persons understand more of the Byzantine musical system which has been part of Orthodox hymnology from the earliest days. During the first centuries of the Church, our music was greatly influenced by the religious music of the synagogue and the secular music of the Syrians and the Greeks. This ancient music contained a multitude of scales and styles. It was St. John of Damascus who codified a system of eight musical styles, selected because they were not too theatrical or worldly and they helped create a prayerful attitude in the faithful. This system is called the octoechos (eight tones).
    [Show full text]
  • Middle Eastern Music and Dance Since the Nightclub Era
    W&M ScholarWorks Arts & Sciences Book Chapters Arts and Sciences 10-30-2005 Middle Eastern Music and Dance since the Nightclub Era Anne K. Rasmussen William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/asbookchapters Part of the Ethnomusicology Commons Recommended Citation Rasmussen, A. K. (2005). Middle Eastern Music and Dance since the Nightclub Era. Anthony Shay and Barbara Sellers-Young (Ed.), Belly Dance: Orientalism, Transnationalism, And Harem Fantasy (pp. 172-206). Mazda Publishers. https://scholarworks.wm.edu/asbookchapters/102 This Book Chapter is brought to you for free and open access by the Arts and Sciences at W&M ScholarWorks. It has been accepted for inclusion in Arts & Sciences Book Chapters by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. B E L L .v C)ri enta ·l•i S.:I_I_ Transnationalism & Harem Fantasy FFuncling�orthe publication ofthis v\olume w\ as pro\Iv idcd in part by a grant from ✓ Ther Iranic a Institute, Irv\i ine California and b)y TThe C A. K. Jabbari Trust Fund Mazda Publisher• s Academic Publishers P.O. Box 2603 Co st a Mesa, CCa lifornia 92626 Us .S. A . \\ ww.mazdapub.com Copyright © 2005 by Anthony Shay and Barbara Sellers-Young All rights resserved. ' No parts of this publication may be reproduced or transmitted by any form or by any means without written permission from the publisher except in the case of brief quotations embodied in critical articles and re iews. Library of Congress Cataloging-in-Publication Data Belly Dance: Orientalism.
    [Show full text]
  • Ethnic Identity, Consumer Ethnocentrism, and Purchase Intentions Among Bi-Cultural Ethnic Consumers: "Divided Loyalties" Or “Dual Allegiance”?
    Ethnic identity, consumer ethnocentrism, and purchase intentions among bi-cultural ethnic consumers: "Divided loyalties" or “dual allegiance”? for Journal of Business Research Dr. Michel Laroche, Editor by Dr. Alia El Banna, Senior Lecturer 1, * Dr. Nicolas Papadopoulos, Chancellor's Professor 2 Dr. Steven A. Murphy, Professor 3 Dr. Michel Rod, Professor 2 Dr. José I. Rojas-Méndez, Professor 2 1 University of Bedfordshire Business School University Square, Bedfordshire, LU1 3JU, UK 2 Eric Sprott School of Business, Carleton University 1125 Colonel By Drive, Ottawa, Canada K1S 5B6 3 Ted Rogers School of Business, Ryerson University 350 Victoria Street, Toronto, Ontario, Canada M5B 2K3 * Corresponding author Dr. Alia El Banna Senior Lecturer Department of International Business, Marketing, and Tourism University of Bedfordshire Business School University Square, Bedfordshire, LU1 3JU, UK Phone: +44 (0) 1582 489363 Email: [email protected] 1 Ethnic identity, consumer ethnocentrism, and purchase intentions among bi-cultural ethnic consumers: “Divided loyalties" or “dual allegiance”? ABSTRACT Consumer ethnocentrism has been studied extensively in international marketing in the context of one's country of residence. This paper investigates for the first time the notion of "dual ethnocentrism", which may be encountered among ethnic consumers who have an allegiance toward, or divided loyalties between, two countries: One with which they are ethnically linked, or "home", and one where they presently live and work, or "host". The study examines the relationship between ethnic identity, dual ethnocentrism, and purchase intentions among ethnic consumers, a market segment of growing importance in research and practice. The analysis focuses on differences in the respondents' home- and host-related ethnocentrism and finds that indeed ethnocentric feelings and their effects differ depending on the country of reference.
    [Show full text]
  • Shakira Arabic Dance Mp3 Download
    Shakira arabic dance mp3 download Arabic Music (dance Mix). Artist: Shakira. MB · Arabic Music (dance Mix). Artist: Shakira. MB. Latest Free Shakira Belly Dance Video Free Download Mp3 Download on Mp3re tubidy, New Shakira Belly Dance Video Free Download Songs, Shakira Belly. MP3 Песни в kbps: Tony Chamoun vs Shakira - Belly (Dance music). Tony Chamoun vs Shakira - Belly (Dance music). Tony Chamoun vs Shakira. Download mp3 music: Shakira - Latino - Shakhira - Arabic Belly Dance Music. Shakira - Latino - Shakhira - Arabic Belly Dance Music. Download. Shakira. BELLY DANCE SHAKIRA MP3 Download ( MB), Video 3gp & mp4. List download link Lagu MP3 BELLY DANCE SHAKIRA ( min), last update Oct I don't want to hear her singiing in Spanish why isn't she singing in Arabic. If your going to do Arabic music. Arabic Shakira Belly Dance Ojos Asi. somnathpurkait. Loading. Arabic Music with some Arabic words with. Скачать и слушать mp3: Rai-Shakira-Arabic Belly Dance Music. Egyptian Belly Dancing - Arabic Dance Mix. shakira - Arabic music. Belly dance. Скачивайте Shakira - Belly dancing Darbakah в mp3 бесплатно или слушайте песню Шакира - Belly dancing Darbakah онлайн. Shakira Belly Dance Videos Free Download, HD Videos Free Download In Mp4, 3Gp, Flv, Mp3, HQ, p, Movies, Video Song, Trailer For free, Video. Artist: Shakira. test. ru MB · Arabic Music. Arabic - is the. Shakira Belly Dance In Dubai ﻣﻘﺎم Belly Dance Play Arabic Dance album songs MP3 by Adrian Jones and download Arabic. MAQAM طﺒﻠﺔ ﺻﻮﻟﻮ .Dubai Events - Expo - Dubai Midnight Maratho (File: 3Gp, Flv, Mp4, WBEM, Mp3). DOWNLOAD FAST DOWNLOAD PLAY Belly Dancing Tabla Mark Keys. Genre: Belly dancing Tabla solo, DJ MARK's MUSIC.
    [Show full text]
  • Belly Dance: an Example of Cultural Authentication? Redacted for Privacy Abstract Approved
    AN ABSTRACT OF THE THESIS OF Jennie L. Embree for the degree of Master of Science in Apparel, Interiors, Housing, and Merchandising presented on September 24, 1998. Title: Belly Dance: An Example of Cultural Authentication? Redacted for Privacy Abstract Approved: Elaine Pedersen Cultural authentication is a concept that was developed by Erekosima (1979), Erekosima and Eicher (1981), and Eicher and Erekosima (1980, 1995) to aid in the description of the transfer of artifacts from one culture to another. The purpose of this study was to investigate whether the development of belly dance costume in the United States is an example of cultural authentication and, in so doing, further test and refine the concept of cultural authentication. Contemporary belly dance costume in the United States was described after conducting field research of the belly dance community over a period of ten months. The history of belly dance and its associated costume in America was explored through the review of previous historical research. Belly dance and its associated costume in the United States was then analyzed in terms of cultural authentication by addressing a series of seven questions. These seven questions were formulated to determine whether the four levels of cultural authentication (selection, characterization, incorporation, and transformation) occurred, and whether they occurred in that order. Contemporary belly dance costume in the United States was classified into two categories: replicated and creatively interpreted. The dancer who wears replicated costumes believes that he/she is imitating, to the best of his/her ability, a documented style of dress worn by a specific ethnic group, at a specific time, within the areas of the Near and Middle East.
    [Show full text]
  • Feminist Analysis of Belly Dance and Its Portrayal in the Media
    FEMINISM IN BELLY DANCE AND ITS PORTRAYAL IN THE MEDIA Meghana B.S Registered Number 1324038 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree Department of Media Studies ii Authorship Christ University Department of Media Studies Declaration This is to certify that I have examined this copy of a master‟s thesis by Meghana B.S Registered Number1324038 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date:__________________________________ iii iv Abstract I, Meghana B.S, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature v vi Abstract Feminism in Bellydance and its portrayal in the media Meghana B.S MS in Communication, Christ University, Bengaluru Bellydance is an art form that has gained tremendous popularity in the world today.
    [Show full text]
  • Appendix 6 Board of Directors’ Response to the Recommendations Presented in the Ombudsmens’ Report
    APPENDIX 6 BOARD OF DIRECTORS’ RESPONSE TO THE RECOMMENDATIONS PRESENTED IN THE OMBUDSMENS’ REPORT BOARD OF DIRECTORS of the CANADIAN BROADCASTING CORPORATION STANDING COMMITTEES ON ENGLISH AND FRENCH LANGUAGE BROADCASTING Minutes of the Meeting held on June 18, 2014 Ottawa, Ontario = by videoconference Members of the Committee present: Rémi Racine, Chairperson of the Committees Hubert T. Lacroix Edward Boyd Peter Charbonneau George Cooper Pierre Gingras Marni Larkin Terrence Leier Maureen McCaw Brian Mitchell Marlie Oden Members of the Committee absent: Cecil Hawkins In attendance: Maryse Bertrand, Vice-President, Real Estate, Legal Services and General Counsel Heather Conway, Executive Vice-President, English Services () Louis Lalande, Executive Vice-President, French Services () Michel Cormier, Executive Director, News and Current Affairs, French Services () Stéphanie Duquette, Chief of Staff to the President and CEO Esther Enkin, Ombudsman, English Services () Tranquillo Marrocco, Associate Corporate Secretary Jennifer McGuire, General Manage and Editor in Chief, CBC News and Centres, English Services () Pierre Tourangeau, Ombudsman, French Services () Opening of the Meeting At 1:10 p.m., the Chairperson called the meeting to order. 2014-06-18 Broadcasting Committees Page 1 of 2 1. 2013-2014 Annual Report of the English Services’ Ombudsman Esther Enkin provided an overview of the number of complaints received during the fiscal year and the key subject matters raised, which included the controversy about paid speaking engagements by CBC personalities, the reporting on results polls, the style of, and views expressed by, a commentator, questions relating to matters of taste, the coverage regarding the mayor of Toronto, and the website’s section for comments. She also addressed the manner in which non-news and current affairs complaints are being handled by the Corporation.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]