DOCSLIB.ORG

Empower Youth, Arts and Activism an HIV/AIDS Arts Activism Manual for Youth by Youth PARTNERS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Empower Youth, Arts and Activism an HIV/AIDS Arts Activism Manual for Youth by Youth PARTNERS EMPOWER YOUTH, ARTS AND ACTIVISM An HIV/AIDS Arts Activism Manual for Youth by Youth PARTNERS Youth Action Network (YAN) is dedicated to helping youth become more informed and actively involved in order to move towards a just and sustainable society. We strongly believe in the ability of youth to affect change in the world. We understand the need for a stronger voice and for greater participation in our local and global communities. The main functions of YAN are to provide information and promote action. YAN is a national non-profit youth organization based in Toronto. Gendering Adolescent AIDS Prevention (GAAP) brings together youth, community based service providers, policy makers, students and researchers in Canada and South Africa on projects that use participatory approaches to working with young people in relation to sexuality, HIV prevention and AIDS awareness. Our overall goal is the creation of innovative, gender-sensitive HIV education programs that work for youth. GAAP is located at New College, University of Toronto. For more more info, check out www.utgaap.org. Centre for Urban Health Initiatives (CUHI) Through research and partnership building, the Centre for Urban Health Initiatives (CUHI) is helping to create a better understanding of the impact of physical and social environments on the health of urban residents. Located at the University of Toronto, CUHI fosters research development, collaboration and knowledge exchange between individuals committed to urban health, including academic and community researchers, community service providers, policy makers, and health practitioners. Founded in 2004, and funded by the Canadian Institutes of Health Research, Institute of Population and Public Health, CUHI supports scholarship in relevant and emerging areas of urban health, focusing to date on neighbourhoods, food security & urban agriculture, physical environments, youth sexual health, chronic disease prevention & management, environmental health justice and policy pathways for improved & equitable health & health care. The Centre brings together researchers from different disciplines, provides training and mentoring for research in urban health relationships, creates opportunities for knowledge exchange, and builds partnerships between researchers, policy-makers and communities. Need more HIV and/or Hep C information and resources? Contact CATIE toll free at 1-800-263-1638 or online at www.catie.ca. This publication has been printed with assistance from CATIE, 2009. To order a free copy, contact CATIE (CATIE Ordering Centre Catalogue Number ATI-26158). To find out how to get involved with Empower visit us at www.empoweryouth.info or email [email protected]. INTRODUCTION 04 Empower: Youth, Arts and Activism: An Introduction PARTNERS Unpacking the Issues 08 Managing Editor, Sarah Switzer Glossary: AIDS 101 09 Collected and written by Sara Young “Let’s Talk” 10 An article by Ciann Wilson Risk and HIV/AIDS: Individual and Structural Risks 12 A Chart By Women’s Health in Women’s Hands Going Viral with Prise Positive 13 Written by Project Coordinator, Kim Simard EMPOWER FEATURES YOUTH, ARTS Youth In Action: HIV/AIDS Activists, Educators and Change-Shifters AND ACTIVISM Fashioning Change 14 Interview with Nadia Alam, YouthCARE An HIV/AIDS Arts Activism Button Making with SprOUT/Compass Manual for Youth by Youth 18 Interview with Romeo and Jay, Griffin Centre Through our Eyes: PhotoVoice with GAAP a project by 26 Interview with Nidhi Punyarthi Youth Action Network World AIDS Day Tomfoolery: Cabarets for Change Gendering Adolescent 32 Interview with Christina Foisy, The Sense Project: Head & Hands AIDS Prevention AIDS and the Politics of Funding The Centre for Urban 36 Interview with Jennifer Yee Health Initiatives No Pants…No Problem!: Safer Sex Party Organizing 38 Interview with Jessica Whitbread Our Communities, Our Rights: Taking Action on First Nations Issues 44 Interview with Jessica Yee, Native Youth Sexual Health Network Black Youth Leading Together: Innovative HIV Prevention by Black Coalition for AIDS Prevention (Black CAP) 48 Interview with Mary Yehdego, Shani Robertson, and David Lewis-Peart The Person I Want To Be: 53 Collaborative Video Making with the Playing it Safe Project Interview with Lulu Gurney and Aaron Chan, YouthCO AIDS Society FOR YOUR READING PLEASURE HIV/AIDS Resources 59 Collected by Sara Young 63 Credits EMPOWER: YOUTH, ARTS AND ACTIVISM This manual, designed for youth by youth, global and local issues, throwing parties There’s already a wealth of information features a diverse range of projects to raise money and awareness, and out there on HIV/AIDS so we’ve decided put forward by passionate, inspiring creating spaces within communities to to put our efforts elsewhere by featuring and fired-up individuals committed to talk about the issues. And each project inspiring projects and activists. You’ll social change. Each individual, group is accomplished with the help of art! This notice that the focus of each feature and project is committed to working ain’t your stuck-in-a-stuffy-museum art contains an interview with a short through challenges associated with HIV, project either. Youth across the country introduction from yours truly (me!). Each from positive prevention to debunking are using art to challenge, educate, and participant was sent interview questions myths. This includes challenging stigma, question the presence of HIV in their local with simple instructions: informing the public about the ties and global communities: button making, between funding and disease, educating fashion, visual art, collage, web design, “Use this as your soap box! The other youth on the connection between graphic design... the list goes on! questions are purposely broad so that you may have the freedom to answer or challenge them, as you see fit.” Some participants even changed the questions asked! Unlike traditional ’ interviews where the interviewer asks SARAH S TOP TEN REASONS all the questions and waits patiently for a response, I wanted this process to FOR USING THE ARTS be as open and equitable as possible. When created at a community level, art may be I hoped that by providing space and an accessible way of getting the message out! time, it might counteract the challenges 1 that some youth may face by having to access write responses. Added to each of the Different art forms will enable different people to interviews are definitions, fact boxes, and and engage with your message in a variety of ways. 2 in some cases, more resources. Art can be participatory. Making buttons, creating posters, or engaging in street theatre are all ways that you 3 can spread a message with people instead of to people. Dialogue. Art opens up spaces for conversation. Once you’ve organized, produced 4 and performed your work, sit back and let the power of your work take over. Creations live on after their production. After engaging a community in a creative process, the pieces created can later be used as resources, 5 curriculum materials, or awareness posters. Storytelling is powerful. 6 Sick of the same old? Art can help you to challenge yourself 7 to think ‘outside the box’ and try something new. Media Coverage. Because the arts are often visual or performed, arts activism can be 8 a great way of getting your message out to local media – especially independent media. social experience, and depending on Making art can be a Uh, art is fun? materials, cheaper than a night out on the town. 10 4 9 MANAGING EDITOR BY SARAH SWITZER, Want to be a mover and shaker, but concerned about resources? Limited money? Limited Resources? Lack of organizational support? While this is understandably a cause for concern, recognize that some of the greatest, cutting-edge, and change-making work has been achieved through late night discussions around kitchen tables. You probably have access to a really rich network without realizing it. Pool your efforts, and your skills and you’ll be surprised how far you’ve already come. If you need a refresher, or help getting started, check out the (page 59) for some great guides on youth activism. resources section HOW TO USE THIS GUIDE Fired up but don’t know what to do? can be learned by dancing the epidemic? institutionalized discrimination restricted Have inspiration but no means of action? By exploring youth stories through the government efforts from providing lens of a camera? Or getting down and support and resources to the communities This guide is designed for individuals dirty with scissors, magazines and glue? affected. Instead, government inaction who are interested in activating their As Deedee Halleck, film maker and media and passivity meant that public efforts knowledge, passion and skills and want to activist says, art is about “imagining were limited to preventing the virus from fuel these ideas into positive action. More impossible possibilities.” So, take the spreading to the “general population.” specifically, the following pages focus on jump and try something new! As a result, communities most affected using the arts as a catalyst or medium for were forced to organize themselves and HIV/AIDS youth activism. By focusing on A BRIEF HISTORY use their own resources to support and a broad range of arts-based education and In the early 1980s, the HIV epidemic care for the dying, launch early prevention activist efforts organized by committed broke out across gay communities in campaigns using safer sex messaging, and youth, this guide aims to inspire action, major North American cities. At first no protest against government inaction and provoke bursts of insight and dialogue one knew the cause of the mysterious homophobia on providing health services between and among HIV/AIDS youth illness and even after the identification to people living with HIV and research activists across Canada. There are already of HIV in 1984, there was ongoing funding for treatment options. an abundance of general resources controversy over the role of the HIV for youth activism circulating in local virus.
Load more

Recommended publications
  • I Was Here Episode 1: Church Street with Brian Sambourne and Richard
    I Was Here Episode 1: Church Street with Brian Sambourne and Richard Isaac Please Note: These transcripts reflect a taped conversation and as such might not read as grammatically correct in every instance. Introduction Catherine: I Was Here was created with generous financial support from the Accessibility Project at the G. Raymond Chang School of Continuing Education, Ryerson University. The views and opinions expressed in this podcast are those of the storytellers and are in no way endorsed by, or representative of, the G. Raymond Chang School of Continuing Education. Disclaimer Catherine: A warning to those of you who may be listening with small children, this episode features frank discussion of sexual practices. Cold Open Brian: And he was still full of tears, and he said to me, Brian, why me and not you? You were randy in your day. You had sexual partners. Now this sears you, when you hear, and you think to yourself, why me and not you. And I just said to him, Wayne, just luck, that’s all it was. [music] Interview 1 Catherine: You are listening to I Was Here, a podcast featuring older adults who have interesting stories about, or long histories with, spaces and places in Toronto. I am your host, Catherine Dunphy. [music] Catherine: In this episode, I am talking to: Brian: Brian Sambourne. I am age 66. I came out in the 1970s in the gay and lesbian community through MCC. I continued to be involved in my community and I thrive because of it. Richard: Richard Isaac. I am 73.
    [Show full text]
  • Reading the Intersection of Racial and Sexual Marginalization in Rex Vs Singh and Seeking Single White Male
    Journal of Ethnic and Cultural Studies Copyright 2019 2019, Vol. 6, No. 1, 1-14 ISSN: 2149-1291 Confronting Ambiguity: Reading the Intersection of Racial and Sexual Marginalization in Rex vs Singh and Seeking Single White Male Yilong Liu1, Soyang Park2 OCAD University, Toronto, Canada This qualitative study of two Canadian films examines how filmmakers and artists explore racial and sexual marginalization and repression in Canada through an in-depth analysis of the films’ visual, textual, and sonic elements. Rex vs Singh (Greyson et al., 2008) and Seeking Single White Male (Shraya, 2010), using diverse cinematic devices and self-enacting performances, address different intersecting modes of racial and sexual marginalization against South Asian immigrants in historical and contemporary Canada. Using Louis Althusser’s concepts of Repressive State Apparatuses (RSAs) and Ideological State Apparatuses (ISAs) as a key framework, we identify “ambiguity” as a critical space to explore and examine the operation of the state policy (RSAs) in the early 20th century, and workings of the invisible ideology (white normativity) through enlisting their subjects to internalize the norm (ISAs) at present. This discussion is followed by an evaluation of how filmmakers and artists mobilize their “differential consciousness” (Chela Sandoval) to confront these ambiguities as mobile tactics that complement the ongoing race and gender liberation movements. Rather than providing definitive results or solutions, this research aids understanding of the continuing struggles of racialized sexual minorities in Canada—a country that has constitutionalized multiculturalism in 1971—in light of Canada’s 150th celebration (2017). Keywords: queer, gender and sexuality, film, ethnic studies, ambiguity.
    [Show full text]
  • View Full Issue As
    The Weekly Voice of Wisconsin's LGBT Community May 5-11, 1999 11 V. • Looking Ahead Through The Past They have lived through and helped foster one of the most remarkable social revolutions in America's history. The age of Gay liberation is largely a product of their efforts. Living laid the t0undation of our cur- surk. iked rent Gay culture. older Gays and in a Lesbians often find themselves society ignored by it. Nevertheless. for the that was most part. Gay seniors lead happy. tar more fulfilling lies. o nto- Many societies treat their older members with iJl lt reverence. In those cultures the word "elder" is a t han mark of respect. An elder is someone you consult present and learn from. An elder is someone who is recog- d a y nized for their past contributions. Our tarowI away. ,America "I want it now.- society races past those kk ho have is. preceded us. count- .z. The result is that many Americans, espe ;illy l eS S those who are Gay or Lesbian, tear growing older. Studies on AIDS I i IV pre ention );t\ e ways they have passed th;.it pride onto younger generations. even shown that some young people don't practice safe sex because they don't want to .roks During May, Older _American Month, flisconsin Light salutes our LGBT Wisconsin old. In an Internet post. a young Gay man wrote that if he lived to be 35, he would kill him- seniors with a series of profiles telling their life stories. These profiles begin on page 6 in this self because life as a Gay man would no longer be worth living.
    [Show full text]
  • November 2006 Wayves
    ��������������������������� ��������������������� �������������������������� ��������������������������������������������������� �������������������������������������������������������� ������������������������������������������������������������ ������������������������������������������������������� ��������������������������������������������������������� �������������������������������� ������������������� ������������������������������������������������������ ������������������������������������������������������� ����������������������������������� ������������������� ���������������������������������������������������� ������������������������ ��������������� ��������������������������������������������������� �������������������������������� �������������� ������������ �������������� �������������������������������������������������� ������������������������������������������������������������������ ����������������������������������������������������������������������� SpiceWAYVES_FLOP.ai 6/9/06 2:39:15 PM 2 November 2006 Wayves C M Y CM MY CY CMY K Wayves November 2006 3 Halifax Pride ’07 Tewksbury Moncton Board Elected Men’s Dance Gives The By Bill McKinnon The new Board of Directors By Rob Myers, Mr. Leather Monc- The Halifax Pride Committee is for 2007 was elected. Micha Dav- ton 2006 making an early start in getting ies-Cole & Tamara Matheson will The Moncton Leather Chapter Shirt Off His ready for 2007 – well ahead of serve as Co-chairs, Kari Gundersen and I are planning Moncton’s last year. They held the Annual as Secretary
    [Show full text]
  • Corporate Profile
    Fae Pictures Inc. @FaePictures Los Angeles | Toronto +1 323 400 0610 www.faepictures.com [email protected] CORPORATE PROFILE The global media landscape today is ripe for a production company to declaratively operate with a modus operandi to DECOLONIZE HOLLYWOOD. Enter Fae Pictures. Founded in 2017 in Toronto & Los Angeles, Fae Pictures is a storytelling production company with a mandate to “Engage audiences with stories rooted in the perspectives of the Other.” We are committed to developing, producing, and delivering stories in a variety of mediums that impact the hearts and minds of audiences, while maximizing private investment through strategic packaging, government-based incentives, and innovative storytelling practices. Loosely defined under the categories of LGBTQ+, people of color, women, and differently-abled people, the Other encompasses a community of storytellers and audiences that have been wholly underserved in the motion picture industry, and one that we seek to have a strong and integral relationship with. The company’s strategy for employing its model has three key tenets that have been culled through experience in a disruptive and innovative media environment: 1. Engaging stories – Invest a majority of Fae Pictures’ capital into the curatorial and selective development, production, and exploitation of a lucrative catalogue of high-quality original stories; 2. Engaging audiences – Find the most effective and innovative means and medium of telling each story that not only reaches audiences, but keeps them actively invested as opposed to passively interested; 3. Engaging the Other – Work with under-represented talent and audiences domestically and internationally in marginalized spaces including the LGBTQ, people of color, women, and people who are differently-abled communities.
    [Show full text]
  • Three ,Modest Prop Canadian Film "In by John Harkness
    Three ,Modest Prop Canadian Film "In by John Harkness After looking at it for a long time, I've decided that Canadian Cinema is just fine. We make excep- tional films like Jesus de Montreal, Dead Ringers and Thirty-two Short Films About Glenn Gould. We • make interesting films like Masala. We make deadly dull films like The Lotus Eaters and The Burning Season. In the long run, it doesn't matter much what anyone says about the film industry, which will continue to lumber slowly along, much as it has for the past decade or so. Instead, I've decided to offer a series of proposals that I think would do the film business and the Canadian soul a world of good. They will no doubt be ignored. I prefer to think of myself as being ahead of my time. CLOSE ALL FILM SCHOOLS FOR AT LEAST FIVE YEARS We have more filmmakers than we have projects for them to make, yet our film schools keep churning out little baby directors. Jean Renoir, Kenji Mizoguchi, David Lean, John Ford, Howard Hawks, Orson Welles, Steven Spielberg, Federico Fellini, Billy Wilder, David Cronenberg - none of these people went to film school. More great films have been made by people who never saw the inside of a film school than by people with graduate degrees in filmmaking. I also have considerable doubts about what they are being taught. A few years ago, a friend of mine was working for the Academy of Canadian Cinema on their director-observer program that took young filmmaking students and put them on the sets of actual, in-production films.
    [Show full text]
  • Nikola Stepic
    RELIGION & CULTURE Volume 26, no. 2 The JRC would like to acknowledge the support of sponsors from within the Concordia University community: Dean of Students (Concordia Council on Student Life Special Projects Committee) Department of Religion Research & Graduate Studies Faculty of Arts & Sciences Office of the Vice-President Services We would also like to offer our special thanks to: Lynda Clarke, our very supportive department Chair; Tina Montandon and Munit Merid, administrators extraordinaire; The executive staff of the CRSA, for letting us drop by all their wine and cheese events; all of our referees, readers and everyone else who gave their time to the publication of this journal. A Canadian Graduate Student Journal 2016 Volume 26, no. 1 & 2 Journal Committee Executive Committee Alexander Nachaj Editor-in-Chief Elyse MacLeod Article Editor Joseph E. Brito Publication Editor Georgia Carter Book Review Editor Editorial Board Faculty Advisors Anthony Easton Marc P. Lalonde Laurel Andrew Marcel Parent Dalia Ramirez Cote Steven Lapidus Carly Daniel-Hughes André Gagné Jean-Michel Roessli The Journal of Religion and Culture is produced by the Graduate Students of the Department of Religion at Concordia University. © 2016 Journal of Religion and Culture, Concordia University, Montreal, Quebec. ISSN 1198-6395 Journal of Religion and Culture Volume 26, no. 1 & 2 (2015/2016) All rights reserved. No part of this journal may be used or reproduced in any matter without the express written permission of the editors except in the case of brief quotations embedded in critical articles and reviews. For information: Journal of Religion and Culture, Department of Religion (FA-101) Concordia University 1455 de Maisonneuve O., Montreal, Quebec H3G 1M8 JRC logo designed: Christopher Burkart Book design: Joseph E.
    [Show full text]
  • Gener- Ations of Queer
    MARCH 12 TO JUNE 28, 2014 GENER- ATIONS Robert Flack GENERATIONSOF QUEEREllsha Lim ROBERT FLACK | JOHN GREYSONJohn | ELISHA Greyson LIM | KILEY MAY OF QUEERKiley May Curated By: MARCH 12 to Lisa Deanne JUNE 28, 2014 SmithCURATED BY: LISA DEANNE SMITH ONSITE [at] OCAD U ONSITE [at] “My father Generations of Queer Generations 2 died on 3 September 3, 2012. He was 74 years old and a gay man.” John Greyson, Perils of Pedagogy (video still), 1984 My father died on September 3, 2012. He was 74 years old and a gay man. The following June, my sister and I spent a weekend going through my dad’s belongings. As we decided what to do with his leather pants and cap I thought about the queer community and how it has changed since my father came out in the 1970s. Back then, it wasn’t easy to be a gay man or a gay father but it was possible — barely. It had only been legal to participate in consensual homosexual acts in Canada since 1969, although George Klippert was arrested in the Northwest Territories just before the law changed as “incurably homosexual” and a dangerous sexual offender for admitting to having consensual homosexual sex with four separate adult men.1 He was not released from Canadian jail until ONSITE [at] OCAD U ONSITE [at] June 1971. I was six years old at the time and had no idea how brave my father was to publicly be who he was. of Queer Generations Through my father I learned there were alternative lifestyles to explore as the mainstream didn’t seem to fit either of us well.
    [Show full text]
  • UAAC Conference.Pdf
    Friday Session 1 : Room uaac-aauc1 : KC 103 2017 Conference of the Universities Art Association of Canada Congrès 2017 de l’Association d’art des universités du Canada October 12–15 octobre, 2017 Banff Centre for Arts and Creativity uaac-aauc.com UAAC - AAUC Conference 2017 October 12-15, 2017 Banff Centre for Arts and Creativity 1 Welcome to the conference The experience of conference-going is one of being in the moment: for a few days, we forget the quotidian pressures that crowd our lives, giving ourselves over to the thrill of being with people who share our passions and vocations. And having Banff as the setting just heightens the delight: in the most astonishingly picturesque way possible, it makes the separation from everyday life both figurative and literal. Incredibly, the members of the Universities Art Association of Canada have been getting together like this for five decades—2017 is the fifteenth anniversary of the first UAAC conference, held at Queen’s University and organized around the theme of “The Arts and the University.” So it’s fitting that we should reflect on what’s happened in that time: to the arts, to universities, to our geographical, political and cultural contexts. Certainly David Garneau’s keynote presentation, “Indian Agents: Indigenous Artists as Non-State Actors,” will provide a crucial opportunity for that, but there will be other occasions as well and I hope you will find the experience productive and invigorating. I want to thank the organizers for their hard work in bringing this conference together. Thanks also to the programming committee for their great work with the difficult task of reviewing session proposals.
    [Show full text]
  • Six Crises Matthew Hays, Thomas Waugh
    Six Crises Matthew Hays, Thomas Waugh Cinema Journal, Volume 53, Number 2, Winter 2014, pp. 126-132 (Article) Published by Michigan Publishing DOI: https://doi.org/10.1353/cj.2014.0012 For additional information about this article https://muse.jhu.edu/article/535711 [ Access provided at 3 Oct 2021 14:26 GMT with no institutional affiliation ] Cinema Journal 53 | No. 2 | Winter 2014 and—perhaps most risky of all—his students, that his own sissiness will not only be unrepressed but also indulged, displayed, and fully performed? The Wizard of Oz’s great trick—a scam, of course—toward the end of the film is to simply bestow superficial symbols for the possession of a brain, a heart, and courage upon Scarecrow, Tin Man, and Cowardly Lion. We are meant to understand from key moments in the narrative that only they believe they lack these qualities, which they have in fact possessed all along. Alex does not otherwise discuss this major element of the story (except insofar as their particular rewards link to Dorothy’s more complex de- sire for her lost “home”), and, again, despite admitting his early, ambivalent identifica- tion with the sissy Lion, Alex was not bold (or arrogant) enough to assert about himself what I want to emphatically affirm: like the figure who he first thought was a shameful role model but only later a figure in whom he could take pride (and what better figure for “gay pride” than a lion with a perm?), Alex always possessed great courage, even if he could not recognize this in himself or admit that this, too, could have been a source of his close identification with the (anything but) Cowardly Lion.
    [Show full text]
  • 2017 Final Schedule
    _________________________________________________________________________________________________ 2017 FINAL SCHEDULE ASSOCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES / FILM STUDIES ASSOCIATION OF CANADA _________________________________________________________________________________________________ Annual Conference / Conférence annuelle May/ mai 27 – 29, 2017 Ryerson University / Université Ryerson Toronto, Ontario, Canada HeLd in conjunction with the Congress of the Humanities and Social Sciences Tenu dans Le cadre du Congrès des sciences humaines « On Indigenous Lands / En terre autochtone » Program Chair/Responsible du programme: DarreLL Varga (NSCAD University) Local Arrangement Coordinator/Coordonnateur: Paul Moore (Ryerson University *Ryerson is a bottled water free campus, bring your own refiLLable container. Ryerson est un campus sans eau embouteiLLée, apportez votre propre bouteiLLe réutLisable. ___________________________________________May 26 mai________________________________________ Welcome Gathering / Rassemblement de bienvenue Doors open at 7:00 p.m. Film Screening / Projection CFMDC50: Where Do You Come From? Screening begins at 8pm, running time: 60 mins 2017 marks the Canadian FiLmmakers Distribution Centre’s 50th anniversary, coinciding with Canada’s 150th. Taking a critical pause, Where Do You Come From? considers what this question poses in doing and/or undoing connections to place, Land, home, history, generationaL memory and trauma. The program brings into question CFMDC’s institutional role in the representation
    [Show full text]
  • Guide to the Miscellaneous Human Sexuality Periodicals, Circa 1950-2003 Collection Number: 7687
    Guide to the Miscellaneous Human Sexuality Periodicals, circa 1950-2003 Collection Number: 7687 Division of Rare and Manuscript Collections Cornell University Library Contact Information: Compiled Date EAD Date Division of Rare and by: completed: encoding: modified: Manuscript Collections Andrea September 2004 Andrea Hektor RMC Staff, 2B Carl A. Kroch Library Hektor Peter Martinez, February 2015 Cornell University October 2003 Ithaca, NY 14853 Ezra Corral, (607) 255-3530 July 2008 Fax: (607) 255-9524 RMC Staff, [email protected] February 2015 http://rmc.library.cornell.edu © 2003 Division of Rare and Manuscript Collections, Cornell University Library DESCRIPTIVE SUMMARY Title: Miscellaneous human sexuality periodicals, circa 1950-2003 Collection Number: 7687 Quantity: 9 cubic feet Forms of Material: Printed materials. Repository: Division of Rare and Manuscript Collections, Cornell University Library Abstract: Mostly small runs of periodicals on a variety of human sexuality subjects, including lesbians, gay men, bisexuals, transsexuals and transgender people, AIDS, feminism, and gender and sexual identity. Titles may be published in the United States or internationally. Language: Collection material in English COLLECTION DESCRIPTION Mostly small runs of periodicals on a variety of human sexuality subjects, including lesbians, gay men, bisexuals, transsexuals and transgender people, AIDS, feminism, and gender and sexual identity. Titles may be published in the United States or internationally. Includes conference brochures from the 1963 and 1964 conferences of ECHO, East Coast Homophile Organizations. Bringing together the Daughters of Bilitis, the Janus Society, and the New York City and Washington, DC chapters of the Mattachine Society, ECHO was the first attempt to create a national coalition of organizations focused on equal rights for lesbians and gay men.
    [Show full text]