Reviews & Reflections

HUE exhibition reviewed.

Commodified Trauma and Supernatural Gentrification reviewed.

David Garneau's Tawatinâ Bridge reviewed.

Cousins and Kin Program at DOXA 2021.

Rasha Salti Curates a Deep Sea Cinema.

Caribbean Diasporic Identities at the AGO.

Tolu Oloruntoba's Each One a Furnace reviewed.

Bruce McIvor challenges Canada's big lie.

Understanding language, geography and belonging.

Grada Kilomba's Plantation Memories: Episodes of Everyday Racism reviewed.

Is Love a Synonym for Abolition? reviewed.

Selina Boan's Undoing Hours reviewed.

Tracing rivers and Indigenous epistemologies.

Fear and Care for the Fate of the World reviewed.

Hands for Language reviewed.

Divya Mehra's From Canada to India and back to Canada (There is nothing I can possess which you cannot take away) reviewed.

A reflection by Annahid Dashtgard.

acts of faith reviewed by Rusaba Alam.

Three-Thirty Exhibition at Scotiabank Contact Photography Festival 2020.

Myths of heroism and desire in Laiwan’s Tender.

Shamik’s Gaali reviewed

Jillian Christmas' the gospel of breaking reviewed.

Three performances and an embodied talk by Soleil Launière.

Charles Campbell reflects on a Primary Colours residency

Mercedes Eng's my yt mama reviewed.

Mohamed Assani's Wayfinder reviewed.

Meet Goonda rap duo Cartel Madras.

M:ST’s Bodily Response video series reviewed.

Ruby Singh and the Khan Brothers' genre-bending musical collaboration.

Irfan Ali's Accretion reviewed.

Shani Mootoos' Polar Vortex reviewed.

Indigenous language revitalization, practices, and epistemologies.

Transits and Returns at the VAG reviewed.

Indu Antony's While I Slept reviewed.

Anosh Irani Translated from the Gibberish reviewed.

1990's video in Vancouver and beyond.

A reflection on 5X Festival’s programming challenges.

HIV/AIDS, 'Black Arts', and LGBTQ rights.

Rusaba Alam review from Bard on the Beach.

Reflections on 'identity' and 'belonging'.

A Mumbai Courtesan in Montréal.

Sanchari Sur reviews Patthar Ki Zabaan at The Rhubarb Festival in Toronto.

Soleimanpour's Nassim reviewed.

Veena Gokhale reviews Rhythm Rewritten at the Festival Acces Asie, Montréal.

Simanpreet Anand reviews Jawahir: Jewels at Deerlake Gallery, Burnaby, BC.

Hussein Keshani reviews Moving Still: Performative Photography in India at the Vancouver Art Gallery.

The Orchard (After Chekhov) reviewed.

Acts of Refusal in Simranpreet Anand's ਮੈਂ ਇੱਥੇ ਹਾਂ (i am here).

Reflections on the Vancouver Mural Festival.

Rawi Hage's Beirut Hellfire Society reviewed.

Staged reading of Chivalry is Dead by playwright Munish Sharma at the 2018 Monsoon Festival reviewed.

Am Johal review's Asad Haider’s Mistaken Identity.

Charles Campbell reviews art by Sandra Semchuck and Ayumi Goto at the Art Gallery of Greater Victoria.

Performance review.

Kerri Sakamoto's Floating City reviewed by Carolyn Nakagawa.

Revisiting the qualifier 'indigenous' in Many Visions, Many Versions by Madhia Sikander and Rajarshi Sengupta.

Sharon Bala's The Boat People reviewed.

Hussein Keshani reviews photo exhibit at the Kamloops Art Gallery.

New Jazz releases reviewed.

When I received the invitation to participate in the great gathering that was Primary Colours this autumn in the city of Victoria in British Columbia, my feeling was above all that of remembrance.

Encounter tells the story of Dopdi Mehjen, an indigenous woman and necessity-driven revolutionary, who is eventually captured and tortured by the authorities.

I wonder about artistic privilege. The advantages, attention, and public money granted to select artists, but especially the social margin, passage, and exception we occasionally enjoy.

And we continue to walk. Taking time to go to our medicines. To speak to our teachers. We do our ceremonies. And we continue to walk.

Cathy Busby's, WE CALL creates awareness, understanding, and dialogue around the Truth and Reconciliation Commission of Canada's recommendations for reconciliation between Aboriginal peoples and settlers.

What choices do fifteen year-olds face in this world? What is at stake for them if they choose to speak out against what they know is wrong? The answer is, of course, completely different if you are a poor fifteen year-old Indian boy working for a cruel master on a camel farm or a fifteen year-old Canadian girl pulled out of school and brought to the desert with your scientist father.

Arundhati Roy's The Ministry of Utmost Happiness reviewed.

Maria Qamar's Trust No Aunty reviewed.

Book Launch Event, June 22, 2017, Toronto.

Rehan Ansari reports form Lahore on the transformations and fractures of post-modernity in South Asian space.

Amitava Kumar shares how his move from India to the USA has continually changed his own ideas of modernity, and more importantly why this change is not perceived as important.

Twelve year old Permveer Bains recollects his groovy adventure.

Reviews of Bombay The Hard Way and the latest from Black Star Liner.

Blair Davis reviews Such a Long Journey.

Jagdeesh Mann spends a sobering night at the Glassy Junction Pub, Southhall, UK.

Jasmyn Singh reviews theatrical monologue Sakina's Restaurant.

E.M. Chakkappan documents a young woman's decision to give into religious temptation.

Jasmyn Singh reviews Earth.

A sneak peak into Kaizad Gustad’s directorial debut, Bombay Boys.

A look at new albums by Talvin Singh and Asian Dub Foundation.

KRS-1 and signs of blackness.

Writings by Women of South Asian origin reviewed.

Julian Samuel's Passage to Lahore reviewed.

Immigration and the Decline of Citizenship reviewed.

A.H. ltwaru & N. Ksonzek and Arun Mukherjee reviewed.

Deepa Mehta taken to task.

Larissa Lai's debut novel reviewed.

Kathleen Pirrie Adams on Tanya Syed's Queerness.

Gayatrai Gopinath on Queer Transnational Cultures.

Looking for South Asian lipstick lesbians, Sonali Fernando finds Annie Sprinkle instead.

Ian Iqbal Rashid reviews Shani Mootoo's sexy, evocative new video.

Atif Ghani reviews Zahid Dar's first film.

Smaro Kamboureli examines the poignant, painful worlds of Shyam Selvadurai's Funny Boy.

Editorial by Ian Iqbal Rashid, Guest Editor.

Pratibha Parmar's Film Fantasies.

Shiraz Dossa takes on Neil Bissoondath's Selling Illusions.

Sheyfali Saujani speaks the unspoken.

Sue Donaldson reviews two videos by Julian Samuel, The Raft of the Medusa and Into the European Mirror.

A short story collection edited by Nurjehan Aziz reviewed.

Curated by L.Somi Roy for the Flaherty Film Seminars, Aurora, New York reviewed.

Atif Ghani examines the construction of South Asian Identity in a video program curated by Ian Iqbal Rashid.

Gitanjali reviews the controversy.

H. Itwaru reviews Ali Kazimi’s profoundly moving documentary film.

Mina Kumar makes a meal of New York’s Indian restaurants.

Anthology of American South Asian Women’s Writing reviewed.

In search of cultural space.

Shani Mootoo at the CAG.

Review.

Review.

Contemporary South Asian visual arts in Britain.

‘Letters’ from Nayan Shah, Melina Young, Ayisha Ibrahim, Atif Ghani and Gitanjali.

The Burning Season reviewed.

Edward Said reviewed.

Book review.

Shyam Benegal's Seventh Horse of the Sun & Kehtan Mehta's Maya Memsaab reviewed.

Remembering the Komagata Maru.

A note from a South Asian woman artist to South Asian women artists.

A profile.

Alicia Peres at New Directions in Indian Dance.

Nazlin Nathu at NAWL.

Roger Sinha in process.

Alnoor Dewshi's film reviewed.

Visual art in review.

Vikram Seth's novel reviewed.

NFB video reviewed.

Ayesha Abraham profiled by Saloni Mathur.

Are we family?

The Writers' Union and cultural appropriation.

The Writers' Union and cultural appropriation.

Indian documentary celebrated.

A Sari Tale and Hair Space.

Writing with an accent.

Letters from post-referendum Montréal.

Struggling to re-present our bodies.

Struggling for a voice within and without.

Rachna Mara's book reviewed.

Exploring an identity quest.

A review.

A review.

A Letter to Mississippi Masala director Mira Nair.

On the making of an exile and filmmaker.

The Construction of South Asian Lesbian and Gay Identities. A Desh Pradesh workshop.