Understanding Canadian Art Through the Lens of Slavery: A Historian's Perspective | Canada News Media
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Understanding Canadian Art Through the Lens of Slavery: A Historian’s Perspective

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In recent years, the complex and often overlooked history of slavery in Canada has been brought to the forefront, challenging long-held narratives and reshaping our understanding of Canadian art and culture. Charmaine Nelson, a professor of art history at NSCAD University in Halifax and founding director of the Institute for the Study of Canadian Slavery, has been at the forefront of this scholarly effort.

Nelson’s research into the representations of Black people in historical Canadian art has led her to a profound realization: to truly understand these images, one must first understand the context of slavery in Canada. This revelation has significantly influenced her approach to art history and has deepened her analysis of how Black individuals were depicted in Canadian art from the late 18th to early 19th centuries.

In a recent lecture titled “Fugitive Slave Advertisements and/as Portraiture in late-18th- and early 19th-century Canada,” delivered at the Confederation Centre of the Arts, Nelson explored the often-overlooked presence of slavery in Canada and its impact on the visual culture of the time. The lecture was part of her ongoing effort to highlight the importance of recognizing Canada’s role in the transatlantic slave trade and its influence on Canadian society and art.

“I realized that I couldn’t do my analysis any justice, I couldn’t do the artwork any justice without understanding the context of transatlantic slavery, because so many of the people that had been represented were enslaved,” Nelson explained in an interview with Mainstreet P.E.I. host Matt Rainnie. “So I said to myself, if you don’t understand slavery, you don’t understand how these images are working. You don’t understand who they were and how they even came to be in a high-art portrait or as a figure of study in a watercolour. You don’t understand that unless you understand slavery.”

One of the most striking aspects of Nelson’s research is her examination of fugitive slave advertisements, which she considers a form of portraiture. These ads, found in Canadian newspapers from the period, were placed by slave owners attempting to sell or recapture runaway slaves. While tragic, these advertisements provide a unique and often intimate glimpse into the lives of enslaved individuals.

Nelson described these ads as “tragic and fascinating at the same time.” They often included detailed descriptions of the runaway slaves, highlighting not only their physical characteristics—such as height, skin colour, and other features—but also their talents and intelligence. For example, one ad from Quebec described a slave as a skilled violin player, while another noted a slave’s ability to speak multiple languages.

These descriptions reveal a surprising recognition of the intelligence and sophistication of the enslaved Africans, who were often perceived by their European owners as both valuable property and formidable adversaries. “The Europeans really look at the intelligence and sophistication of the Africans that they’re enslaving,” Nelson noted. “So here’s the thing. We’re dealing with incredibly sophisticated, incredibly intelligent people who also know how to watch and observe the habits of the slave owners, which is how they’re able to escape them.”

Nelson’s work is a powerful reminder that Canada’s history of slavery is far more complex than the familiar narrative of the Underground Railroad, which often portrays Canada as a refuge for escaped slaves. While Canada did serve as a destination for many fleeing slavery in the United States, it also has its own documented history of slavery, a history that is essential to understanding the full scope of the nation’s past.

“It really is a practice of historical hypocrisy, if you will, because the archives are not bereft of this information. Why? Because enslaved people were considered property and people document their property,” Nelson said, emphasizing the importance of acknowledging this darker chapter in Canadian history.

By uncovering and analyzing these historical records, Nelson hopes to broaden the public’s understanding of slavery in Canada and its impact on Canadian society. Her research also serves as a call to action for scholars, educators, and the general public to engage with this history more deeply and critically.

Nelson’s lecture and others like it can be accessed online at www.fieldtrip.art, offering an opportunity for a wider audience to learn about and reflect on this crucial aspect of Canadian history.

In shedding light on the often-overlooked history of slavery in Canada, Charmaine Nelson is not only enriching our understanding of the past but also challenging us to reconsider the narratives that have shaped our national identity. Through her work, she demonstrates that a fuller understanding of history—including its darkest chapters—is essential to truly understanding the art, culture, and society that have emerged from it.

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Bad traffic, changed plans: Toronto braces for uncertainty of its Taylor Swift Era

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TORONTO – Will Taylor Swift bring chaos or do we all need to calm down?

It’s a question many Torontonians are asking this week as the city braces for the arrival of Swifties, the massive fan base of one of the world’s biggest pop stars.

Hundreds of thousands are expected to descend on the downtown core for the singer’s six concerts which kick off Thursday at the Rogers Centre and run until Nov. 23.

And while their arrival will be a boon to tourism dollars — the city estimates more than $282 million in economic impact — some worry it could worsen Toronto’s gridlock by clogging streets that already come to a standstill during rush hour.

Swift’s shows are set to collide with sports events at the nearby Scotiabank Arena, including a Raptors game on Friday and a Leafs game on Saturday.

Some residents and local businesses have already adjusted their plans to avoid the area and its planned road closures.

Aahil Dayani says he and some friends intended to throw a birthday bash for one of their pals until they realized it would overlap with the concerts.

“Something as simple as getting together and having dinner is now thrown out the window,” he said.

Dayani says the group rescheduled the gathering for after Swift leaves town. In the meantime, he plans to hunker down at his Toronto residence.

“Her coming into town has kind of changed up my social life,” he added.

“We’re pretty much just not doing anything.”

Max Sinclair, chief executive and founder of A.I. technology firm Ecomtent, suggested his employees avoid the company’s downtown offices on concert days, saying he doesn’t see the point in forcing people to endure potential traffic jams.

“It’s going to be less productive for us, and it’s going to be just a pain for everyone, so it’s easier to avoid it,” Sinclair said.

“We’re a hybrid company, so we can be flexible. It just makes sense.”

Swift’s concerts are the latest pop culture moment to draw attention to Toronto’s notoriously disastrous daily commute.

In June, One Direction singer Niall Horan uploaded a social media video of himself walking through traffic to reach the venue for his concert.

“Traffic’s too bad in Toronto, so we’re walking to the venue,” he wrote in the post.

Toronto Transit Commission spokesperson Stuart Green says the public agency has been working for more than a year on plans to ease the pressure of so many Swifties in one confined area.

“We are preparing for something that would be akin to maybe the Beatles coming in the ‘60s,” he said.

Dozens of buses and streetcars have been added to transit routes around the stadium, and the TTC has consulted the city on potential emergency scenarios.

Green will be part of a command centre operated by the City of Toronto and staffed by Toronto police leaders, emergency services and others who have handled massive gatherings including the Raptors’ NBA championship parade in 2019.

“There may be some who will say we’re over-preparing, and that’s fair,” Green said.

“But we know based on what’s happened in other places, better to be over-prepared than under-prepared.”

Metrolinx, the agency for Ontario’s GO Transit system, has also added extra trips and extended hours in some regions to accommodate fans looking to travel home.

A day before Swift’s first performance, the city began clearing out tents belonging to homeless people near the venue. The city said two people were offered space in a shelter.

“As the area around Rogers Centre is expected to receive a high volume of foot traffic in the coming days, this area has been prioritized for outreach work to ensure the safety of individuals in encampments, other residents, businesses and visitors — as is standard for large-scale events,” city spokesperson Russell Baker said in a statement.

Homeless advocate Diana Chan McNally questioned whether money and optics were behind the measure.

“People (in the area) are already in close proximity to concerts, sports games, and other events that generate massive amounts of traffic — that’s nothing new,” she said in a statement.

“If people were offered and willingly accepted a shelter space, free of coercion, I support that fully — that’s how it should happen.”

This report by The Canadian Press was first published Nov. 13, 2024.



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‘It’s literally incredible’: Swifties line up for merch ahead of Toronto concerts

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TORONTO – Hundreds of Taylor Swift fans lined up outside the gates of Toronto’s Rogers Centre Wednesday, with hopes of snagging some of the pop star’s merchandise on the eve of the first of her six sold-out shows in the city.

Swift is slated to perform at the venue from Thursday to Saturday, and the following week from Nov. 21 to Nov. 23, with concert merchandise available for sale on some non-show days.

Swifties were all smiles as they left the merch shop, their arms full of sweaters and posters bearing pictures of the star and her Eras Tour logo.

Among them was Zoe Haronitis, 22, who said she waited in line for about two hours to get $300 worth of merchandise, including some apparel for her friends.

Haronitis endured the autumn cold and the hefty price tag even though she hasn’t secured a concert ticket. She said she’s hunting down a resale ticket and plans to spend up to $600.

“I haven’t really budgeted anything,” Haronitis said. “I don’t care how much money I spent. That was kind of my mindset.”

The megastar’s merchandise costs up to $115 for a sweater, and $30 for tote bags and other accessories.

Rachel Renwick, 28, also waited a couple of hours in line for merchandise, but only spent about $70 after learning that a coveted blue sweater and a crewneck had been snatched up by other eager fans before she got to the shop. She had been prepared to spend much more, she said.

“The two prized items sold out. I think a lot more damage would have been done,” Renwick said, adding she’s still determined to buy a sweater at a later date.

Renwick estimated she’s spent about $500 in total on “all-things Eras Tour,” including her concert outfit and merchandise.

The long queue for Swift merch is just a snapshot of what the city will see in the coming days. It’s estimated that up to 500,000 visitors from outside Toronto will be in town during the concert period.

Tens of thousands more are also expected to attend Taylgate’24, an unofficial Swiftie fan event scheduled to be held at the nearby Metro Toronto Convention Centre.

Meanwhile, Destination Toronto has said it anticipates the economic impact of the Eras Tour could grow to $282 million as the money continues to circulate.

But for fans like Haronitis, the experience in Toronto comes down to the Swiftie community. Knowing that Swift is going to be in the city for six shows and seeing hundreds gather just for merchandise is “awesome,” she said.

Even though Haronitis hasn’t officially bought her ticket yet, she said she’s excited to see the megastar.

“It’s literally incredible.”

This report by The Canadian Press was first published Nov. 13, 2024.

The Canadian Press. All rights reserved.



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Via Rail seeks judicial review on CN’s speed restrictions

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OTTAWA – Via Rail is asking for a judicial review on the reasons why Canadian National Railway Co. has imposed speed restrictions on its new passenger trains.

The Crown corporation says it is seeking the review from the Federal Court after many attempts at dialogue with the company did not yield valid reasoning for the change.

It says the restrictions imposed last month are causing daily delays on Via Rail’s Québec City-Windsor corridor, affecting thousands of passengers and damaging Via Rail’s reputation with travellers.

CN says in a statement that it imposed the restrictions at rail crossings given the industry’s experience and known risks associated with similar trains.

The company says Via has asked the courts to weigh in even though Via has agreed to buy the equipment needed to permanently fix the issues.

Via said in October that no incidents at level crossings have been reported in the two years since it put 16 Siemens Venture trains into operation.

This report by The Canadian Press was first published Nov. 13, 2024.

Companies in this story: (TSX:CN)

The Canadian Press. All rights reserved.



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