121 10 3176 https://digitalexhibitions.arquives.ca/files/original/1874550c6005be68e1b3a920fbe249e4.wav 6c93dd888f44b6c584789eef7d7e1813 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Transcription Any written text transcribed from a sound If You’re Gay, What am I? In first grade, I remember confiding in my two best friends, Cassie and Heather. We were sitting under a desk in the back of our classroom, a place where we told each other our deepest secrets. I took a deep breath and shared “ My dad is more like the mom and my mom is more like the dad.” Their faces went blank, uncertain of what this information could even mean. It was 1985, and my family lived in a small town in West Virginia. A place where mommies were supposed to be “mommies”: cooking, cleaning, looking pretty and kissing daddies. “Daddies” worked to support the family, fixed things around the house, and never, ever cried. I explained further, “My dad is the one who cooks, and he's always watching Young and the Restless.” I put it out there to see if maybe it wasn't so weird and their daddies did this too. Nope. Heather's daddy chewed tobacco and loved to shoot deer. Cassie’s daddy was some sort of travelling business man. Neither of their daddies even knew what Young and the Restless was. Their dads sounded more like my mom. Although she didn't chew tobacco or hunt, she was tough and emotionally distant. I told them, “When my mom comes home her uniform is always dirty. I think she is a mechanic or something.” Heather's mom didn't work, but she knew how to fix up some deer. Cassie’s mom was a secretary. Both their moms looked like moms. They had long hair they attempted to style and wore makeup to the best of their ability. When their husbands came home, they squeezed and kissed them. My mom had short hair, hated makeup and reluctantly kissed my father. The messages I received about gender from my parents were in conflict with society and with each other. My dad put me in beauty pageants and coerced me into ballet classes. He loved fixing my hair and doing my makeup. My mom stood by watching and rolling her eyes when my dad painted my tiny lids blue and puffy cheeks pink. My mom once asked, “Why do you talk like that?” She was referring to my “baby” voice. I was still only six, so I wasn't conscious of it or capable of answering such a deep question. When I did my chores, she said, “Elizabeth, you need to use some elbow grease.” Basically saying I did everything like a girl. I got the sense she didn't like anything that fell under the category “Girl”. My mom was trying to toughen me up, and my dad was trying to turn me into a floating flower. Neither felt natural. When my parents divorced, it was not a surprise. To me, they didn't belong together. My dad moved in with his friend Dale, and he never seemed happier. It was 1990. I was 11 years old, and although no one explained it to me then, I now know my dad was happier because he was gay and finally able to live the life he always wanted. Although I immediately accepted my dad's sexuality and was relieved to see him living as his true self, I did have questions. What did it mean for me? Did it make me gay? Was I only going to be attracted to gay men? Or would I even know how to be a woman because my dad was gay and my mom behaved in a way society defined as manly? In high school, I dated an effeminate guy named Chris. He wrote me poems and painted paintings and bought me bouquets of flowers he put together himself. I hated him. I ripped up his poems and threw away his flowers. I enjoyed the attention he gave me. He made me feel beautiful and like a woman, but I couldn't love him back. Even though I didn't understand it then (although it is obvious to me now), I was afraid he could be gay. After Chris, I dated a more masculine guy named Loc, pronounced, “lock”. He was tall and played college football. He was too old for me. But he certainly wasn't gay. In fact, he cheated on me with some girl his age, just as Chris had cheated on me (if surprisingly) with a woman. In my teenage mind, most men were gay or cheated. After graduating high school, I went to an acting school. Being away from home, I finally felt I was able to define myself. I didn't want to identify as gay or straight because I thought “How does anyone really know what they are?” I thought because my dad came out later that somehow sexuality was a bomb that could drop on you at any time, maybe some quiet morning while you were simply brushing your teeth. Around this time, people often asked me, “If your dad is gay, what does that make you?” I was open to the idea I could be gay or bisexual because I found women beautiful, and most of my meaningful relationships were with women and gay men. At times, I even thought “maybe I'll just marry a gay man on purpose!” One drunken night after a party, I did what supposedly all women do in college, and I kissed a fellow classmate, a girl. Unlike the song that made Katy Perry famous, I did not like it. It felt completely wrong. I felt ashamed. Not because I did something I secretly wanted to do but because I did something I never wanted to do in the first place. I finally understood that although I loved and admired women, I did not want to kiss them. I wanted to be them. To me, other women had it so easy. They just were. I wanted to just be, but I was too neurotic about my femininity. Even in acting school, I was encouraged to drop my baby voice. After thousands of dollars and hundreds of hours of doing vocal exercises, the voice remained. After acting school, I went to a university to study filmmaking. The school offered a few free therapy sessions. I was so broke, I latched on to anything free. During my first session, I didn't know what to say. I felt like a phony, as I had my whole life when it came to the expression of gender and myself. Technically, life was okay, and I had nothing to complain about. But then I heard these words coming out of my mouth, “Do I seem androgynous to you?” The nice psychologist-in-training laughed, “No, you totally look like a girl.” I wasn't convinced. I always felt as if something was fundamentally wrong with me, that because of my family, I was broken. So I decided to join a strict Christian church. I wasn't raised religious, but I did live in Texas. Living there most of my life, I got the sense there was a right life, and I was not living it. I told myself I wanted to join the church because I loved Jesus and the message of living in a world where everyone loved each other. But there was another part of me that couldn't wait to be corrected and fixed by the experience, and turned into a proper heterosexual woman. And the church obliged. I was assigned to a person who was supposed to be a mentor. She told me, “If you want to be a leader, you should imitate the leaders, look at how they cut their hair.” I wore my hair long, and a little makeup. But they wanted me to take it up a notch and have an actual hairstyle -- something that required maintenance. I thought our purpose as Christians was to band together to save the world, but all anyone ever talked about was getting married. Again, I felt like something was wrong with me. I wasn't obsessed with guys and the notion of getting married, like all the other girls. I wanted to fall in love and marry someday, but I thought it would happen on its own. I was even admonished over my failure to fixate on men—“Elizabeth, you should at least try to have an interest.” I guess I didn't want to obsess over things I couldn't have. Our church did not believe in sex before marriage. Our church didn't hate gay people per se; they just weren't allowed to join the church. Or if they did, they had to stop being gay. Although I didn't want to believe there was anything wrong with being gay, I looked at all the pain my family went through growing up, and it made me wonder. What if there is something wrong with it? What if there is something wrong with me? This doubt created a wedge between my father and me. Even though we never discussed it openly, I could tell he was apprehensive around me. He felt judged no matter what I did because I went to the church. And I always wondered in his heart of hearts if he could have chosen a different path and kept our family from so much hurt. My church believed we could only date and marry people from our church. We thought we were the only ones going to heaven. So it didn't make sense to date from the outside, someone you couldn't spend eternity with. But in the five years I attended this church, I never had genuine feelings for anyone. There were a few guys who were okay, but not anyone I wanted to marry. From ages 21 to 26, I didn't date anyone. Throughout acting school and film school, my dream was to become a screenwriter, but there weren't a lot of colleges where you could study that. So after graduating, I took a screenwriting workshop. The teacher (we’ll call him Hank) was a professional writer who had some commercial success. He had large bags, and dark circles under his eyes, from allergies and writing long hours into the night. He was balding and never had anything good to say about himself—I fell in love with him immediately. I confided in my sisters at the church about my feelings for Hank, and they said, “That is Satan. Satan is trying to pull you away from God.” I didn't take this too seriously, because I doubted Hank would ever go on a date with me. After the classes were over, Hank and I went on a date. Going on a date with someone who didn't go to my church was a sin, but I told myself, “He’s just mentoring me.” On our second mentoring session, I went to his house, and we watched a movie while sitting fairly close together. I had strong feelings for this person and didn't know why. He wasn't a Christian, he wasn't even good boyfriend material, and he didn't seem to like me that much. But I couldn't stop thinking about him. I never turned down a chance to talk with him, whether it was in person, or on the phone, or over email. I knew if I decided to pursue a romantic relationship with him, I would be kicked out of the church forever. Everything I built my life around those five years—my salvation, my faith, and all my friends—would be over. I realized, in some way, my experience of falling in love with Hank was similar to when my father fell in love with Dale. He probably didn't want to love him; he probably felt he shouldn't love him, but he couldn't help but love him. I no longer just accepted my dad. I understood him. We love whom we love, and it is not a choice. One Sunday morning, before church, I took a long walk. I walked so far I missed the morning service. I decided to never go back. I no longer needed to figure out my sexuality or gender. And I no longer had to get my hair cut like Jennifer Aniston to prove it. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 12 minutes, 48 seconds Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource If You're Gay, What Am I? Subject The topic of the resource Queerspawn Description An account of the resource Elizabeth Collins reads her essay, "If You're Gay, What Am I?" Essay was published in <i>Spawning Generations: Rants and Reflections on Growing Up With LGBTQ+ Parents</i>, edited by Sadie Epstein-Fine and Makeda Zook (Bradford: Demeter Press, 2018), p. 165-169. Creator An entity primarily responsible for making the resource Elizabeth Collins Source A related resource from which the described resource is derived Queerspawn fonds, F0196-01-002-001, The ArQuives Format The file format, physical medium, or dimensions of the resource 1 WAV audio file [00:12:48], 138MB, Hard Drive Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/elizabeth-collins">Queerspawn Storytelling Project, Elizabeth Collins</a> Language A language of the resource English https://digitalexhibitions.arquives.ca/files/original/d4a86580d102478ba0be5560214f2214.JPG d2200a67b9e800215e2120a55b988ca4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ignorance = Fear, Silence = Death. Fight AIDS, ACT UP Description An account of the resource ACT UP t-shirt featuring artwork by Keith Haring Creator An entity primarily responsible for making the resource ACT UP Rights Information about rights held in and over the resource CLGA does not own copyright Format The file format, physical medium, or dimensions of the resource t-shirt Type The nature or genre of the resource t-shirt Subject The topic of the resource HIV/AIDS health AIDS activists AIDS education AIDS phobia 1980s health HIV/AIDS Keith Haring visibility https://digitalexhibitions.arquives.ca/files/original/8a05e9d9f8caa6485b187b98d3075003.mp3 0cdc1cb6308e488b1ebb5184f2193386 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Sound A resource primarily intended to be heard. Examples include a music playback file format, an audio compact disc, and recorded speech or sounds. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 6 minutes, 39 seconds Transcription Any written text transcribed from a sound In my mind, I have started hundreds of first words and opening sentences to this speech. How do I begin to distill down all that Krin, my one and only Krinny, meant to me, still means to me? Will describing how her plaid shirts, baggy cargo-jean shorts, and bright-red skater shoes ever capture the ways her spirit was both playful and butch? Will smells of lemon mixed with lavender ever recreated the calm experienced when I would bury my nose in her thick head of hair? I ask myself, how will I ever be able to express through words the completeness of the way her hugs felt, or the way in which her spontaneous laughter illuminated beauty, or the way her lightness of being and her silliness taught me strength? Words can never capture and hold these feelings as they once existed in the form of flesh and blood, but words can help me remember those feelings. Words can help me feel the emptiness that has been left in the wake of her absence, and at the same time, they can help me feel the fullness of the imprint she has left on me. Since Krin’s death, I’ve heard many times that her legacy lives on through me, yet I feel filled with more questions than answers about what that means. The responsibility feels too big for one person to carry because how can I ever live up to her in the way that she fought for justice, the way that she opened her heart to relative strangers, or the way that she built and surrendered herself with community? Thinking through these big questions, I feel the fullness of that imprint, and I’ve begun to think of her imprint on me also as an inheritance—I’ve inherited a great deal. Perhaps the most important gift I’ve inherited from Krinny is the ability to glimpse that almost imperceptible space-in-between. Krin was always playing with the space-in-between—whether it was the space between genders or the space between the physical and the spirit world—she was at ease in her curiosity of the unknown and at ease in her self-exploration. This space-in-between is where I most often feel her now in that uniquely omnipresent, uniquely Krinny way. It is a feeling that is intangible and fleeting. It is like the blurry space when the ocean meets the shore—not quite water and not quite land, but permanently moving. It feels like the space between heart and break. That Krin was a part of me is an understatement. I was also a part of her—I came from her. I came from her clear blue eyes: the colour of ocean. I came from the waters of her womb. I came from the smallest things that she found funny, and I came from within that big, ever-widening laugh—the one that catches you mid-thought, disarming and drawing you in like you are hearing it for the first time. My grief feels so big sometimes, so all-consuming. It’s like trying to catch the millions of stories, sounds, feelings, and wisdom that Krin often unexpectedly imparted in a laugh, in a question meant to spark a meaningful conversation, or in a random thought that popped into her brain. Krinny showed me the beauty of the unexpected, her “why the heck not?” quality taught me that challenging expectations and pursuing the unexpected were not something to be afraid of; instead, they were something to embrace as an opportunity for self-discovery. Today, she wanted us all to feel what we need to feel without expectations and without script. For me, I began to question why we try not to cry in these times of mourning. Is it because we want to protect others from the sharpness of our own grief? Or is it simply because when our hearts are this broken, we are afraid that we’ll never stop and that our hearts will keep breaking open over and over again? Krin wanted today to be appropriately sad. She knew that this would be the only way to move through the grief, to live it fully, to feel it fully, to welcome it, embrace it with ease and care—not too tightly, but just right. Krin told me in her last week on this physical earth that the grief would be extremely painful but that without the bad, we cannot have the good, or rather, we cannot appreciate the good. She helped me see the beauty in the seemingly small things without inflating the absolute shit with false hope, pretense, or platitude. These seemingly opposing forces of beauty and shit drove her activism and spirituality. Balancing these opposing energies was never about holding onto positivity as w way of masking the shittiness and injustices. Instead, it was about helping her remain curious about what is right in front of us waiting to be seen—whether this be the fullness of a sky bright with stars that have already died, or in the ways that being an effective activist means being open to all you may not intimately know or understand in the bones of your experience. When people talk about death, they often talk about dying words, but the last two days of Krin’s life, there was only breath. In the last two weeks, there was poetry. She spoke of making her “big transition” as “being able to listen to the stars in the sky and being able to hear the songs that they sing.” At first, her very last words felt meaningless—void of the poetry of previous weeks, and without the drama that Hollywood tells you is real. But as the weeks grow since her death, the more her last word stands out. She opened her eyes and said “hello” with all of the curiosity and openness of a child, but without any of the vulnerability. This word, her last word, has begun to take on form and meaning because of the way it captures her presence both in her life and in her death. On the night that Krin died, she walked into the full moon with an openness as purposeful as it was soft—full of love for her life, yet without hesitation of the unknown. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In Between Heart and Break Subject The topic of the resource Queerspawn Description An account of the resource “In Between Heart and Break” was originally spoken at Makeda’s mom Krin Zook’s memorial service in 2016. It was then published in <i>Spawning Generations: Rants and Reflections on Growing Up with LGBTQ+ Parents</i>, which was co-edited by Zook and Sadie Epstein-Fine in 2018. “In Between Heart and Break” touches upon mourning and grief associated with losing a parent. Makeda Zook is a queerspawn who was born in 1986 to her two lesbian feminists moms Mary Annette Clough adn Krin Zook. She was raised in a mixed-race family surrounded by anti-oppression politics and her OWLs (Older Wiser Lesbians). She grew up in Toronto going to dyke marches. Creator An entity primarily responsible for making the resource Makeda Zook Source A related resource from which the described resource is derived Queerspawn fonds, F0196-01-009-001, The ArQuives Format The file format, physical medium, or dimensions of the resource 1 MPEG-4 audio file [00:06:39], Hard Drive Language A language of the resource English Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/makeda-zook">Queerspawn Digital Storytelling Project, Makeda Zook</a> Date A point or period of time associated with an event in the lifecycle of the resource 2016 https://digitalexhibitions.arquives.ca/files/original/9930e23231cba029d8b5d34082df334b.jpg 3410e2b66be6d07d2f7432ab63e062d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pink poster with images of gay Jewish media, announcing Abush's desire to create a lesbian/gay Jewish archive and bibliography and titled "In Search of Lesbian/Gay Jewish Visibility." Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource In Search of Lesbian/Gay Jewish Visibility Subject The topic of the resource Jews religion Description An account of the resource Pink poster announcing Abush's desire to create a lesbian/gay Jewish archive and bibliography, titled "In Search of Lesbian/Gay Jewish Visibility." Source A related resource from which the described resource is derived Johnny Abush vertical file, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 1990-2000 Language A language of the resource English Jews religion https://digitalexhibitions.arquives.ca/files/original/1785b55431874b833a22f9892b7ad913.jpg a05f0e1e61d4399e4136048100174b6c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tabloid Newspapers Collection Description An account of the resource A collection of newspaper clippings from 1950 to 1966 on the subject of LGBTQ+ people, issues, and perceptions. Date A point or period of time associated with an event in the lifecycle of the resource 1950-1966 Format The file format, physical medium, or dimensions of the resource newspaper articles Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Rights Information about rights held in and over the resource The CLGA does not hold copyright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inability of investigating committees to examine homosexual's side of fence explains the failure to solve problem Subject The topic of the resource gay men persecution of gay men sexual reorientation civil rights military personnel Description An account of the resource An article by Jim Egan discussing the position of gay men in society. Creator An entity primarily responsible for making the resource J.L.E. (Jim Egan) Publisher An entity responsible for making the resource available Justice Weekly Date A point or period of time associated with an event in the lifecycle of the resource 1954-04-10 Format The file format, physical medium, or dimensions of the resource Newspaper clipping Language A language of the resource English Rights Information about rights held in and over the resource The CLGA does not hold copyright 1950s 1954 gay cure Jim Egan https://digitalexhibitions.arquives.ca/files/original/25b64bdeb810fc0ebcd51fdbf1c14ac4.pdf 419b779b948259b0d6368c7346ed427b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Trans Archives - Rupert Raj fonds Description An account of the resource Digitization of Rupert Raj fonds for CLIR grant Eurasian-Canadian Rupert Raj has been a trans activist in Canada, the USA and abroad since 1971---the same year he began his 41-year gender transition in Ottawa. First a newsletter editor, peer-counsellor, researcher and educator (1978-2001), then a psychotherapist, gender consultant and professional trainer (2001-2015), and finally an author/editor (1997-present), Rupert has been engaging with queer, trans, non-binary, intersex, two-spirit adults and teens, and their loved ones for more than 50 years. The two trans service organizations he co-founded were Foundation for the Advancement of Canadian Transsexuals (FACT) (1978-1982) and Metamorphosis Medical Research Foundation (MMRF) (1983-1988), and the three counselling/consulting services were: Metamorphosis Counselling & Educational Services (1982-1983), Gender Worker/Gender Consultants (1988-1990) and RR Consulting (2001-2015). Rupert's three published books include: Trans Activism in Canada: A Reader (with Dan Irving) (2014), Of Souls & Roles, Of Sex & Gender: A Treasury of Transsexual, Transgenderist and Transvestic Verse from 1967 to 1991 (2017, 2018) and Dancing the Dialectic: True Tales of a Transgender Trailblazer (second edition) (2020). The Rupert Raj Collection in the Digital Transgender Archive (DTA) includes newsletters, magazines, books, newspaper clippings (scrapbooks), correspondence, photographs and other materials. Language A language of the resource English Rights Information about rights held in and over the resource Researchers wishing to publish materials must obtain permission in writing from The ArQuives as the physical owner. Researchers must also obtain clearance from the holder(s) of any copyrights in the materials. Note that The ArQuives can grant copyright clearance only for those materials for which we hold the copyright. It is the responsibility of the researcher to obtain copyright clearance for all other materials directly from the copyright holder(s). Subject The topic of the resource Transgender history Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Independence Day Subject The topic of the resource Transgender history Description An account of the resource An erotic fiction story about a professor and a student by Charles John Austen III. Austen also wrote under the names Johnny/Romeo Bliss, and later in life, Johnny A. Creator An entity primarily responsible for making the resource Austen III, Charles John Date A point or period of time associated with an event in the lifecycle of the resource 1985-07-04 Format The file format, physical medium, or dimensions of the resource pdf Type The nature or genre of the resource Erotic Fiction Identifier An unambiguous reference to the resource within a given context F0021-01-058_07(fixed)(Compressed)_OCR homosexuality Johnny A Rupert Raj Fonds secondary sex characteristics transgender people Transgender people's writings transsexual people https://digitalexhibitions.arquives.ca/files/original/92d264fcd866094abb13de6c3d8d930c.pdf bba8d83ee74aab2234509f7eaddb64c8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Trans Archives - Rupert Raj fonds Description An account of the resource Digitization of Rupert Raj fonds for CLIR grant Eurasian-Canadian Rupert Raj has been a trans activist in Canada, the USA and abroad since 1971---the same year he began his 41-year gender transition in Ottawa. First a newsletter editor, peer-counsellor, researcher and educator (1978-2001), then a psychotherapist, gender consultant and professional trainer (2001-2015), and finally an author/editor (1997-present), Rupert has been engaging with queer, trans, non-binary, intersex, two-spirit adults and teens, and their loved ones for more than 50 years. The two trans service organizations he co-founded were Foundation for the Advancement of Canadian Transsexuals (FACT) (1978-1982) and Metamorphosis Medical Research Foundation (MMRF) (1983-1988), and the three counselling/consulting services were: Metamorphosis Counselling & Educational Services (1982-1983), Gender Worker/Gender Consultants (1988-1990) and RR Consulting (2001-2015). Rupert's three published books include: Trans Activism in Canada: A Reader (with Dan Irving) (2014), Of Souls & Roles, Of Sex & Gender: A Treasury of Transsexual, Transgenderist and Transvestic Verse from 1967 to 1991 (2017, 2018) and Dancing the Dialectic: True Tales of a Transgender Trailblazer (second edition) (2020). The Rupert Raj Collection in the Digital Transgender Archive (DTA) includes newsletters, magazines, books, newspaper clippings (scrapbooks), correspondence, photographs and other materials. Language A language of the resource English Rights Information about rights held in and over the resource Researchers wishing to publish materials must obtain permission in writing from The ArQuives as the physical owner. Researchers must also obtain clearance from the holder(s) of any copyrights in the materials. Note that The ArQuives can grant copyright clearance only for those materials for which we hold the copyright. It is the responsibility of the researcher to obtain copyright clearance for all other materials directly from the copyright holder(s). Subject The topic of the resource Transgender history Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paper Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Informational Papers on the Phalloplasty Subject The topic of the resource Transgender history Description An account of the resource Informational paper written by Dr. David Gilbert, RN. Deborah Gilbert, and Dr. Charles Horton on the phalloplasty. This paper discusses the recent increase in trans men seeking bottom surgery, and notes how historically phalloplasties have been the most challenging surgery for surgeons to successfully perform. This paper discusses mastectomy, chest contouring, hysterectomy, and oophorectomies. Furthermore it determines five main criteria in making phalloplasties more successful. The paper shows a case history and holds a discussion around that cases particular successes. Creator An entity primarily responsible for making the resource David Gilbert Deborah Gilbert Charles Horton Format The file format, physical medium, or dimensions of the resource pdf Type The nature or genre of the resource Documents Identifier An unambiguous reference to the resource within a given context F0021-01-119_81_OCR FtMs Gender Affirming Surgery mastectomy phalloplasty Rupert Raj Rupert Raj Fonds https://digitalexhibitions.arquives.ca/files/original/05c966cbd8127331d97fd6445dad6ded.pdf 65335f1b00baef21d677523f800d6db5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Queerspawn Digital Storytelling Project Subject The topic of the resource The Queerspawn Digital Storytelling Project was spearheaded by Sadie Epstein-Fine, creative and operational lead with community support from Makeda Zook in 2021. The goal of the project was to provide participants of all ages with one or more LGBTQ2+ parent(s) a way to explore aspects of the queerspawn experience through digital content creation. Over the course of 5 months, the Queerspawn project participants met virtually to share space and build community. They explored different ways to get into their stories and experiences. The project included 13 participants, who created video, art projects and installations, audio stories, podcasts and essays, exploring how their identities and life experiences have intersected with their queerspawn identity. The Queerspawn Project was made possible through the International Centre for Arts for Social Change’s FUTURES/Forward Program and The ArQuives: Canada’s LGBTQ2+ Archives. Description An account of the resource The fonds contains records from the Queerspawn Digital Storytelling Project dating from 1942 to 2021. It includes photographs, art installations, artwork, podcasts, audio stories, essays and video created by the thirteen project participants. Project participants were based out of Canada, the United States and Australia. Creator An entity primarily responsible for making the resource Queerspawn Digital Storytelling Project Source A related resource from which the described resource is derived Queerspawn Digital Storytelling Project fonds (F0196) Date A point or period of time associated with an event in the lifecycle of the resource 1942 - 2021 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Canada, United States, and Australia Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Inheritance Subject The topic of the resource Queerspawn, Maya Newell Creator An entity primarily responsible for making the resource Maya Newell Source A related resource from which the described resource is derived Queerspawn fonds, F0196, F0196-01-011-001, The ArQuives Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Edited with support from Jen Skattebowl, Manifesto contributions from Sadie Epstein-Fine + Maeve Marsden Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/maya-newell">Queerspawn Digital Storytelling Project, Maya Newell</a> Language A language of the resource English Format The file format, physical medium, or dimensions of the resource 1 Microsoft Word Document, 6 JPEG images, 29.9MB, Hard Drive https://digitalexhibitions.arquives.ca/files/original/f41a14168002da250fea1332bcecbc45.jpg 57140d28e00f3ac416e42731021cb7fb Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data pamphlet Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Intenzive Kare Date A point or period of time associated with an event in the lifecycle of the resource 2004 Intenzive Kare Vazaleen Youthline https://digitalexhibitions.arquives.ca/files/original/e80e3498fb07961665ea85fe08fcc7ae.jpg cdd5b8eb8d563d40f1c595496af1ddc6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource LGBTQ+ Buttons Contributor An entity responsible for making contributions to the resource Ryerson University Library and Archives Canadian Lesbian and Gay Archives Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource International Network of Lesbian & Gay Officials: Annual Conference '95 Toronto Subject The topic of the resource gay movement lesbian movement civil servants Description An account of the resource Circular pink button with a globe and pink and black triangles, text in black. Publisher An entity responsible for making the resource available International Network of Lesbian & Gay Officials Date A point or period of time associated with an event in the lifecycle of the resource 1995-11-16 Rights Information about rights held in and over the resource CLGA does not hold copyright Format The file format, physical medium, or dimensions of the resource button Language A language of the resource English Type The nature or genre of the resource button 1990s 1995