53 10 3176 https://digitalexhibitions.arquives.ca/files/original/af7499c3ea6ebf4f94b62b08218fd221.pdf 4a0942b4f7102463a601d49929f838af 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 Not a Place on the Map: The Desh Pardesh Project Subject The topic of the resource diaspora, artists, South Asian, people of colour, festivals, identity, racism Description An account of the resource Toronto’s Desh Pardesh festival (1988–2001) was a multidisciplinary arts festival that showcased underrepresented and marginalized voices within the South Asian diaspora. These oral history interviews with artists and organizers involved in the festival were created by the South Asian Visual Arts Centre in 2016. Creator An entity primarily responsible for making the resource South Asian Visual Arts Centre Date A point or period of time associated with an event in the lifecycle of the resource 2016 Rights Information about rights held in and over the resource South Asian Visual Arts Centre Relation A related resource CLGA holds additional records related to Desh Pardesh and Khush Format The file format, physical medium, or dimensions of the resource PDF, WAV Language A language of the resource English Type The nature or genre of the resource Sound Identifier An unambiguous reference to the resource within a given context Add CLGA accession # once donated Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1988–2001, Toronto, South Asia Contributor An entity responsible for making contributions to the resource LGBTQ Oral HIstory Digital Collaboratory, SAVAC 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 Desh Pardesh Programming Highlights (1994) Subject The topic of the resource Program highlights, film and video, dance Description An account of the resource This image depicts a document that highlighted significant events and works that were to happen at the 1994 Desh Pardesh festival. Date A point or period of time associated with an event in the lifecycle of the resource 1994 Rights Information about rights held in and over the resource CLGA Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Still Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Toronto 1994 dance Desh Pardesh film gurinder chada hanif kureishi program highlights SAVAC South Asian Visual Arts Centre video https://digitalexhibitions.arquives.ca/files/original/ce14d92a6dd69b3e688816909ea6fcd2.jpg 345ebe38862104bf3fc5e204d8413612 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 LGBTQ2+ Histories at Toronto Metropolitan University Subject The topic of the resource gay community gay and lesbian youth students' clubs HIV/AIDS lesbians bisexuals transgender people asexuality arts health LGBT rights Description An account of the resource A collection of materials relating to LGBTQ2+ people, issues, and organizations at Toronto Metropolitan University. Publisher An entity responsible for making the resource available Toronto Metropolitan University Library Date A point or period of time associated with an event in the lifecycle of the resource 1963-2015 Format The file format, physical medium, or dimensions of the resource posters stickers tshirts buttons newspaper articles brochures Language A language of the resource English Contributor An entity responsible for making contributions to the resource Toronto Metropolitan University Library and Archives The ArQuives 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 Design for a Queen Subject The topic of the resource fashion drag queens gay pride Description An account of the resource A poster advertising the 2014 HSBC World Pride Fashion Design Competition, which challenges students to "create a work of art inspired by some of the moment's top, High Drag Queens." Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-12 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 Poster 11x17'' Language A language of the resource English Type The nature or genre of the resource Poster 2010s 2014 arts design drag drag queens Pride Ryerson University The School of Fashion https://digitalexhibitions.arquives.ca/files/original/5d28ec2855fbadf80f83e63571f89d4a.jpg ec4c4b1e3b93bd2919d00df76143c585 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 Mirha-Soleil Ross fonds (f0033) Description An account of the resource The fonds consists of materials related to Mirha-Soleil Ross’ time living in Toronto, from the early 1990s until 2008, and include published work and drafts in multiple formats, correspondence, press materials, notes, financial records, and clippings. These materials document several aspects of Ms. Ross’ life and work, including her activism, art-practice, community outreach, sex work, and interviews, as well as representing the type of media she herself was consuming and which in turn informed her work. Records are mostly focused on Toronto, Montreal, and Canada. The fonds consists of the following series: 1- Correspondence and Interviews 2- Artwork 3- Activism 4- GenderTrash / GenderPress 5- Clippings 6 - Counting Past 2 Creator An entity primarily responsible for making the resource Mirha-Soleil Ross Source A related resource from which the described resource is derived Mirha-Soleil Ross fonds (f0033) at the Canadian Lesbian and Gay Archives Publisher An entity responsible for making the resource available Canadian Lesbian and Gay Archives Date A point or period of time associated with an event in the lifecycle of the resource 1993-2008 Contributor An entity responsible for making contributions to the resource Xanthra-Phillipa MacKay Mark Karbusicky Rights Information about rights held in and over the resource Mirha-Soleil Ross retains rights to all her materials, but has granted the Canadian Lesbian and Gay Archives permission to licence materials from her fonds. Researchers wishing to publish materials must obtain permission in writing from the Canadian Lesbian and Gay Archives as the physical owner. Researchers must also obtain clearance from the holder(s) of any copyrights in the materials. It is the responsibility of the researcher to obtain copyright clearance for all other materials directly from the copyright holder(s). Format The file format, physical medium, or dimensions of the resource Multiple formats Language A language of the resource English; French Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Toronto, Ontario, Canada 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 Dicks & Weewees Subject The topic of the resource Transsexual people Transgender publisher Zines Description An account of the resource This image is a collage of letters cut out and clued on white paper. The letters, in a variety of colours and fonts, read "hey faggots, if you're going to call us trannies or transies then we'll call you stupid dicks and wee-wees, time for you to grow up." Creator An entity primarily responsible for making the resource genderpress Mirha-Soleil Ross Xanthra-Phillippa MacKay Source A related resource from which the described resource is derived genderpress Publisher An entity responsible for making the resource available CLGA Date A point or period of time associated with an event in the lifecycle of the resource 1993 Rights Information about rights held in and over the resource Mirha-Soleil Ross Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English Type The nature or genre of the resource Text, image Identifier An unambiguous reference to the resource within a given context 2008-073 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Toronto paste up transgender publishers transphobia transsexual people zines https://digitalexhibitions.arquives.ca/files/original/e56b2351a03457d5d65ff6417ea280b7.mp3 457f6badd74a4243bd14a6661de5c18d 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.) 17 minutes, 22 seconds Transcription Any written text transcribed from a sound Did I make my mother gay? By Meredith Fenton Flashback—20 years. I'm slowly dipping my toe into the lesbian waters of my women's college. I have left the expectations and mediocrity of my hometown, and have leapt madly away from the “country's most normal city” and into a sparkly non-binary pile of new normals. It felt like everyone was gay at women's college. At least a little bit. There was Nicole, the Southern Femme Grateful Dead-lover who wore a hat that says “I can't even think straight.” Or the Jewish asexual who all of a sudden started dressing like and then dating the autosexual across the hall. Or the Korean self-identified nerd with a penchant for other nerds. I wasn't all that worried about what the future would bring, or even coming out quite frankly. I was just enjoying being free. My mother figured it out pretty quickly. Maybe because I stopped going off campus to fraternity parties at MIT and started playing rugby. She'd ask all kinds of leading questions, and when I brought up the name of my first girlfriend, she'd say things like, “Oh Mari…I sure seem to be hearing her name a lot..” Or she'd asked hypotheticals about what someone would do if they wanted to bring a girl to a dance on campus. I let her ask her questions knowing exactly what she wanted to know, but not feeling ready to give it to her. My queerness was mine in a way that nothing in my childhood had been. I had always been defined by other people's expectations, and my struggle to be the perfect daughter, the perfect student and the perfect person. I wanted to be able to define this part of my identity for myself. And I thought that telling my parents felt like a crossroads where other people would start making meaning of my identity without my input or control. I was going to tell them. I just wasn't in a hurry. At the end of the year, I had only been home from college for a day or two when my parents sat me down for a talk. I assumed they wanted to talk about “it.” I barely listened as my parents started talking—readying myself for them to ask if I had indeed started playing for the other team. But then I realized their speech wasn't about me at all. They were actually informing me that they'd be getting a divorce. It was only the second time in my life I ever saw my father cry. I was surprised, but not shocked. My parents being together had always seemed like a matter of fact, rather than a matter of passionate love. They didn't fight all that much, but no one in my family did. We didn't really do conflict. And I had never really considered that they might someday not be together. I had been so focused on my own news and my own process that I had to shift gears to really digest the information. A few days later, I finally came out to my mother as we drove across central Illinois toward a big outlet mall an hour or so away. We were on our way there because my mom had decided I might need a suit for all the job interviews she was sure I’d have in my senior year of college. Mom, in her therapist way, said, “You've been quiet about the divorce. Do you have any questions?” “I don't know. Are you a lesbian?” I stuttered. Why I asked this, I still don't really understand. But she avoided the question and asked, “Are you?” Well, it all came spilling out. “Well, you know, not a lesbian, really? I mean, yes and no. I mean, I don't really like labels, because gender doesn't matter. And I'm not going to love a person for their gender. But yes, I've had a few girlfriends even though now I'm single and…” Her loving response matched the patience and kindness she had shown while testing her suspicions all year. Yet a few hours after my coming-out ramblings, when she told me that indeed she was in a relationship with a woman, I was shocked. I don't think my weird question came from a psychic sense about my mom; it was more about my own anxiety around coming out than it was having any inkling that my mom was on a similar journey. I can't remember having ever wondered about my mom's sexuality before that day, but it was pretty easy to accept her new relationship and identity. Perhaps it was all the Audre Lord and Leslie Feinberg and Cherrie Moraga I had read that year, but I kind of felt like everyone was kind of gay. So anyone could come out at any second. This conversation brought my mom and me closer in many ways, although the next several months showed me how different our experiences would continue to be. My coming out was filled with events called the Dyke Ball and rugby after-parties all-women casts of Shakespeare and watching The Incredibly True Adventures of Two Girls in Love. No one batted an eye when you started dating a girl at women's college, and you could take entire classes on feminism and queer literature, and write papers about the Jewish lesbian experience. My mom's coming out was filled with silences—awkward conversations with longtime friends, forced job changes and secrets. I knew for certain about my mother months and months before the rest of my family. I always felt bad for keeping the information from my siblings. But I also couldn't imagine what being a lesbian was actually like for my mother. So I stayed quiet. I rejoiced that I had come out so early. Coming out for me was filled with flirtations and innocent firsts and access to a whole new culture, and a community that was filled with political rigour and subversive realities. I knew it wasn't that way for my mom. So I shouldn't have been so judgy about the onslaught of the rainbow. My mom had always been a really excellent care-package sender. For years and years when I went to Jew camp, my mail deliveries were the envy of all—they’d be filled with candy and Jewish tchotchkes and little things to survive the heat and the mosquitoes. Now, all of a sudden, my college mail got a little queerer. First, it was the world's smallest little pride ring necklace. Then a matted watercolor art of a rainbow with calligraphy of the blessing you say in Hebrew upon seeing a rainbow. Then there was the signed copy of Chaz Bono's book—on and on the onslaught continued accompanied by loving and supportive cards and updates. At the time, it felt kind of like she was living vicariously through me. She might have still been fairly closeted, but she could encourage me to be a rainbow-attired, loud and proud homosexual. But now I realize it was also just an extension of her enthusiastic stage-mother ways—she was ready to cheer her children on—no matter their endeavor. One weekend, mom and her now-wife went to Provincetown, and a few friends and I met them there. They were staying at a little bed and breakfast, raving about the gay couple who made the food. Mom rented us a little studio apartment nearby. We went out to dinner at a fancy-ish place with an ocean view. It was in the offseason and the nights got dark early. Mom and her wife were thrilled beyond belief to be somewhere where they could actually hold hands on the street. I realized just how rare that was for them. That spring, I started my job search. I don't even think I wore the interview suit we had bought a year earlier even once. In fact, I'm pretty sure I did the phone interview for the internship I ended up getting while pacing around my dorm room trying to sound smart, but I wasn't even wearing pants. The organization was COLAGE (Children of Lesbians and Gays Everywhere), who I'd written to along with about 30 other nonprofit organizations that worked on women's and/or youth issues in San Francisco. I wasn't exactly sure how to get a job from 3000 miles away (this was long before the internet as we know it existed). So I sent off these form letters about my experience with youth and activism and hoped for the best. COLAGE was the only organization I wrote to who requested an interview with me. They invited me to talk on the phone about a summer internship program. So during that pantless phone interview, I'm pacing back and forth talking about my camp counselor experience, how I'd been a youth group advisor, a student leader, the social chair of the LGBTQ group on campus. And then Felicia, the executive director at the time, told me a little bit about the organization, the kids they worked with and what the internship would look like. At the very end of the interview, she gave me the standard, “So is there anything else you'd like to ask or add?” “Well”, I began, “about a year ago, my mom actually came out as a lesbian. So I'm thinking maybe this work could be interesting because of that, too.” “Why didn't you say anything?!” Felicia exclaimed, sounding flabbergasted. I tried to explain that I just couldn't imagine that there would ever be a group out there that was meant for me. I mean, I had grown up in this quote unquote, ‘normal town’ and was already an adult (in my eyes) when my mom told me she was in love with a woman. Plus, I was queer myself, so it just felt like I should automatically be fine with the whole lesbian mother situation. I figured that COLAGE was for kids who had really grown up with a gay parent, or had been born through a turkey baster or some other experience that I couldn't claim or relate to. But I got the job and include me they did. And by doing so I found a world of community I didn't know existed, and up to that point I couldn't have imagined I would ever possibly need. I spent the summer interning then joined the board of directors before returning as a fulltime staff member four years later. I found my place among hundreds of other people with LGBTQ parents. When I first started becoming a leader among the queerspawn, as we affectionately called ourselves, I was worried I was kind of a fraud. I mean, my mom had only been out for a matter of years, and most COLAGErs had been dealing with divorces or donor insemination or custody battles or a lack of protections for decades. But what I learned is that every single person who has or had an LGBTQ parent, even though the details of our individual stories may be different, there is something essential we share. I learned so much from my queerspawn peers—about resiliency and hope that was honed from surviving bullying and surviving HIV and homophobia in custody battles. I learned that there are as many different kinds of families as there are snowflakes, and that each of them is worthy of respect for the ways they take care of each other, overcome intolerance, create new traditions and define what it means to be a family. One year, I led a group of about 15 Bay Area teenagers through the creation of a poster series and art project. For our local art opening, I wanted to contribute my own piece of art. I ended up writing a children's story with illustrations called Sometimes Families Change. A friend attended the opening and the event photographer snapped a poignant shot of her reading my book while teary-eyed. It was a moment where I felt more deeply the power of my own journey, and my own story, and started to see that I was seen as a member of this group. For nearly eight years, it was my job to be a queerspawn. My job was wrapped up in my identity which is wrapped up in my sense of family. The purpose I felt standing in solidarity among a diverse community of people with LGBTQ parents has been unparalleled in my professional life. When it's your job to be the professional daughter of a lesbian, you can't help but think about your mom's sexuality quite frequently. When it came to my mother, I felt like I was leading our way into the queer experience in so many ways. But I also learned about queerness and women's herstories and life outside of the bubble from my mom and her wife and their friends. She lived in a town where her neighbor—a city council person who lives three doors down, responded “Why should I? There aren't any gay people in my district” when asked if he would support a nondiscrimination ordinance. This was the same town where my stepmom was often told how nice it was that she had quote ‘that roommate’ to travel with. The same town where classrooms and school hallways are the sites of daily homophobia. Hearing about my mom and her wife's experiences kept me humble, and helped me stay grounded in the realities facing LGBTQ communities outside of my bubble. Those lessons deepened my politicization, increased my respect for those who live at the margins, and gave me a way to develop a true adult relationship with my mother and her community. And I did the same for her. Around the same time I became a professional queerspawn, I started performing drag and femme cabaret. My mom, once again, was my consummate number-one fan. And by coming to the shows I'd put on her world was expanded. They don't have drag king shows in Peoria, Illinois, especially not ones that are infused with body-positive, racially and gender diverse groups of folks using performance to talk about the war or safe sex or white privilege. I think about the ways that LGBTQ parents often politicize their kids. I mean, so many of my peers in COLAGE talked about going out with their radical feminist mothers to Take Back the Night rallies, or being taken along to an underground drag show by their fairy godfather. In my own journey, those roles were sometimes reversed. For example, about a decade ago, my mom came to visit to see the full-length drag musical I co-directed, which was a queer retelling of the Harry Potter stories. She brought her best friend from high school who coincidentally has also come out as a lesbian. After the show, she commented on how powerful it was to see such a diverse group of people demonstrate love for one another on stage. She was blown away by our willingness to talk about things like racism and cultural appropriation and fatness. Seeing the art I was creating through her eyes gave me a broader understanding of its meaning. Dating trans masculine and genderqueer folks meant having all sorts of conversations with my mom and her wife about identity and binaries and the fluidity of it all. Even when this knowledge was new, she immediately landed on the side of acceptance and wanting to learn more. My mom even co-led a workshop about trans inclusion with an ex of mine at the Michigan Women's Music Festival. I've pushed her on the painful and complicated truths of the occupation of Palestine. We've talked about the realities of racism and the queer community and the complicated victory that was marriage equality. She is someone I can always count on to listen to my more radical beliefs. And in my years working with LGBTQ families, I saw this mirrored through my peers. It was often the kids of queers who led their parents in conversations about what it would take to respond to the AIDS crisis, or cultural competency around gender identity. Perhaps younger generations are always a little more radical than their parents. When people learn I have a lesbian mom, their response is often something like, “Wow, that must have been so cool!” And while it has been cool, it isn't because of those immediate reasons that come to mind. It's not the case that I got to inherit queer cultural traditions from my mom. She had none to pass down. But it has been cool. Not only because my coming out was probably easier than most. I always knew my mom would accept me even before she was gay. But because of our shared identity, she has been able to become a part of my life and my community in a deeper and more meaningful way. She has become a mom to many—often to friends of mine, whose own parents haven't been as accepting. She's the most active “liker” of all my friends’ content on Facebook, she's always donating to my friends’ crowd-funders and she cheers loudly at our shows. And through all of this, we've come into our own identities and queer long-term relationships, while forging a true and real relationship as adults. For years, the biggest pushback to queers having kids was the assumption that they'd somehow make their kids gay. So I often joke about whether what they might say, in my case. Did I make my mother gay? Although my siblings have accused me of turning our mom a time or two, I think that's just sibling humor. Because the truth is, it really doesn't matter. The world I want to live in is a world where everyone can be who they are, and love whom they love. And that both of those things can change, whether at the age of 20, or the age of 50, or many times over the course of a lifetime. Causality aside, I'm grateful. My journey and her journey, our journey has made us both who we are today, and I wouldn't have it any other way. 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 Did I Make My Mother Gay? Subject The topic of the resource Queerspawn Description An account of the resource Meredith Fenton reads her essay, "Did I Make My Mother Gay?" 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. 125-132. This essay discusses topics including Fenton's experience attending Women's College, their parent's divoce, coming out ot their mother and their mother coming out to them, their work at COLAGE (Children of Gays and Lesbians Everywhere), being a professional queerspawn and more. Meredith Fenton is an Oakland based strategist and storyteller who loves sparkly things, reading, Muppets, and movements for social justice. Creator An entity primarily responsible for making the resource Meredith Fenton Source A related resource from which the described resource is derived Queerspawn, F0196-01-004-001, The ArQuives Relation A related resource <a href="https://digitalexhibitions.arquives.ca/exhibits/show/queerspawn-digital-storytellin/meredith-fenton">Queerspawn Digital Storytelling Project, Meredith Fenton</a> Format The file format, physical medium, or dimensions of the resource 1 MPEG-4 audio file [00:17:27], Hard Drive Language A language of the resource English https://digitalexhibitions.arquives.ca/files/original/04f4e08068c4a71998dd7db67098ebc0.jpg e77409fd7c2098d2cccdb72c4c11ceb6 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 Lesbians Making History Collections Description An account of the resource The Lesbians Making History (LMH) collective came together in the mid-1980s and was inspired by oral history projects of gay lives coming out of Buffalo, Boston and San Francisco. The collective interviewed 9 women about their experiences as ‘out’ lesbians in the 1950s, 60s, and 70s. Collective members included: Rachel Epstein Maureen FitzGerald Amy Gottlieb Didi Khayatt Mary Louise Noble Lorie Rotenberg Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. Although the organizers of Lesbians Making History were committed to keeping the project a community-based initiative, and not one rooted in academic pursuit, they allowed Elise Chenier, now a professor at Simon Fraser University, to use the transcripts of the interviews for her MA thesis. Chenier’s work on lesbian bar culture in the 1950s and 60s is widely taught in Canadian universities. Interview material was also used by Cameron Duder and by Gary Kinsman and Patrizia Gentile. In 2014 the original audio tapes were given to the CLGA via the LGBTQ Digital Oral History Collaboratory, a multi-institutional research project led by University of Toronto professor Elspeth Brown and funded by a 5-year SSRHC Insight grant. Embedded at the Canadian Lesbian and Gay Archives (CLGA), Collaboratory members digitized LMH materials and created new verbatim transcriptions. Original LHM collective members assisted with editing transcripts, identifying key words and writing abstracts for each oral history interview. Creator An entity primarily responsible for making the resource Lesbians Making History Collective Date A point or period of time associated with an event in the lifecycle of the resource 1985-1987, 2000 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1950s to 1970s, 1985-1987 Rights Information about rights held in and over the resource CLGA holds non-exclusive rights Contributor An entity responsible for making contributions to the resource Maureen Fitzgerald; LGBTQ Oral History Digital Collaboratory (Elspeth Brown, PI) 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 Didi Khayatt at Lesbians Making History Digital Collection launch. Subject The topic of the resource Lesbians Making History Description An account of the resource Didi Khayatt, a Lesbians Making History Collective member, addresses the audience at the Lesbians Making History digital collection launch, CLGA, June 7, 2015. Creator An entity primarily responsible for making the resource CLGA Date A point or period of time associated with an event in the lifecycle of the resource June 7, 2015 Contributor An entity responsible for making contributions to the resource LGBTQ Oral History Digital Collaboratory, Didi Khyatt, Lesbians Making History Collective Rights Information about rights held in and over the resource CLGA Format The file format, physical medium, or dimensions of the resource Digital Photograph Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 2015, 1985–1987 Publisher An entity responsible for making the resource available Canadian Lesbian and Gay Archives https://digitalexhibitions.arquives.ca/files/original/9b689c06f91f6ee14d005f852bb53632.jpg 0e5afb3136e77196367fff441a3e87bc 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 Lesbians Making History Collections Description An account of the resource The Lesbians Making History (LMH) collective came together in the mid-1980s and was inspired by oral history projects of gay lives coming out of Buffalo, Boston and San Francisco. The collective interviewed 9 women about their experiences as ‘out’ lesbians in the 1950s, 60s, and 70s. Collective members included: Rachel Epstein Maureen FitzGerald Amy Gottlieb Didi Khayatt Mary Louise Noble Lorie Rotenberg Some of the women interviewed also appeared in Aerlyn Weissman and Lynne Fernie’s NFB-funded documentary Forbidden Love: The Unashamed Stories of Lesbian Lives. The 1992 film was out of print for many years until 2014, when the National Film Board released it in digital format. Although the organizers of Lesbians Making History were committed to keeping the project a community-based initiative, and not one rooted in academic pursuit, they allowed Elise Chenier, now a professor at Simon Fraser University, to use the transcripts of the interviews for her MA thesis. Chenier’s work on lesbian bar culture in the 1950s and 60s is widely taught in Canadian universities. Interview material was also used by Cameron Duder and by Gary Kinsman and Patrizia Gentile. In 2014 the original audio tapes were given to the CLGA via the LGBTQ Digital Oral History Collaboratory, a multi-institutional research project led by University of Toronto professor Elspeth Brown and funded by a 5-year SSRHC Insight grant. Embedded at the Canadian Lesbian and Gay Archives (CLGA), Collaboratory members digitized LMH materials and created new verbatim transcriptions. Original LHM collective members assisted with editing transcripts, identifying key words and writing abstracts for each oral history interview. Creator An entity primarily responsible for making the resource Lesbians Making History Collective Date A point or period of time associated with an event in the lifecycle of the resource 1985-1987, 2000 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1950s to 1970s, 1985-1987 Rights Information about rights held in and over the resource CLGA holds non-exclusive rights Contributor An entity responsible for making contributions to the resource Maureen Fitzgerald; LGBTQ Oral History Digital Collaboratory (Elspeth Brown, PI) 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 Didi Khayatt at Lesbians Making History Launch Subject The topic of the resource Lesbians Making History Description An account of the resource Photo of original Lesbians Making History Collective Member, Didi Khayatt, taken at launch of Lesbians Making History Digital Collection, held at the Canadian Lesbian and Gay Archives, June 7, 2015. Creator An entity primarily responsible for making the resource Don McLeod, Canadian Lesbians and Gay Archives Publisher An entity responsible for making the resource available Canadian Lesbians and Gay Archives Date A point or period of time associated with an event in the lifecycle of the resource June 7, 2015 Contributor An entity responsible for making contributions to the resource LGBTQ Oral History Digital Collaboratory, Lesbians Making History Collective Rights Information about rights held in and over the resource Canadian Lesbian and Gay Archives Format The file format, physical medium, or dimensions of the resource Digital Photograph Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 015, 1985–1987, Toronto https://digitalexhibitions.arquives.ca/files/original/28e935dfdaeac5dad4acc39a18c18ad8.jpg 8d4a07740a660cf8d3275943fbb5900a https://digitalexhibitions.arquives.ca/files/original/ce3855789fa78f9cd3fe7bfeb8659ae1.jpg f3f00a045fea534d23715d88899ca68c 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 dignity Subject The topic of the resource religious organisations gay religious groups Description An account of the resource Light brown shirt with text and trimming in dark brown. 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 t-shirt Language A language of the resource English Type The nature or genre of the resource t-shirt religion https://digitalexhibitions.arquives.ca/files/original/8fda23d186026ff132da1fb76c77c7e6.jpg d432ff861bb78e2b1ce9d7e44e3a5acb 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 DIP me in Maple Syrup and THROW me to the LESBIANS Subject The topic of the resource lesbians lesbian studies academic disciplines Description An account of the resource Circular orange pin with black text, and droplets forming on "Maple Syrup." Publisher An entity responsible for making the resource available Lesbian Studies Coalition of Concordia 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 lesbian & gay studies lesbians https://digitalexhibitions.arquives.ca/files/original/aed1a9a5a063fc7eef0e245ec442c84f.jpg faf9bb99c52374bcb004d75e5bbf2655 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 Dirty River: A Queer Femme of Color Dreaming Her Way Home Subject The topic of the resource Memoir of queer disabled person of colour and abuse survivor Description An account of the resource In 1996, poet Leah Lakshmi Piepzna-Samarasinha, carrying only two backpacks, caught a Greyhound bus in America and ran away to Canada. They ended up in Toronto, where they were welcomed by a community of queer punks of colour offering promises of love and revolution, yet they remained haunted by the reasons she left home in the first place. This passionate, riveting memoir is a mixtape of dreams and nightmares, of immigration court lineups and queer South Asian dance nights; it is an intensely personal road map and an intersectional, tragicomic tale that reveals how a disabled queer woman of colour and abuse survivor navigates the dirty river of the not-so-distant past and, as the subtitle suggests, "dreams their way home." ISBN 9781551526003 Creator An entity primarily responsible for making the resource Piepzna-Samarasinha, Leah Lakshmi Publisher An entity responsible for making the resource available Arsenal Pulp Press Date A point or period of time associated with an event in the lifecycle of the resource 2015 Format The file format, physical medium, or dimensions of the resource Book: softcover Language A language of the resource English Type The nature or genre of the resource Physical Object Identifier An unambiguous reference to the resource within a given context Call Number: 2.21 PIE DIR 2015 https://digitalexhibitions.arquives.ca/files/original/fb26ef2e784a1f26942b35a5349c7647.pdf ff8edf2595c810292cf26c2b07b06bea 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 Coalition for Lesbian and Gay Rights in Ontario (CLGRO) Creator An entity primarily responsible for making the resource Jude Aylesworth 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 Brief 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 Discrimination Against Lesbians and Gay Men: the Ontario Human Rights Omission Description An account of the resource CGRO's fourth and final brief given to members of Ontario Parliament regarding the inclusion of sexual orientation as a protected class in the Ontario Human Rights Code. Date A point or period of time associated with an event in the lifecycle of the resource 1986 Language A language of the resource English Identifier An unambiguous reference to the resource within a given context M1994-017 Creator An entity primarily responsible for making the resource Coalition for Gay Rights in Ontario (CGRO) Publisher An entity responsible for making the resource available Coalition for Gay Rights in Ontario (CGRO) Contributor An entity responsible for making contributions to the resource Research by Chris Bearchell Copy editing by Irit Shimrat Format The file format, physical medium, or dimensions of the resource 28 pages : ill.