Don Franco, in his 60s at time of interview, discusses his youth, family and premature exit from school to enter the workforce. Don Franco attended Victoria College at UofT at the time of World War II, but was refused entry into the Air Force due to…
In this oral history interview Frederick Sproule, 88 years old, discusses his life as a gay man in Toronto from the early twentieth century onwards. The interview begins with Sproule describing his coming out experience when he was 18 and lived in…
John Gartshore, a gay man age 58 at time on interview, begins the conversation outlining the his early realizations of him homosexuality at Upper Canada College. He continues onward choronologically, discussing his incomplete BA at Trinity College of…
Trigger warning for use of racist and sexist language in this interview.
This is John Grube's second interview with Frederick Sproule for Foolscap. The oral history begins with Grube and Sproule looking through a series of photos, and Sproule…
Arif Noorani, in this oral history, active in Desh Pardesh in the 90’s, discusses his involvement with other activist groups, notably Queer Nation and CKLN. He talks about the influence Mike Harris had on the numerous arts collectives who lost…
In this oral history, Cameron Bailey focuses on the uniqueness of Toronto’s art scene; he says that artists in Toronto can work together despite difference. He is only vaguely aware of the politics within Desh Pardesh. He also speaks about…
In this oral history Dunstan Egbert describes how he started volunteering with the Alliance for South Asian AIDS Prevention (ASAAP), and Desh Pardesh. He also worked with Khush, but explains why he identifies more as a ASAAP and Desi participant than…
In this oral history, Gita Kolanad talks about performing both in Singapore and in Toronto, as a writer, dancer, and martial artist. She says that what is most distinct about audiences in Toronto is their refusal of essentializing South Asian art.…
Leah Lakshimi, in this oral history, recounts her experience coming to the arts scene in Toronto, where she felt included and respected as a South Asian artist. This was distinct from her experience in the United States and other areas of Canada,…
In her oral history, Natasha Singh articulates why Desh was so influential, and also goes into depth about the world-wide influence Desh had on South Asian festivals. Additionally, she gives an example of how Desh empowered her in her everyday life.