women of colour

BY SANDHYA SINGH

“Here, in Canada, in the 21st century, we have a program that is clearly violating human rights.” So says Cecilia Diocson, executive director of the National Alliance of Philippine Women in Canada (NAPWC).

It was only in 1986 that contemporary rock music began in China. The artist was Cui Jian, and the instruments were a mixture of Western and Eastern styles, featuring screaming electric guitars. He is now seen as the figurehead of the Chinese rock movement.

Since then, the music scene in China has developed at breakneck speed. Now, in what is seen as its fourth generation, there is a burgeoning scene for every musical style. Some compare the Chinese music scene today to the late ’60s of North America.

Tiffany Deer is giggling uncontrollably. Her sister, filmmaker Tracey Deer, is holding the camera and laughing along. The laughter is contagious, the intimacy compelling. This is the opening sequence from Club Native, which, during its 78-minute running time, entertains viewers even as it educates and often challenges them.

In the 100 days of genocide that ravaged the small Central African nation of Rwanda from April until July 1994, about one million Tutsi and Hutu people were killed, and an estimated 250,000 to 500,000 women and girls were raped.

Throat singing isn’t a sound that’s easy to describe, even for Tanya Tagaq, so she relies on comparisons.

“It’s breath, it’s rhythm. To be very, well, pompous about it, it’s like the sushi of sound.”

She shakes her head, laughing. “When you hear it, you either love it or you hate it.”