Explore the vast range of titles available.

Among gerontologists and health researchers, there is growing recognition of the importance of social participation and inclusion towards the health, well-being and quality of life of people with dementia. This paper examines the role of public artworks to facilitate the social citizenship of people with dementia. It is based on a subset of data from a larger study on community-based programmes for persons living with dementia and examines how Paul's Club, a social recreation group for people with young onset dementia, experience the public art they encounter on their daily walks through the downtown core and around the Seawall of Vancouver, Canada. Analysis suggests that public art not only helped members navigate urban spaces, but also provided a focus for curiosity that leads to meaningful social interaction and place-based conversations, clearly contributing to group enjoyment and a sense of community belonging. Implications of this study relate to community programming, social citizenship, community design, public art and community engaged art practice, as well as health and social care for persons with dementia.

There is a dearth of research on student-to-student abuse in Canada's Indian Residential School System despite the fact that the legacy of this violence continues to negatively impact Indigenous communities. This paper proposes an approach to dealing with this difficult subject matter by using creative practice as a means of working collectively with community leaders, scholars, artists and students to develop shared understandings of the abuse and its continued legacy. This paper outlines the rationale for work in this area and the beginnings of the development of hybrid Indigenous and non-Indigenous methodology that brings survivors' stories to audiences through a series of collectively authored theatrical performances that promote understanding and dialog. This paper is of interest to scholars, artists, playwrights, community leaders, and front line social workers who are working to bridge academic research and community engagement, particularly as it relates to artistic practice.

In this issue, RACAR's editorial team is pleased to present Polemics, a new section which, like the curated Practices section introduced last year, will bring up-to-the-minute and sometimes controversial issues into the journal, while featuring art and ideas of any place and time. Each spring issue of RACAR will include a Polemics or a Practices section. Polemics focuses on matters of pressing interest to the broad visual arts community in Canada. Each Polemics will be developed and introduced by a guest editor and will include brief, provocative essays that speak to a single contemporary topic from different perspectives. For the current issue, the guest editor; Natalie Loveless of the University of Alberta, brings together four voices from our community who reflect on research-creation as \"an important contemporary queering of the academy\" and a vigorous challenge to traditional disciplinary lines. Dans ce numéro, l'équipe éditoriale de RACAR est heureuse de présenter Polémiques, une nouvelle section qui, comme la section Pratiques introduite l'année dernière sous l'égide d'une commissaire invitée, proposera des débats sur des sujets d'actualité et parfois controversés, à propos d'art et d'idées de toute époque et de tous pays. Chaque printemps, RACAR publiera une Polémiques ou une Pratiques. Polémiques examine des sujets d'intérêt pressant pour la communauté des arts visuels. Chaque Polémiques sera développée et introduite par un rédacteur invité ou une rédactrice invitée et comprendra de brefs essais provocateurs qui se pencheront sur un sujet actuel abordé de différents points de vue. Dans ce numéro, Natalie Loveless de l'University of Alberta a réuni quatre voix de notre communauté réfléchissant à la recherchecréation, qu'elles qualifient comme étant un « queering » important de l'académie et un défi de taille aux frontières disciplinaires traditionnelles.

This value-laden binary elicits groans. Yet it takes us to the heart of a trenchant critique of new forms of academic, research-based art and institutional culture change. The duality also highlights ethical questions about the efficacy of creative practice research and the pitfalls of university-supported creative projects. SSHRC established its research-creation program to target creative practitioners, yet word on the street is that it is rigged against real artists who make good art. Among professionals, there is a sense that despite the generous budgets and timelines, academic support comes with strings attached. Or so I hear in the \"art school,\" the specialized art and OA

Glen Lowry, in his paper \"The Representation of 'Race' in Ondaatje's In the Skin of a Lion\" bases his discussion on the observation that critics tend to view Ondaatje's writing in terms of a progression towards complex issues of \"race\" and post-coloniality. In contrast, Lowry argues that the matter of \"race\" forms an integral aspect of Ondaatje's oeuvre and Lowry proposes that In the Skin of a Lion is a key site in the development of Ondaatje's engagement with issues of \"race\" and the cultural politics of post-coloniality. Focusing on Ondaatje's depiction of Toronto in terms of its complex history of shifting social spaces and his representation of Patrick and Caravaggio as \"racialized\" figures, Lowry discusses Ondaatje's engagement with whiteness as a social construct. Rather than critiquing Ondaatje's novel for an apparent absence of race-writing, i.e., writing about so-called \"visible minorities,\" Lowry suggests that Ondaatje in fact \"reverses the gaze\" and throws the question of \"race\" back on the readers. Adding the figures of Patrick and Caravaggio to the writing of the city, In the Skin of a Lion undermines presumptions about the racial stability and hegemonic power of Toronto 's and ethnic communities. Last, Lowry argues for a more thorough discussion of Ondaatje's critique of nationalism and multiculturalism vis-à-vis the cultural politics of reading and the construction of \"whiteness.\"

As acts of cultural citizenship, Daphne Marlatt's novel Ana Historic and Wayde Compton's Bluesprint: An Anthology of Black British Columbian Literature and Orature intervene in Canada's colonial history from different West Coast cultural locations. These two texts foreground the contradictory function of \"race\" in the rewriting of post-nationalist histories and literature.

The following dialogues are part of an ongoing exchange of ideas developing out of our collaboration as editors of West Coast Line, a Vancouver-based cultural/literary journal that chronicles and develops interdisciplinary cultural production relevant to the vanguard traditions of our West Coast – the western region of Canada and (cultural) watershed feeding into the Pacific Ocean, roughly the province of British Columbia. These dialogues come out of our shared interest in photography and cultural memory that has involved various projects, including a recent series of interviews with Jeff Wall and Fred Douglas on photography in Vancouver.³ The four sections below have