Carter is a survivor of breast cancer and through her journey of healing, she noticed many friends and family members succumbing to the disease. The experiences which resonated most with Carter were from other Black women who were often ignored by medical professionals despite their concerns. The Perfect Match for a Fight is a panel discussion of the breast cancer experiences of Carter, Patricia Russell (survivor) and esteemed surgical oncologist, Dr. Mojola Omole. Russell shutters while detailing her memory: “… after finding a lump in my breast and approaching my doctor to investigate further, the doctor refused to examine me”. This sentiment was echoed by the panelists as a prevalent problem when Black women, men and trans people determine their self examinations warrant medical intervention. Carter concurred offering, “…despite breast cancer being an aggressive killer of Black women, the face of the disease is one of White women. This is why these garments are so important; representation matters. How often do you hear that you should check for lumps? How many of us actually know what a cancerous lump feels like? This prototype shows us”.

Love & Nudes was established in 2017 as an ode to Black women. Carter saw the need for nude tones which reflect the spectrum of tones of women of colour. Her mission to foster equity evolved further into changing the systemic disparities present related to breast cancer and women of colour, “Love & Nudes was founded because we saw a glaring misrepresentation in everyday products for women of colour. But our bras mean nothing if Black women aren’t alive to wear them”. Research suggests Black women tend to present with breast cancer as early as age 40, yet screening in most provinces starts at age 50; this 10 year discrepancy is an aggravating factor to the high mortality rate among Black women aged 40-49 – this is one of many changes Carter and her team are advocating for. Beyond this, Carter highlights “…over 16 percent of breast cancer cases occur in women under 50 years of age, with Black women under the age of 50 with breast cancer having a mortality rate double that of white women of the same age group”.

Love & Nudes is campaigning for change on a systemic level. They are advocating for the Canadian government and Health Canada to lower the age of breast cancer screening to age 40. Early detection is the key to survival and Black women are disproportionately predisposed to early onset triple negative breast cancer before age 50. Mammogram screening age is set at age 50 and up, so many women are diagnosed with breast cancer at a later stage in life. Love & Nudes is petitioning for 2500 signatures and are nearing the 2000 mark. Check out their efforts and sign up if this cause resonates with you. The Stage Zero Collection is the only one of its kind and will change how Black women see, understand and assess self screening. Join the conversation using #StageZeroCollection.

The post Love & Nudes: Reframing Breast Cancer Screening for Black Women appeared first on Toronto Guardian.

Executive Director, Agapi Gessesse, spoke with Toronto Guardian about the mission representatives of CEE Centre for Young Black Professionals offer Black youth in the GTA. Gessessse has dedicated her entire career to fostering social impact capable of transforming the lives of the Black community. Her vision sees the potential to “create an equitable ecosystem [for Black families]” in collaboration with the Canadian government which truly promotes change. In their efforts to cultivate “financially prosperous” individuals, CEE considers “gaps in the labour market in leading industries including: information technology, trades, entertainment, finance, hospitality and social services, providing free programming for youth ages 14 and up”.

CEE offers a unique service model focusing on a person-centred and trauma-informed approach, while maintaining cultural relevance. Gessesse highlights, “the person-centred approach provides individuals with support around food security, housing security, mental health, child care and things of that nature”. In this respect, CEE facilitates a focus on “life stabilization”, offering members the option to connect with social workers to develop a feasible “plan for stabilization”. The trauma-informed approach sees CEE representatives call attention to the various forms of trauma compounded by life experiences impacting the Black community. Understanding the impact of this trauma is essential for finding effective solutions which reduce the collective trauma felt by Black youth and their families; the psychotherapists at CEE work with young people in need of support in order to establish healthy healing models. Furthermore, CEE operates cognizant of the African proverb “ubuntu” which means, “I am because you are”, the organization fuses Black culture into their model of care and a strong presence of Black representation reflected in their staff. Gessesse offers, “the cohorts work together to achieve success. If one member is excelling then all of the cohort excels, yet, if a member is having challenges then the group waits for that member to catch up and they progress as a team. This is the secret sauce that makes CEE unique”. Gessesse has found that cultural relatability pertaining to members and staff, has encouraged more success with members as they develop autonomy, emotional intelligence and healthy connections through prosocial behaviours modelled by their Black mentors; members ultimately feel seen and heard.

CEE hosts a wide array of free career advancement options, wherein participants may graduate with a certification in any number of programs. There are currently over 20 programs being offered in cycles throughout the year, some of which are: CEE Tech (Intro to digital technology) – a free hands on training, wherein participants earn a certificate in technical web design, 3D world and video game basics, social media management, etc. Also included in this program is career coaching and an internship. Cyber Security offers Black youth interested in pursuing a career in the ever growing tech industry, the opportunity to develop skills in Digital Security Technology. Members graduate this program fully equipped to work as a security professional in the cyber security domain. While those interested in pursuing a career in finance and insurance have the option to get certified in the 24 week Insurance Underwriting Program. Zurich Canada offers candidates 12 weeks of software training and skills development coupled with a 12 week paid internship.

CEE has recently expanded services to Montreal, Quebec, wherein they run programs in the entertainment sector. Gessesse notes, “we have plans over the next year to expand to other provinces”. If you are looking to get in contact with representatives of CEE, reach out via their socials: Instagram, LinkedIn, or their website. CEE is working to reduce the collective trauma of the Black community starting with the youth and their families, fostering autonomous, educated, emotionally intelligent and financially literate young people.

The post CEE Fosters Enterprising Canadian Black Youth appeared first on Toronto Guardian.

The Woman King tells the story of the Agojie, an all female troop of warriors who fought for the kingdom of Dahomey. The Agojie serve under the rule of King Ghezo, played by British actor John Boyega (Star Wars: The Force Awakens) and are revered transcontinentally for their skills in battle. Filmed in South Africa, the story takes place during the 19th century in the West African kingdom of Dahomey; General Nanisca (Davis) recruits and trains the next generation of Agojie warriors. General Nanisca (Davis) is a well respected member of the King’s retinue; this protagonist is seen as the backbone of the Agojie and the power behind King Ghezo (Boyega). The Agojie embody strength, beauty and perseverance in this harrowing story of navigating life during a time marred by slavery.

Audiences will be charmed by this ensemble cast including: daring and boisterous new recruit, Nawi (played by Thuso Mbedu of Amazon’s the Underground Railroad), who we see throughout her journey with the Dahomey army; fiercely brave and comical, Izogie (played by Lashana Lynch of Captain Marvel and 007: No Time to Die) who offers endless equips, while demonstrating unmatched vigor; and kind and valiant Amenza (played by Sheila Atim of Dr. Strange in the Multiverse of Madness and Amazon’s The Underground Railroad) who is always ready with sage advice or ready for a battle. The Agojie find themselves in a rivalry with an enemy of the Dahomey kingdom, the Oyo empire. The Oyo work alongside Transatlantic slave traders, imprisoning and selling African citizens in the slave trade. This enthralling plotline is filled with twists, secrets, romance and revenge.

The plot of The Woman King is loosely based on the real life story of the all female Agojie army from West Africa, in the region known as modern day Benin. The Dahomey kingdom was seen as one of the most powerful of the time and the Agojie were seen as a major source of that power; their nation thrived from the 17th to 19th century.

This film sees Atim, Boyega, Davis, Lynch and Mbedu amplify the black voice through hilarious banter, emotive monologues and suspenseful fight sequences. The dialects and vernacular bring authenticity to this film, leaving audiences vulnerable to the raw emotions displayed throughout the movie. This film is rooted in themes of blackness and still manages to appeal to everyone.

The Woman King premiered at this year’s Toronto International Film Festival (TIFF). TIFF brings a slew of notable celebrities and must-see films to Toronto every September. This year was a return to an in-person experience and events took place across the downtown core. Take in this captivating experience at your local theatre or drive-in. The Woman King is in theatres now!

The post Viola Davis is The Reigning Woman King appeared first on Toronto Guardian.

The festival originally began in 2002 as a way to highlight theatrical works by black women. It since has grown to include dance, visual art, film and youth events by artists of all cultures and genders. The event is also presented by b current, a 25 year old organization founded by artist ahdri zhina mandiela as a place for Black artists to create, nurture and present new works, it as well has expanded since its conception to support indigenous artists and those artists that identify as being of colour.

This festival’s theme is focusing on higher power in society, asking artists to draw on their personal, spiritual, political and emotional experiences. What is also interesting, is the productions will be in many stages of development. Along with finished works, visitors will also be able to take part in the development of a script as well as workshops showing the process the artists take in creating their production.

Here are a few of the highlight and a schedule of events.

Broken Windows by Fiona Clarke, inspired by the #BlackLivesMatter movement, and last year’s shooting in the U.S. of a Muslim family over a parking ticket.

zahgidiwin|love by Frances Koncan, an experimental and political exploration of the missing and murdered Indigenous women and girls

Monstrous by Sarah Waisvisz, exploring the often ignored mixed race identity between Black and White.

The Midnight Birth by All-Ever (Oliver Koomsatira) and Kim Henry, a combination of hip hop, music and dance, and dealing with sexism, it seeks to break commercial rap stereotypes.

***

FESTIVAL SCHEDULE

TUESDAY, MAY 3
8pm – 10pm @ Wychwood Theatre
My Essence by Ashley Colours Perez • Anecdotal Tendencies by mettle
zahgidiwin|love by Frances Koncan

WEDNESDAY, MAY 4
8pm – 10pm @ Wychwood Theatre
She who walks on fire by Rania El Mugammar • Yield to Pedestrian by Sherry Hsu
Letters to Universe by Shaunga Tagore • zahgidiwin|love by Frances Koncan

THURSDAY, MAY 5
8pm – 10pm @ Wychwood Theatre
Broken Windows by Fiona Clarke • Take d Milk, Nah? by Jiv Parasram
Monstrous by Sarah Waisvisz

FRIDAY MAY 6
8pm – 10pm @ Wychwood Theatre
Ouroboros Project by Emma Laishram/Ouroboros Collective • CLASS by Shakura Dickson
The Midnight Birth by All-Ever (Oliver Koomsatira) and Kim Henry

SATURDAY MAY 7
8pm -10pm @ Wychwood Theatre
The Last Bike Ride by Grace Lynn Kung • Collaboration: The Human and the Divine by Nasra Adem
The Midnight Birth by All-Ever (Oliver Koomsatira) and Kim Henry

blackout 2016 Wrap Party
10:30pm @ Location TBC
(All programming subject to change)

FESTIVAL PASSES:
$75 Festival Pass and $20 Evening Pass Now Available at bcurrent.ca
$15 evening pass (Arts Worker / Senior / Student) also available

View their website for more details.

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