Eric Fillion – författare

It is a little-known fact that the first cultural agreement Canada signed was with Brazil in 1944. The two countries’ rapprochement launched a flurry of activity connecting Montreal to Rio de Janeiro amid the turbulence of war and its aftermath. Why Brazil? And what could songs and paintings achieve that traditional diplomacy could not? Distant Stage examines the neglected histories of Canada-Brazil relations and the role played by culture in Canada’s pursuit of an international identity. The efforts of French-Canadian artists, intellectuals, and diplomats are at the heart of both. Eric Fillion demonstrates how music and the visual arts gave state and non-state actors new connections to the idea of nation, which in turn informed their sense of place in the world. Tracing the origins of Canadian cultural diplomacy to South America, the book underscores the significance of race and religion in the country’s international history, showing how Brazil served as a distant stage where Canadian identity politics and aspirations could play out. Both a timely invitation to think about cultural diplomacy as a critical practice and a reflection on the interplay between internationalism and nationalism, Distant Stage draws attention to the ambiguous yet essential roles played by artists in international and intercultural relations.

Ontario-born jazz pianist Lou Hooper (1894–1977) began his professional career in Detroit, accompanying blues singers such as Ma Rainey at the legendary Koppin Theatre. In 1921 he moved to Harlem, performing alongside Paul Robeson and recording extensively in and around Tin Pan Alley, before moving to Montreal in the 1930s.Prolific and influential, Hooper was an early teacher of Oscar Peterson and deeply involved in the jazz community in Montreal. When the Second World War broke out he joined the Canadian Armed Forces and entertained the troops in Europe. Near the end of his life Hooper came to prominence for his exceptional career and place in the history of jazz, inspiring an autobiography that was never published. Statesman of the Piano makes this document widely available for the first time and includes photographs, concert programs, lyrics, and other documents to reconstruct his life and times. Historians, archivists, musicians, and cultural critics provide annotations and commentary, examining some of the themes that emerge from Hooper’s writing and music.Statesman of the Piano sparks new conversations about Hooper’s legacy while shedding light on the cross-border travels and wartime experiences of Black musicians, the politics of archiving and curating, and the connections between race and music in the twentieth century.

What is the work that music festivals do in the world? In asking this question, Ripple Effects explores the varied ways in which festivals can act as spaces where new social relations are cultivated, as places for envisioning and enacting repertories of embodied memory and care, as alternatives to fragmented private consumption of culture, as sites for unexpected conversations.While some case studies discuss structures of dominance inside mammoth corporate-sponsored festivals, other chapters find insubordinate spaces in independent, artist-run festivals designed to honor traditional folk musics, to protest the proliferation of nuclear weapons, to deploy cultural exchanges in defiance of Cold War politics, to build pan-African unity, and to embrace the links between humans and the more-than-human world.Ripple Effects brings together leading and emerging scholars, artists, and arts presenters to consider the challenges, rewards, and responsibilities associated with the improvisational culture and ethos of music festivals as alternative public spheres.Contributors: Amina Boubia, Jody H. Cripps, Chris Dodd, Ben Finley, Simon Frith, Maria Giaever Lopez, Chris Greencorn, Jo Haynes, Michael J. Kramer, David A. McDonald, Patricia Nicholson, Melissa Noventa, William Parker, Jeremy Reed, Andrew Snyder, Cheryl Thompson, Steve Waksman, Katharine White, Deborah Wong, and the editors.In the series Insubordinate Spaces

What is the work that music festivals do in the world? In asking this question, Ripple Effects explores the varied ways in which festivals can act as spaces where new social relations are cultivated, as places for envisioning and enacting repertories of embodied memory and care, as alternatives to fragmented private consumption of culture, as sites for unexpected conversations.While some case studies discuss structures of dominance inside mammoth corporate-sponsored festivals, other chapters find insubordinate spaces in independent, artist-run festivals designed to honor traditional folk musics, to protest the proliferation of nuclear weapons, to deploy cultural exchanges in defiance of Cold War politics, to build pan-African unity, and to embrace the links between humans and the more-than-human world.Ripple Effects brings together leading and emerging scholars, artists, and arts presenters to consider the challenges, rewards, and responsibilities associated with the improvisational culture and ethos of music festivals as alternative public spheres.Contributors: Amina Boubia, Jody H. Cripps, Chris Dodd, Ben Finley, Simon Frith, Maria Giaever Lopez, Chris Greencorn, Jo Haynes, Michael J. Kramer, David A. McDonald, Patricia Nicholson, Melissa Noventa, William Parker, Jeremy Reed, Andrew Snyder, Cheryl Thompson, Steve Waksman, Katharine White, Deborah Wong, and the editors.In the series Insubordinate Spaces