Justin Trudeau—since his October 2015 electoral victory that catapulted him to the office of Prime Minister, and his Liberal Party to a majority government—has not lost much of his sheen with the Canadian public. He still embodies for many youthfulness, respectable progressivism, and what the modern Canadian state and civil society should resemble.
Additionally, Trudeau on the international scene is seen as sexy, cosmopolitan, and as an embodiment of what Canada is stereotypically thought to be, even if it isn’t the reality. Trudeau’s actions, symbolic as they mostly have been, are nevertheless speaking loudly within and beyond Canada’s borders, giving him a highly publicized pulpit from which to evangelize his brand of Canadian l/Liberalism.
“it’s a capacity to engage in the world in difficult places without some of the baggage that so many other Western countries have, either colonial pasts or perceptions of American imperialism, as a critique that’s often out there.”
I must say that I feel the whole Canadian policy to be very hypocritical. We talk a good game but then proceed to act inconsistently by promoting trade with the countries whose policies we denounce.
The year was 1974 and the issue of Canadian trade with South Africa was making the headlines, along with concerns over the sale of CANDU reactors to Argentina and India. It reflected the increasing awareness of and support for human rights in Canadian foreign policy during the late 1960s and the early 1970s. As David Forsyth notes, as a general historical trend, more attention is now paid toward humanitarianism in world affairs. In part, this development was due to parliamentarians such as New Democrat Andrew Brewin, who were central in making the issue of human rights more than merely a domestic issue.
Brewin’s statement is as relevant today as it was in 1974. Since its election in October 2015, Prime Minister Justin Trudeau’s new Liberal government has been dogged by the continuing saga of the sale of armoured vehicles to Saudi Arabia. This deal, initially pursued and approved by the previous Conservative government, would see General Dynamics Land Systems sell $15 billion worth of Light Armoured Vehicles (LAVs) to re-equip the Saudi National Guard. These LAVs are to be produced at the General Dynamics production facility in London, Ontario, and were a centrepiece of the previous Conservative government’s plan for bolstering the Canadian arms industry through increased exports. Continue reading →
For both students and practicing historians, a wealth of information is often just a few clicks away. Photo by Thomas Lefebvre via unsplash.com
During the second half of my MA, my colleagues and I were tasked with preparing an exhibit about early-twentieth-century medicine. Not having a background in medical history, I began by downloading archived medical periodicals from Early Canadiana Online. I reasoned that if I could identify important conversations of the profession during the period of interest, I would have clear leads for exhibit content. What were considered standard practices? What were the pressing issues or the latest controversies? Unfortunately, I wasn’t at liberty to read the thousands of pages I had downloaded, let alone to keep an ongoing record of topics or word usage. During the previous semester, however, I had taken courses on digital history and digital research methods. After using Voyant Tools to generate a list of frequently used words in my periodicals, I put together a program to extract instances of these key words and save them in new documents for review. My processing of the periodicals ended there, but even this simple operation gave me useful direction for continued research.
In the two years since then, I’ve continued to use a variety of technologies in my work. My university training in digital history (and the willingness to embrace new technologies in general) has been helpful in finding employment opportunities outside the academy. I incorporate digital tools into my workflow because they’re illuminating, time-saving, and even fun. However, digital literacy was not a priority during most of my university career. Similarly, I have few peers that would consider themselves digital historians, despite the fact that research is routinely conducted online and the digital humanities are a frequent topic of discussion within the discipline. Continue reading →
It turns out rap is a perfect medium for history. Hamilton has become a touchstone musical, winning laurels from a range of audiences from musical aficionados to people (like me) who are never quite sure why everyone is singing. Its wide appeal has made it a notoriously difficult ticket to get—as of this writing, the tickets are “extremely limited” and ticket resale sites ask for $500 to $700. As the New York Times reviewer noted, “I am loath to tell people to mortgage their houses and lease their children to attend a hit Broadway show. Hamilton, directed by Thomas Kail and staring [Lin-Manuel] Miranda might just be worth it[.]” For those unwilling to resort to such extreme measures (including myself), the cast recording is widely available, and captures much of the energy and power of the work. It has the feel of being one of those generational musicals with the power to define how many people understand a historically significant figure, much as Les Misérables shaped understanding of the French revolutionary period.
Hamilton is a lasting success. So, we need to pay attention to this cultural moment. Here’s why.
One need not read a fully footnoted work to find some analytically rich and complex material. The creator, Lin-Manuel Miranda, demonstrated an impressive commitment to historical accuracy. He drew rigorously on Ron Chernow’s popular, but extensive, biography of Alexander Hamilton, and Chernow contributed as a consultant to the production. Other historians have largelypraised the work’s portrayal, noting only minor omissions or confusions. Indeed, the approximately three hour work is remarkable for how much detail it does include, from Hamilton’s efforts to form a new financial system to an intricate detailing of the rules of dueling. The “Cabinet Battles” are must-listens.
Digital history is coming to York University in Fall 2016. That is to say, I finally got around to organizing and preparing to teach digital history. As I get ready to teach this course, I am surveying the landscape of digital history teaching in Canada, looking for ideas. Readers of this article, I hope, will help by posting suggestions and links to resources in the comments below.
For many years now, I have integrated digital history skills, assignments, and exercises into my history courses. Continue reading →
About a month after the November 13 shootings, I was lining up, along with hundreds of carefree visitors, in front of the Osiris exhibit at Paris’s Arab World Institute. The sun was out, children were playing on the steps of the building and, aside from the occasional military squad patrolling the area, it was hard to believe that this city had recently been hit by a series of brutal attacks. As I was waiting in the slowly advancing line, I began to wonder what I would do if a gang of masked gunmen were to show up. We were (according to Daesh) nothing but horrible miscreants on their way to admire Ancient Egyptian idols. Why was I suddenly feeling vulnerable? After all, the risk had always been there and, although the media had only recently begun to popularize the concept of “soft targets,” the use of violence on civilians in public places is nothing new. However, the media’s frequent recourse to World War Two as a benchmark in terms of violence has contributed to obscuring the various acts of terrorism that occurred during the Cold War era, the 1990s, and the 2000s.
Among the many approaches to the 2015 Paris attacks, few avoided the trap of Western exceptionalism – here I use “Western” for the sake of convenience, as that term does not describe a clearly defined reality. While the generally Eurocentric reactions to the January and November shootings have been pointed out on many occasions, the chronological nearsightedness of most of the media and of the powers-that-be has been largely ignored. The appearance of the French tricolour on the CN Tower, the Statue of Liberty, and other monuments in the wake of the shootings did not just reflect a geographical double standard, but also implied that some sort of world-historical event had occurred. Although the high death toll (130 victims) seemed to point to a return to a level of violence unseen since the Second World War, and although the terrorists’ recourse to suicide bombers signaled a change in the Jihadists’ tactics on the European continent, it would be premature to see that particular massacre as an epoch-making event. Continue reading →
One of the aspects of war art that continues to surprise me is how personal it ultimately is. Any painting, however objectively representative of events it may purport to be, in it carries some measure of the artist’s subjective response to the incident, place, or person depicted. Furthermore, it is influenced by the artist’s personal circumstances and attitudes. David Young Cameron’s massive 1919 war landscape (physically and in terms of the scale of the view) Flanders from Kemmel is a case in point. It is travelling across Canada at present after display in the exhibition Witness at the Canadian War Museum in the summer of 2014.
David Young Cameron, Flanders from Kemmel, 1919. (Oil on canvas, 197.5 x 336 cm, Beaverbrook Collection of War Art, Canadian War Museum 19710261-0117.)
At first glance, the painting presents a misty, Impressionist-like scene. A cloud-filled sky makes up the bulk of the composition. Centring the composition is a small village. An arrangement of trees and hillside frame the wider panorama. I have always appreciated the artist’s technical proficiency in holding this wide-ranging composition together. But I never looked at it particularly closely until Canadian War Museum librarian Lara Andrews mentioned that she saw figures moving through the middle ground near the village – soldiers or refugees – she wasn’t sure. This led me to scrutinize the painting anew as a work of art and, also, to explore more fully the history behind it. Continue reading →
On December 4, 1915 Joseph Gorman of Ottawa graduated from the Stinson Flying School at San Antonio, Texas, and returned to Canada in order to sign up with the Royal Naval Air Service (RNAS). He was the first graduate for twenty-one year-old Marjorie Stinson, the instructor who taught him to fly in the record time of two weeks (totalling about four hours of flying time). Some years later Stinson reflected that “perhaps I might never have begun teaching men to fly had it not been for a group of youngsters who feared the war would be over before they could get into a fight.” Unable to get sufficient hours in at the Wright Flying School at Dayton, Ohio, Gorman and three other Canadian men wired Stinson “asking if I would take them on. I wired back a ‘yes’ and down they came before I was quite ready for them.” Stinson’s story, which will make an appearance at the War in the Air exhibition curated by John Maker at the Canadian War Museum in 2016, provides a fascinating glimpse into the excitement and sense of possibility generated by the confused scramble of wartime regulators to make sense of new technologies.
Katherine Stinson (sister of Marjorie) and her Curtiss airplane. Wikipedia
Together with her sister Katherine and brothers Edward and Jack, Stinson was a member of what came to be described in the press as the “Flying Family.” Katherine was the first member of this family who learned to fly, in 1912 under the tutelage of Max Lille. In May 1913 she incorporated the “Stinson Aviation Company” to manufacture aeroplanes, with capital stock of $10,000, herself as president and her mother, Emma B. Stinson, as secretary and treasurer. Within a month Katherine had bought a Wright model “B” biplane to develop her flying skills and the company began to grow. The following year Marjorie asked her mother for $450 and travelled by train to take lessons at the Wright School. After 4.5 hours in the air she earned her Aero Club of America Pilot’s Certificate No. 303 (dated August 12, 1914), performed some exhibition flights, and then became the main flying instructor at the new branch of the family business, the Stinson School of Flying. Her first graduate was Gorman, who gained Certificate No. 371. That only 67 other people (all men) had earned their licences between Stinson and Gorman gives a sense of how much aviation at the time operated on the principle of the newly minted pilot teaching the next one in line how to fly. Marjorie also taught both of her brothers: Edward in December 1915 and Jack in January 1916.
Following their “Let’s Talk TV/Parlons télé” initiative, the Canadian Radio, Television, and Telecommunications Commission (CRTC) is compelling TV providers to alter how they provide content to Canadians. In March 2016, Canadian TV watchers will have the option to select smaller bundles or individual (or a la carte) channels, which viewers will be able to do by December 2016, although they will still have to pay $25 for a “skinny basic” package of channels, including CBC, CTV, and Global. These changes have been widely welcomed for offering reduced prices and providing an opportunity for people to reduce their cable bills.
Despite the potential savings, some in the media industryhave raised multiple red flags. The Canadaland podcast presented the opinion of an unnamed industry representative who contended that television industry has become even more conservative in their willingness to fund Canadian content, as they anticipate lower subscription rates and revenues. (Intriguingly, the anonymous representative notes that CBC is an exception to this, likely as they became more optimistic with the change in government). Jesse Brown, the Canadaland host, also references wide sentiment that the upcoming changes to CRTC regulations will lead to the end of a number of niche channels.
Further, a Nordicity report commissioned by the Alliance of Canadian Cinema, Television, and Radio Artists (ACTRA), Canadian Media Guild, Directors Guild of Canada, Friends of Canadian Broadcasting, and UNIFOR painted a grim picture of the ramifications of the CRTC changes. The anticipated loss of revenue from the new system, the report warns, will lead to a $970 million decrease in revenue for Canadian specialty and pay services by 2020, and estimates that the decreased revenues will contribute to the loss of some 15,000 direct and spin off full time jobs. The report in part contended that the great cable cut off is exaggerated, particularly since sports fans and news watchers continue to keep cable, and that radical alterations to the financial model were not necessary. In effect, the report contends that the convenience for consumers to pick their few favourite channels would lead to catastrophe for Canadian film and television workers. It is difficult to verify the claims made by the report, although it did succeed in getting some media attention. Continue reading →
Active history is proud to present a video each week from New Directions in Active History. The conference took place at Huron University College on October 2-4, 2015 and brought together scholars, students, professionals and community members to discuss a wide range of topics pertaining to active history.
This week, Christopher Moore, a member of our opening plenary round table at the New Directions in Active History Conference, discusses what he feels active history means, and how it is applicable to bridge gaps within the profession of history as well as historians and the public. Moore lays out his perspective on how this can be accomplished through historical blogs and social media that engage with Public Policy.