Dancing politics : connecting women's experiences of rave in Toronto to ageism and patriarchy

Based on a critical analysis of recent Canadian and British media, academic, and political representations of rave, in conjunction with the author's and ten female interviewees' past experiences as active rave participants, the purpose of this thesis is to show the ways that rave can be understood as political. Drawing on a post-structural understanding of politics, which understands macro social issues and micro personal experiences as intimately linked and inseparable, this thesis fills a gap in the existing rave literature by explicitly drawing out (a) the ways that active rave participation is entangled in dominant understandings of age and gender-appropriate activities, and (b) the implications that these entanglements have on the ways that some women experience and construct their past active rave participation. Specifically, the author examines the ways that age and gender intersect and inform the discourses on which research participants drew to describe and rationalize their experiences of becoming, being, and ceasing to be active rave participants in Toronto, Ontario, Canada. At the same time that the majority of research participants' introductions to rave followed heterosexualized and heternormative patterns, they also constructed active rave participation as a way to challenge popular representations of rave as an inappropriate activity, especially for young women. When rationalizing the cessation of their active rave participation, however, these women reproduced depictions of rave participation as a transitory and juvenile phase where older women are particularly misplaced. The various ways that these women simultaneously challenged, experienced, and facilitated dominant ageist and patriarchal discourses about who does and does belong in rave are interpreted as evidence that micro rave experiences cannot be divorced from macro discriminatory discourses, and that "the personal is political."

Inside Canada Public Relations Ltd. Records 1951-1987

Ontario Editorial Bureau (O.E.B.)

Margaret Glassford fonds, 1941, 1951, 1961, 1971, 1973-1975, 1977-1984, 1986-2000, 2002, 2005, n.d.

Margaret was an only child who grew up on a farm just east of Cayuga, Ontario. After high school, Margaret attended Hamilton Teacher���s College and took a position with Grantham Public School Board and taught at Power Glen school. Margaret was married in 1962 and had 2 children, a daughter and a son in 1963 and 1964, respectively. Margaret left her teaching job to raise her children. Margaret was very creative and artistic and during this time, focused on these talents, which included painting, graphic arts and sewing. Margaret was also an accomplished pianist. In her 40���s, Margaret enrolled at Brock University and in 1989 obtained a Honors Bachelor of Arts degree with First-Class Honors in Sociology. In partial fulfillment of her Honors B.A. she completed her thesis that is entitled ; The State and Liberal Feminism: The Ontario Government���s ���Business Ownership For Women Program���. While living in St. Catharines, Margaret attended York University and graduated with a Master of Arts in Sociology in 1992 where her studies focused on women���s issues. Margaret received a scholarship from York University and was a teaching assistant. Margaret stayed on at York University and completed her academic requirements for a Doctorate degree in Sociology. Her dissertation was on self employed women in St. Catharines at the beginning of WWII -- not the��� Rosie the Riveters��� who took over jobs formerly held by men who had to go off to fight World War II, but women who ran their own businesses when that was still unusual. Margaret completed the research for her thesis but did not complete her written thesis as she made a difficult decision to put her academic work on hold in the mid-1990���s and she returned to her love for the arts, although she always remained a voracious reader and interested in women���s issues. In the last decade of her life, she took up quilting with a passion, which she referred to as fabric arts. Margaret loved colour and being non-traditional. Margaret had been a quilting instructor at the Flemington College for Fine Arts in Haliburton. In 1997, Margaret founded Project Smile in the St. Catharines region, a non-profit group who make quilts for children with cancer. Margaret was also the President of the Niagara Heritage Quilters��� Guild in 2006-2007 and was very involved with the Local Council of Women.

Rittermere Farm Craft Studio Fonds, 1951-2006

During the 1950���s, the Rittenhouse family of Vineland in the Niagara Peninsula opened a craft store and studio. Within a short period of time, they realized that resources for the craft of rug hooking were in demand and they began to build their business around this niche. Edna Rittenhouse, the mother, was the wool dyer; Margaret Rowan, the daughter, was the pattern designer; Ted Rowan, the son-in-law, changed careers and became the manager of the family business. The 1960���s were a prosperous time, not only in the Niagara Peninsula, but also for the Rittenhouse business. Edna Rittenhouse had been hooking rugs for decades but she and her family worked at developing and sharing newer techniques with newer materials. Shading manuals were authored and published; students became teachers; creativity abounded in the demand for and the creation of new designs. Instead of using woolen yarn, they were using pure woolen fabric; instead of using a standard cutter, they began using a uniquely designed cutter; instead of using frames, they employed a table top method. The new material and technique resulted in a rug with a smooth, uniform texture and a soft nap. Since many crafters belonged to crafters guilds, Margaret and Ted Rowan began promoting the idea of a guild for rug hookers and in time the Ontario Hooking Craft Guild was also a reality. A joint project between Chatelaine magazine and the Rittermere studio for Canada���s centennial year of 1967 was extremely well received within the circle of hooking crafters and the Rittermere Farm Craft Studio became a North American landmark for crafters. From this point onward the studio had a large customer base not only in North America but also overseas. The studio remained popular until 1984 when Margaret and Ted Rowan decided to retire. The Rittermere name has been preserved in the name of Rittermere-Hurst-Field which is a similar business located in Aurora which is just north of Toronto.

City of St. Catharines fonds, 1951-1964, 1970-1973, 1978-1982, n.d.

The fonds contains materials relating to the City of St. Catharines from the 1950s to 1980s. The materials included are correspondence, clippings, media releases, and some photographs. Folders are arranged alphabetically and then chronologically within each series. The series are arranged alphabetically.

Proceedings : Grand Lodge, A.F. & A.M. of Canada in the Province of Ontario - 1951

On spine : The Grand Lodge of Canada in the Province of Ontario.

Welland Canal Survey of Lands Peter May, 1826

Survey map and description of Peter May's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; a large pond, the original bed of the 12 Mile Creek. Surveyor notes are seen in pencil on the map. The property is on the second concession in Grantham. Click on 'detail' to see Map

Welland Canal Survey of Lands Peter Vanevery, 1827

Survey map and description of Peter Vanevery's land created by The Welland Canal Company. Included is a written description of the land along with a drawing of the land. Noteable features include; lines between lots, L. Carrol's and E. Bouke's land. The land totals 100 acres. Deed from Jacob Stule (?) dated July 10, 1827. Surveyor notes are seen in pencil on the map.

Last Will and Testament of Peter Wright - 18 December 1812

The last will and testament of Peter Wright dated December 18, 1812. Transcription of will is below.

Welland Canal/St. Lawrence Seaway Authority fonds, 1826-1880, 1905-1951

The Welland Canal Company was formed in 1824 by William Hamilton Merritt. Construction of the first Welland Canal began in 1829 and was completed in 1834. The canal ran south from Port Dalhousie along Twelve Mile Creek to St. Catharines. An extension was built in 1833 to Gravelly Bay, now Port Colborne. As ships became larger and the wooden locks deteriorated, the need for a new canal became apparent. In 1839, the government purchased the Welland Canal Company���s assets and began making plans for the construction of a second canal. Construction began in 1841 and was completed by 1845. In 1887, a third Welland Canal was completed, which operated until 1932, when a fourth canal was completed. This canal remains in operation today.

Hydro Electric Commission of Niagara Falls Ontario Scrapbook, 1936-1939, 1943-1951

Sir Adam Beck ( a London, Ontario manufacturer, Mayor and Conservative member of the provincial legislature) was a champion of municipal and provincial power ownership. Beck become the ���Power Minister��� and chairman of the Hydro-Electric Power Commission of Ontario which was the world���s first publicly owned utility. In 1925 the first unit of the Hydro Electric Power Commission���s Queenston Chippawa hydro-electric development on the Niagara River went into service. The station was renamed in 1950 as ���Sir Adam Beck #1���. This marked the 25th anniversary of Beck���s death. This is one of 2 generating stations in Niagara Falls. There is also Adam Beck Plant #2. The Niagara generating stations supply one quarter of all power used in New York State and Ontario.Ontario Hydro has two water tunnels which traverse the entire City of Niagara Falls from the Village of Chippawa in the South to the Sir Adam Beck Hydro Electric Generating Stations in the North. Also they are in the process of building the third tunnel. In addition, Ontario Hydro has a 13.6 km open canal which traverses the entire City of Niagara Falls. Source: http://www.hydroone.com/OurCompany/Pages/OurHistory.aspx

Singing Nature, Dancing Buddha: Zen, Language, and the Groundlessness of Silence

This thesis presents Zen experience as aesthetic in nature. This is done through an analysis of language, a central concern for Zen Buddhism. The thesis develops two modes of language at work in Zen: representational and indexical. What these modes of language entail, the kind of relations that are developed through their use, are explored with recourse to a variety of Zen platforms: poetry, the koan, zazen, music, and suizen. In doing so, a primacy of listening is found in Zen - a listening without a listener. Given this primacy of listening, silence comes to the forefront of the investigation. An analysis of John Cage's 4'33" provides this thesis with justification of the groundlessness of silence, and the groundlessness of subjectivity. Listening allows for the abyssal subject to emerges, which in tum allows for reality to present itself outside of the constitutive function of language.

Residence and Grist Mill of Peter C. Servos, J.P. - Vignette

A vignette of the residence and grist mill of Peter C. Servos, J.P., Township of Niagara.

Proceedings of the Grand Chapter of Royal Arch Masons of Canada at the annual convocation, 1951

Annual Convocation proceedings for the year 1951. The title varies slightly and convocation held at different cities or towns in Canada. Ninety-third annual convocation.