December 1, 2017, 7:00 pm (doors open at 6:30)
McNabb Recreation Centre, 180 Percy Street, Community Room
(Toronto [Ryerson], Montreal [McGill], and Calgary [ACAD] event info coming soon!)

Please join the AIDS Activist History Project for a video screening of ALTERNATE ENDINGS, RADICAL BEGINNINGS, the 28th annual iteration of Visual AIDS’ longstanding Day With(out) Art project. Curated by Erin Christovale and Vivian Crockett for Visual AIDS, the video program prioritizes Black narratives within the ongoing AIDS epidemic, commissioning seven new and innovative short videos from artists Mykki Blanco, Cheryl Dunye & Ellen Spiro, Reina Gossett, Thomas Allen Harris, Kia Labeija, Tiona Nekkia McClodden and Brontez Purnell.

In spite of the impact of HIV/AIDS within African, Craibbean, and Black communities, these stories and experiences are constantly excluded from larger artistic and historical narratives. In 2016 African Americans represented 44% of all new HIV diagnoses in the United States. As of 2014, African, Caribbean, and Black communities represented an estimated 16% of people living with HIV in Canada, while representing only 2.5% of the population. Given this context, it is increasingly urgent to feature a myriad of stories that consider and represent the lives of those housed within these statistic. ALTERNATE ENDINGS, RADICAL BEGINNINGS seeks to highlight the voices of those that are marginalized within broader African, Caribbean, and Black communities, including queer and trans people.

Accessibility Info:
6 designated accessible parking spaces
Accessible path of travel from the parking lot to entrance
20 metres from parking space to the door

Wide door for wheelchair passage
Automatic door opener
Direct access to the main floor, lobby, elevator

Automatic door access to interior areas
All public spaces on accessible path of travel
Ramps or elevators to all levels
Accessible seating available

-Bus tickets will be available for transportation.
-ASL translation and French whisper translation is available. Please email us (aidsactivisthistory<at> if you would like translation by November 17th.
-We request all participants refrain from wearing scents to better allow people with chemical sensitivities to attend.
-If you have any other accessibility questions not answered here, please get in touch.

Kids are welcome to attend; there will not be separate childminding, however.

From the Video Vault: ACT UP Montreal 1990-1993

ACT UP Montreal 1990-1993 (date unknown) – 120 minutes, colour, english
by Earl Pinchuk

This video was recovered from the home video collection of Montreal film studies scholar Thomas Waugh after the AIDS Activist History Project recently interviewed him. While the transcripts are forthcoming, we wanted to preserve and share this compilation tape of ACT UP/MTL news stories and raw event footage today in order to provide better context for AIDS activist organizing in Montreal in the early 1990s. This two hour video compiled by ACT UP/MTL member Earl Pinchuk is primarily an omnibus compilation of english and french broadcast news stories about ACT UP/MTL actions. Michael Hendricks, a founding member of ACT UP/MTL, notes that compilation tapes of news footage—like that of the Sex Garage kiss-in protest footage in front of police station 25 that this omnibus tape begins with—were often put together by members of ACT UP/MTL to share informally with other ACT UP chapters across North America. Hendricks also notes that the Sex Garage kiss-in protest footage in particular was used by an affinity group within ACT UP/MTL while presenting at the Québec Human Rights Commission hearings into discrimination and violence against gays and lesbians that took place in November 1993. Other content included in the video covers: Lesbians and Gays against Violence (LGV); Prisoner Justice Day protest; anti-violence and anti-police violence demonstrations; women and HIV/AIDS World AIDS Day march; the murder of Joe Rose; queer resilience and nightlife; condoms and sex education in schools; gay serial murders in downtown Montreal; Queer Nation Rose; and the fight to establish Parc l’Espoir (an AIDS memorial park).

Karen Herland, who appears in the video numerous times, also co-wrote an article in 2014 for the Journal of Canadian Studies about the events captured on Pinchuk’s video compilation tape. You can check that journal article out here.


Activating the History of AIDS Activism in Montréal

A short interview with Alexis and Gary along with video footage from the hour-long AAHP presentation at Concordia University’s Community Lecture Series on HIV/AIDS a year ago is now available online.  Definitely worth checking out if you are interested in learning more about the Montreal collection of oral history interviews we’ve been conducting and the forgotten history of HIV/AIDS activism in Montreal.

During the summer of 2017 AAHP also hosted a workshop during the annual Pervers/Cité festival in collaboration with the Archives Gaies du Quebec to teach people about our work and the history of HIV/AIDS activism in Montreal in particular. We focused on showing participants how we use Omeka to organize our digital ephemera as well as the ongoing indexing process we are doing with our oral history transcripts in order to make them more accessible for future research(ers). Hopefully we will be hosting more workshops like this in the near future in other locations as well!

AAHP workshop at the Archives Gaies du Quebec with Danielle, Gary, and Ryan – August 2017

From the Video Vault: Karate Kids (1990)

Karate Kids (1990) – 21 minutes, colour, english
by Derek Lamb

This short animation film was funded by the National Film Board of Canada (NFB) in partnership with the non-profit charitable organization Street Kids International (now part of Save the Children), founded by Order of Canada recipients Peter Dalglish (World Health Organization) and Frank O’Dea (Second Cup). It was written and directed by Academy Award winner Derek Lamb, a British transplant whose now ex-wife Janet Perlman helped animate the film. Karate Kids has be translated into more than 25 languages, circulated in over one hundred countries, and was the recipient of the Peter F. Drucker Award for Canadian Nonprofit Innovation in 1993. With such accolades for both the film and its makers, it’s (un)surprising that the film’s content and message was met with anger and hostility from AIDS activists in Canada—notably ACT UP/Montréal.

Karate Kids takes as its premise that there are dangerous men lurking around densely populated markets in the global south who are there to rape your little boys and infect them with AIDS (no, not HIV, but AIDS, because a complex understanding of the disease isn’t relevant here). While the film is utilizing methods of visual instruction for HIV prevention—there’s brief discussion of condoms in the context of “making love” with your opposite-gender partner—the film’s message is muddied by rampant homophobia. Stranger danger is typified in the film by images of a feminine man with a pencil moustache and sun glasses riding around in a dark car with a driver looking for children to entice with money and gifts (ie. rich faggots who want to fuck your children). It just so happens that this “smiling man” in the dark car ensnares a young boy Mario, rapes him, and at the end of the film Mario dies of AIDS. The lesson to be learned: stay away from rich faggots, even if they offer you money or gifts, because they only want to rape you and give you AIDS.

ACT UP/Montréal responded by producing a bilingual pamphlet condemning the film and outlining a number of problems.  ACT UP complains that the animation and the attendant comic book based on the same characters and storyline, peddle bigoted stereotypes and middle class morality. Furthermore they note the film trades action and violence—the “Smiling Man” is killed fleeing a lynch mob—while failing to show the realities of how HIV transmission occurs and is prevented in everyday contexts. You can find the full flyer in english and french in our digital Montréal ephemera archive here.

The film can be watched in full on the NFB website, as it continues to circulate today as an AIDS education video—believe it or not.  You can also check out the factually suspect (“AIDS virus”) study guide meant to be used by community educators to help supply the factual information missing from the short animation. And if you haven’t had enough already, you can continue watching the misadventures of Karate and his street kid friends in the follow up animation Goldtooth (1994) or watch the promotional video Brave Ideas (1993) celebrating the animation short and Street Kids International .

From the Video Vault: No Sad Songs (1985)

No Sad Songs (1985) – 60 minutes, colour, english
by Nik Sheehan

The oral history transcripts produced by our project primarily focus on the AIDS activist years of the late 1980s and 1990s when it became clear that HIV/AIDS was not just a medical, but political crisis. However, the early years of the AIDS crisis provide context for the emergence of activist responses to the stigma, medical neglect, government ineptitude, and overt homophobia that marked the early 1980s. Nik Sheehan’s No Sad Songs is groundbreaking in that it provides an early look at AIDS crisis in Canada from within directly affected communities.

The documentary was co-produced by the AIDS Committee of Toronto who had obtained a $20,000 grant for making an educational video. As noted by Tom Waugh, No Sad Songs is the first AIDS documentary in Canada and set the stage for a cascade of AIDS activist media for the next decade. Importantly, the production of this documentary modelled the artist-community organization partnership that would be emulated in many HIV/AIDS alternative media projects, most notably the public access cable series Toronto: Living With AIDS (1990-1991). The video premiered at the Toronto International Film Festival in 1985.

The full video is available for streaming from HotDocs here.

For more on No Sad Songs check out Matt Hays’ article in POV Magazine, Doc Classics: No Sad Songs.


AIDS Activist History Project Workshop at Pervers/Cité 2017

L’intervention dans la cérémonie d’ouverture du congrès international sur le sida à Montréal par des militants de AIDS ACTION NOW! (Toronto), ACT UP (New York) et Réaction SIDA (Montreal).

The AIDS Activist History Project (AAHP) is teaming up with the Archives Gaies du Quebec (AGQ) to offer a two-hour workshop during the 2017 edition of Pervers/cité. This hands-on workshop will teach participants how to efficiently use the digital archives that AAHP has been assembling from across Canada, and Montreal in particular. Participants will also have the opportunity to help us create indexes for Montreal oral history transcripts as well as help us digitize and upload Montreal-based AIDS activist ephemera housed at AGQ to our online archive. Participants are encouraged to bring a laptop, but having one is not necessary to one’s participation. Workshop space is limited to 12 participants so please RSVP in advance by emailing the organizers directly at This workshop will primarily be in English.  You can check out the facebook event page for more details here!

The full Pervers/Cité 2017 schedule can be seen online.

Le AIDS Activist History Project (AAHP) en collaboration avec les Archives Gaies du Québec (AGQ) offriront un atelier de deux heure pendant l’édition de Pervers/cité de 2017. Cet atelier pratique montrera aux participants comment utiliser efficacement les archives numériques que l’AAHP a rassemblées de partout au Canada et de Montréal en particulier. Les participants auront également l’occasion de nous aider à créer des index pour les transcriptions de l’histoire orale de Montréal et nous aider à numériser et télécharger des éphémères militantes du sida de Montréal à l’AGQ dans nos archives en ligne. Les participants sont encouragés à apporter un laptop, mais ce n’est pas nécessaire pour participer. L’espace de l’atelier est limité à 12 personnes, s’il vous plaît inscrivez vous en avance avec les organisateurs directement par courriel à Cet atelier sera en anglais principalement.



Pride has always been political

The AIDS Activist History Project is happy to share Gary Kinsman‘s introduction to this amazing poster by Kara Sievewright!

Poster by Kara Sievewright
Introduction by Gary Kinsman

pride has always been POLITICAL

I am delighted to introduce Kara Sievewright’s wonderful poster, “Pride Has Always Been Political,” that vividly captures our movements in history. For those unfamiliar with Pride, it started off as the celebration of the rebellious origins of the queer and trans liberation movements in resistance to police repression in the later 1960s—ranging from the Compton’s cafeteria riot in San Francisco in 1966 to the more celebrated Stonewall riots in June 1969. The police have been a major vehicle for enforcing heterosexual hegemony and the two-gender binary system.

Since then, the origin of Pride marches have been largely forgotten with the transformation of Pride in larger urban centres into spectator-centred Parades, with commercialization, corporate and government sponsorships, and what I call the emergence of the white middle-class neoliberal queer who is accommodated with capitalist and racist social relations. This has distanced Pride celebrations from their radical (getting to the roots) political beginnings. Others have described this process as “homonormativity” (Lisa Duggan) or as “homonationalism” (Jasbir Puar). Sievewright’s poster works actively against this class-based and racialized process of the social organization of forgetting through activating the resistance of remembering the political roots of Pride.

Starting at the bottom of the poster, Sievewright depicts the Black Lives Matter contingent in Toronto Pride 2016 that brought the Parade to a halt with its sit-in and demands for funding and space for Black queers and trans people, for other queers of colour, and for Indigenous Two-Spirit people, along with the urgent need for the police to not have an institutional presence within Pride as long as they are attacking Blacks and other people of colour and Indigenous people. This inspiring action reminded all of us of the activist roots of Pride.

Returning to the top, we see the depiction of the Montréal resistance to the Olympic police repression in 1976 and to the raid on the Truxx bar in 1977. It was these revolts in the streets that led to Québec enacting sexual orientation protection in late 1977. This resistance continued in Toronto with the mass response to the 1981 bath raids which at that point were the largest mass arrests since the War Measures Act in 1970. It was this resistance that provided the context for the celebration of Lesbian and Gay Pride Day to mark the Stonewall riot in June 1981 in Toronto which has continued to today. The events that day were both a celebration and very political as we stopped in front of the Headquarters of the 52 Division of the Police (which had carried out the bath raids) chanting “Fuck You 52!”

The banner “We’re Asians Gay and Proud” signals the growing self-organization of queer and trans people of colour in the later 1970s and 1980s who were finding that their needs were not being addressed in the white-dominated gay communities where they faced racism, nor in their own communities of colour where they faced heterosexism and anti-trans discrimination. Black Lives Matter Toronto with its many queer and trans members continues and extends this tradition of organizing.

The bottom half of the poster depicts the major wave of AIDS activism organized by AIDS ACTION NOW! and various ACT UP groups in the later 1980s and early 1990s as people fought for their lives. Silence did literally mean death and direct action meant life. The image of the police arrest is from a demonstration against the police arrests at Sex Garage (a queer warehouse party) in 1990 that catalyzed queer organizing in Montréal.

Then Queers Against Israeli Apartheid (QuAIA) in Toronto Pride is depicted. QuAIA built on the spirit of anti-apartheid organizing against the separation and subordination policies of the former South African racist government but this time in opposition to the polices of the Israeli state against Palestinians. In response to this challenge to official Canadian support for and the “pinkwashing” of Israeli policies, QuAIA faced banning and major opposition from homonationalist forces within the Pride Committee and from City politicians.

It is very fitting, as mentioned above, that the powerful 2016 Black Lives Matter protest ends the poster (if you read it from top to bottom that is). This poster provokes actively remembering our histories while providing hope for a future where we can make socially transformative and liberationist queer and trans movements.


Gary Kinsman is a queer liberation, anti-poverty, and anti-capitalist activist on Indigenous land. He is the author of books and articles on sexual and gender regulation and is a professor emeritus in the Sociology Department at Laurentian University, Sudbury.

Kara Sievewright is an artist, writer, and designer who has published comics in many magazines and anthologies. She has been a member of the Graphic History Collective since 2015 and is currently working on a graphic novel. She lives in Daajing giids, Haida Gwaii as a settler on Haida territory. You can see more of her work at

Further Reading

Gentile, Patrizia, Gary Kinsman, and L. Pauline Rankin, eds. We Still Demand! Redefining
Resistance in Sex and Gender Struggles
. Vancouver: UBC Press, 2017.

Kinsman, Gary. The Regulation of Desire: Homo and Hetero Sexualities. Montréal: Black Rose, 1996.

Kinsman, Gary, and Patrizia Gentile. The Canadian War on Queers: National Security as Sexual
. Vancouver: UBC Press, 2010.

McCaskell, Tim. Queer Progress: From Homophobia to Homonationalism. Toronto: Between
the Lines, 2016.

Warner, Tom. Never Going Back: A History of Queer Activism in Canada. Toronto: University of Toronto Press, 2002.

* Images in this poster are based on various historical photos. The image of the Sex Garage raid in the middle bottom, is based on photos by Linda Dawn Hammond.


**Click here to download a .pdf version of this poster via Graphic History Collective