
Between intersectionality and intersections: theories and urgent actions with Kimberle Crenshaw
panarmenian
30 May 2025, 23:30 GMT+10
Today the World Social Forum of Intersections in Montreal proposed an inspiring lecture entitled "Between Intersectionality and Intersections: Living Theories, Urgent Actions" with activist and professor Kimberle Crenshaw.
Crenshaw is internationally recognized for introducing the concept of intersectionality, a critical approach to understanding the intersections between systems of oppression and the social realities experienced by marginalized people. In this lecture, she shares her expertise and insights on the importance of translating these concepts into concrete actions.
View the full conversation with Crenshaw at the World Social Forum of Intersections
Crenshaw's work has been foundational in critical race theory and in "intersectionality," a term she coined to describe the double bind of simultaneous racial and gender prejudice. Her studies, writing, and activism have identified key issues in the perpetuation of inequality, including the "school to prison pipeline" for African American children and the criminalization of behavior among Black teenage girls. Through the Columbia Law School African American Policy Forum (AAPF), which she co-founded, Crenshaw co-authored (with Andrea Ritchie) Say Her Name: Resisting Police Brutality Against Black Women.
The World Social Forum of Intersections
The World Social Forum of Intersections main objective is to encourage systemic changes, thanks to the intersections of perspectives, knowledge and hopes. It thus aims to break down barriers between action environments, cultures and practices, while creating intergenerational and transnational connections, from the local to the global.
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Zoe, a present-day investment banker (soprano Briana Hunter), and husband Glenn (tenor Brad Bickhardt) mull whether to move back to the house and subdivide the property. Zoe's brother, poetic painter Lindon (baritone Justin Austin), doesn't want to leave the house. and his lover Thomas (bass-baritone Christian Pursell) suggests they travel to Spain. Hunter tapped into anxiety, fear, pain and grief to portray Zoe. 'She's an ambitious woman, and she has been through a lot of really horrible, traumatic events through her family,' Hunter said. 'I understand the desire to kind of escape that. She's kind of a classic case of you can't avoid things forever.' Eight of the 10 characters are Black. There's a love triangle, pregnancies and surprise deaths. The house itself sings in 12-tone chords. Ida's Uncle Percy (tenor Victor Ryan Robertson) is a numbers runner who jolts the first act with an aria 'Drink Up!' 'Sportin' Life on steroids,' Gordon said, referring to the dope dealer in 'The Gershwins' Porgy and Bess.' 'We all are haunted by our past, and we all are haunted by our ghosts,' Gordon said. 'The question of living one's life is how does one reconcile the past and go on? How do you move into a future unbridled and free enough to be liberated and not imprisoned by the past?' Conductor has a penchant for contemporary works Daniela Candillari led her third world premiere in less than two years after Jeanine Tesori's 'Grounded' at the Washington National Opera and Rene Orth's '10 Days in a Madhouse' at Opera Philadelphia. Gordon originally envisioned the orchestra as chamber sized to hold down expenses, but Candillari pushed to add instruments. Conducting this is different from leading Verdi or Puccini. 'You can have two conductors read the score in a very different way,' she said. 'Having that direct source. a living composer who can tell you: This is what I heard and this is how I meant it and this is what this needs to be, that's incredibly invaluable.' Forty-eight players from the St. Louis Symphony Orchestra were in the deep pit at the Loretto-Hilton Center for the Performing Arts, a venue with a thrust stage and difficult acoustics. James Robinson, the company's former artistic director, returned to direct the performances and is likely to bring the staging to Seattle Opera, where he became general and artistic director in September 2024. 'It is kind of a ghost story, and I think that's the most important thing, knowing that we're able to bounce back and forth between time periods efficiently,' he said. For Danrich, portraying Ida has a special resonance. She is a St. Louis native and is staying at a hotel three blocks from where she grew up. 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