Karen Pachacama- Intervention 2

 Karen Pachacama

Doris Cacoilo

Acts of Resistance 

1/07/2024

The Importance of Women Dressing the Way They Want

       Nowadays it is important for all women to feel empowered of their own expressions. The ability of women to wear what they want to choose at any ages is an evidence of how societal norms are changing and how personal empowerment are growing. Accepting a range of style from generation to generation upends conventional wisdom and upholds the values of equality, autonomy, and self-expression. An unquestionable step forward in the always changing terrain of societal standards and expectations is the recognition and acceptance of women's ability to choose how they choose to wear. The ability to dress whichever one pleases is an essential component of personal expression and a critical first step toward gender equality and female empowerment.

  Chimamanda Ngozi Adichie is a well-known supporter of women clothing however they like, regardless of their age. Adichie is well-known for her works on feminism and gender equality, but she is most known for being a well-known Nigerian writer. Adichie stresses the value of enabling women, regardless of age, to freely express themselves through their wardrobe choices in her writings, speeches, and interviews. Chimamanda Ngozi Adichie serves as a powerful advocate for women's freedom to dress as they wish at any age. Through her literary works and public engagement, she contributes significantly to the ongoing conversation about dismantling stereotypes, promoting individual autonomy, and advocating for a more inclusive and equal society.

In this invention I surprisingly ask my mom to come with me to a party so she can enjoy they time she couldn't. The pressure from society to follow age-specific fashion standards can be burdensome for women as they get older. Giving older women the flexibility to wear what they want combats ageism and promotes a society that values people for their experience and knowledge rather than for fitting into preconceived notions. Celebrating the variety of roles women play is embraced by embracing numerous styles at different phases of life, such as pregnancy and development. Women should be allowed to express themselves freely, without fear of criticism, when it comes to maternity wear or dressing to fit their changing preferences. In this intervention my inspirations was from Yoko Ono as, " The simplicity of her work may have been derided for years, but it is exactly that which makes it greatly accessible and worth it". This helps quotes could help many women encourage the notion that becoming a mother does not mean losing one's uniqueness. woman has to have no fear of showing their body even if they had kids or not, they re beautiful just they way they are.

    In conclusion, letting women wear whatever they want to wear is a statement in favor of gender equality, individual freedom, and self-expression, not just a matter of style. As society develops, accepting a range of choices and styles becomes essential to creating a more accepting and powerful environment for women and, consequently, for all people. It is a step toward dismantling barriers and establishing an environment that supports individualism in order to promote a society that honors and appreciates the diversity among its constituents. Also, making critics towards other females doesn't make us better, instead make us feel less comfortable with ourselves. #dressthewayyouwant #liveyhelifeyouwant

Resource 

The art of activist book 

https://www.chimamanda.com/welcome/

11/22 Chapter 5 & 6 Quotes

3 quotes for each chapter and a short response for each quote

CH. 5

“If people don’t know how to process facts and make meaning out of them, then the facts will stay right where they are: on the literature table or in a museum” (Duncombe, Lambert 174).

• Dissecting information is an important skill in the age of misinformation. This quote is basically saying don’t let your message go in one ear and out the next. Create meaning for your audience and frame it in a comprehensible way, so that they may act on this information.

“The story we create in our heads is based on connections we’ve made between the images. The meaning of the frames and the causal relation we imagine taking place between them are things we, as humans, impose. This is called the Kuleshov Effect” (Duncombe, Lambert 179).

• Without context, the information we receive and the images associated with them cause to have

“She didn’t so much “change her mind” about Muslims, but just slotted Muslims like Linda into an existing part of her mind. Now, Muslims made for good neighbors, exactly the people you would want building a local community institution” (Duncombe, Lambert 193).

• Many people like the ones in this story are opposed to change as they are under the impression it will threaten their way of life. In this case, after meeting Linda the woman was able to empathize and humanize Muslims. She realized that coexisting with people different from herself could also 

CH. 6

“We can learn the most from a type of marketing called social marketing. Its function is not to sell products, but to change social behaviors in often positive ways, promoting initiatives like public health” (Duncombe, Lambert 212).

• This is why I am enamored with marketing. It is psychological. It’s funny reading this section because business is always shunned in these spaces as it should be, but I am glad this book acknowledges the prowess of marketing and how it can be used for good as well as how it intertwines with activism.

“But if it stops there, and stays at the level of changed consciousness, then nothing is ever going to change. We need to manifest general ideas into specific actions that can be visualized and thus enacted” (Duncombe, Lambert 212).

      - It is important to offer realistic change that people can turn into action, help them feel they've made progress, and that the change we wish to impact as activists is tangible. That I why I believe the Phone bank hour and automatic emails to Congress have been such important resources outside of protesting and boycotts. First, you can educate people but creating a movement requires 

• Phone bank
• Email
• Getting people involve
• creating realistic change

“We therefore need to go a step further and compare the benefits and costs of the old way of doing things, the status quo, to those of the new behavior we are proposing” (Duncombe, Lambert 222).

• When trying to convince someone to make change we need to consider why making this change outweighs their feelings on the matter is more important than how it might affect them.

Choose one project from the textbook or otherwise shared this semester that you have responded to and write a brief description (including artist, title, date) and why this project has affected you as an art intervention.

• Shiraga Kazuo's Challenging Mud 1995 piece which we read about in the Khan Academy articles impacted me as an art activist. Throughout the semester with all of the examples we've been given, I guess I still needed to break out from the box of what I view as activism. "Challenging Mud" involves Shiraga vigorously engaging with mud as a medium for artistic expression. The artist physically immersed himself in mud, creating dynamic and spontaneous compositions by manipulating the material with his body. This process exemplifies Gutai's emphasis on direct physical engagement between the artist and the materials, rejecting traditional modes of artistic creation. This art movement in post-war Japan and its artists sought to break away from conventional artistic practices while emphasizing the importance of individual creativity. I find it inspiring to use this as a way to fight systems as large as totalitarianism.

11/15 Intervention 2

HANDS

 Video: 

https://youtu.be/11_jh8LTo4Y

Food insecurity in Newark 

• at least 30% of residents have to travel more than a mile for healthy and affordable food

• The residents of the downtown South Ward area were in a food desert until the opening of ShopRite

https://www.cbsnews.com/amp/newyork/news/willing-heart-community-care-center-newark-nj-food-donations/

        The goal of this video project was to shed light on food insecurity in Newark by focusing on the people who provide. This video also aims to encourage viewers to participate in mutual aid and to humanize the homeless and those in my community struggling. Fixating on the hands forces viewers to pay attention to actions rather than who is performing them. It allows viewers to recognize intention and space. It forces the viewer to pay attention to any details they can about those shown in the video, what can you recognize? Are these the hands of an old man? a mother? a child? How well are they able to take care of themselves, and what resources might be available to them. America perpetuates an individualist society, economically we are forced to work to survive and we end up forgetting that at our roots is community. This video emphasizes that we are not so different. It stands as a reminder that all oppression and liberation are interconnected. As activists as humans while it is always important to extend ourselves our roots are in community and that change starts with impacting those around us and hoping that they reciprocate that change. Our fight is against capitalism, we are battling the war between classes. We are in the same boat, if you don't own you work for those who own and you suffer under their power. History has shown us time and time again that all oppression is connected! This is a systemic issue rooted in the white man's greed. None of us are free until all of us are free. Remember that our fight as activism is rooted in universal liberation. 

*For this project, I participated in my local community soup kitchen at NIA Masjid & Community Center, which is held twice a month outside Newark Penn Station. 

11/8 chapter 3 quotes + articles quotes

3 quotes Introduction and chapter 3 History from The Art of Activism, Your All-Purpose Guide to Making the Impossible Possible by Steve Duncombe and Steve Lambert:

“Artistic expression and cultural creativity flourish among communities who are marginalized within formal spheres of politics, law, and education. We’ve also learned that artistic activism works particularly well in repressive regimes where overt political protest is prohibited, yet artistic practices are tolerated or even celebrated. And finally, we’ve learned that while culture is something we all share, we don’t all share the same culture” (Duncombe, Lambert 11)

• I have always been captivated by the conservation of cultural relativism and the concept of seeing color. I agree with this quote in that sense, we must recognize our differences and appreciate them, it is diversity that brings us together.

“While it’s often impossible to change the physical realities of our situation, we can change the ways in which people make sense of that reality” (Duncombe, Lambert 11).

• The concept is applicable across many different situations but it is important to note and be mindful of. This quote in particular nods towards the concept of digesting our information. Making sure that we are learning from reliable sources and properly understanding the material. However, it also makes the point that perspective is everything and that art activism is a lens through which to view and portray the issues we care about.

“As artistic activists, our job is to not only to fight battles within the legitimate or prescribed arenas of politics, but to expand the very idea of the political and define new terrains of struggle and change” (Duncombe, Lambert 122).

• I feel that this quote encompasses the defining qualities of art activism. Though there are many contemporary forms of activism, using art allows activists to go beyond the limits of more common tactics. Art is defined by the artist and the individual, art activism creates interactive spaces for people to feel connected but also go deeper with their meaning and movement without the confines and preconceptions that come with protests or rallies and are engaging in ways that petitions and Instagram reposting is not.

Choose one project from any of the readings below (the textbook and exhibition catalog included) and post it to the blog with the details about it. Describe how this work is a 'performance' and how it engages or addresses the audience:

Khan Academy Performance Art An Introduction webpages(look through the various sections of this online course) https://www.khanacademy.org/humanities/art-1010/conceptual-and-performance-art/performanceart/a/performance-art-an-introduction
2 quotes or 2 examples of performance art that stand out to you with a short response for each

“It often forces us to think about issues in a way that can be disturbing and uncomfortable, but it can also make us laugh by calling attention to the absurdities in life and the idiosyncrasies of human behavior.”

• Performance art opens up a different level of conversation surrounding its meaning in the sense that you have to pay attention as it happens. Unlike a portrait, you can’t sit and decipher meaning from it. Its meaning will be a collection of the immediate feelings it evokes upon watching it for the first time.

“Nine months after the performance, Shiraga illustrated a manifesto that defined what he termed creative individualism with a series of documentary photographs from his second and third performances. The text insisted on the need to nurture self-expression to create a foundation of “psychic individualism” (a recognition of individual autonomy) to guard against totalitarianism and cultural restrictions” (Horisaki-Christens).

• Shiraga’s performance art stands out to me for his courage. This piece is not only a symbol of resistance in a time that was so heavily defined as a period of contempt and hiding in fear. This was just as beautiful and everlasting as art activism should be as it is still relevant today.

Widewalls | Yoko Ono - A Groundbreaking Artist, Activist and Fighter
https://www.widewalls.ch/magazine/yoko-ono-art-story
2 quotes and a short response to each quote

“she explained, art represents a way of showing people how you can think, and even though some people think of it as a beautiful wallpaper that you can sell, Yoko Ono rather perceives it as a direct connection with activism. Her style often included “dematerialization of the art object,” (Lansroth 2015).

• In order to be more creative, it’s important to recognize how we define art. Once identifying those bounds we have to look outside of those preconceived notions. Yoko Ono is a perfect example of that in the way that she uses art activism, she definitely helped pave the way so I can’t say she was ahead of her time but I like to believe that still applies regardless, I think people today are used to thinking how they’re taught/forced to think and books like Acorn should be more prevalent.

“this legendary avant-garde icon that has inspired generations of artists and performers offers enchanting and thought-provoking exercises that open your eyes and senses to more creative and mindful ways of relating to ourselves and people and world around us” (Lansroth 2010).

• Ono created an interactive book to engage her audience with her cause. This is an innovative way to incorporate activism, I have always believed that reading is one of the best ways to empathize and make connections through characters without preconceptions.

Hispanic Executive | Interview with Shaun Leonardo - Performance, Pedagogy, and Philosophy
https://hispanicexecutive.com/shaun-leonardo/
2 quotes and a short response to each quote

“we feel compelled to act, act, act—to respond, respond, respond—and artists don’t operate best in that rhythm. Artists need to take in, to process, to decipher, to separate from the noise and create things that are beautiful and impactful to the spirit. Artists have to offer a different type of slowness to work against the speed of today” (Soto 2022).

• With the rise of performative activism, art activism is a necessary pause. While it is extremely reassuring that people are becoming more aware of the world outside of their daily lives both in and outside of the U.S. and it’s important to show up and make use of our privilege. Performative activism is only skin deep. Reposting infographics though helpful does not properly educate, social media as our main platform of activism may help spread the word but art activism allows our feelings on topics to ruminate, it allows us to go deeper and truly empathize with the causes we talk about online. It also allows one to feel actively involved in making a difference.

“I’m asking an individual to not only create their own associations with their lived experience but also imagine that same movement embodied by a very different person” (Soto 2022).

• Following the theme of using art activism to empathize, I believe Soto’s message is important during a time of such individualism. It is admirable to be able to create a space where those feelings can exist.

10/25 exhibition+essay

Suhilah Latif 

Acts of Resistance: Activists, Interlops and Pranksters

Prof. Doris Cacoilo

25 October 2023

    In her memoir This Is What I Know About Art, Kimberly Drew depicts the journey that ultimately led her to become an author, delving into the art space, the frustrations and events that invoked her to promote change in her place of work, and her collaborative efforts in the activism scene. Drew’s work parallels many of the themes discussed in class concerning diversity in the workplace including but not limited to, class stratification, black expression, racial disadvantages, and representation. At the beginning of her art activist journey, Drew shares the invalidation and erasure of the black experience expressed by her fellow classmates and professor. Drew states, “I never want my story to be defined by a string of heartbreaks, but that exchange with my adviser marked me forever. It made me feel alone. It almost broke me” (Drew, 22). Based on our previous discussions in class, it can be deduced that people are most likely to become involved with activism through personal traumas and experiences. Steve Duncomb and Lambert refer to this notion as “stepping off the curb” (Duncombe, Lambert 16) in their novel The Art of Activism: Your All-Purpose Guide to Making the Impossible Possible. This display of outright racism and dismissal in a predominantly white space was one of those pivotal moments for Drew. I personally relate to this experience being the only Muslim in most academic spaces throughout my life thus far. I have felt such discomfort and invalidation, it is these instances that propel me to take the steps to advocate on behalf of this experience. I actively participate in protests, community gatherings, and artistic displays to bring awareness and be a part of spaces where I feel seen and heard.

    As a college graduate Drew participated in a fellowship at Creative Time where she first felt the barriers of being a person of color in the workplace. During this time, she was privileged enough to attend curator Bennet Simpson’s Blues for Smoke exhibition based on the impact of blues music as a means of black expression. “Blues for Smoke looked at the function of the blues as a form of cultural expression through the lens of contemporary art. The artists in the show represented different race” (Drew, 26). Authors, historians, and curators use their mediums to convey stories they value and deem worthy of sharing with their audiences. In this case, the unsung novelty that is blues music and the power it holds in African-American history. Simpson’s exhibit Blues for Smoke is an example of the many forms activism can take. Similarly, the exhibit Artistas de Latinoamérica Sueños y Posibilidades focuses on the Latin-American experience in context of the “American dream” and individual expression. Throughout her novel, Drew chronicles the multiple instances in which she combats social and financial challenges as a black woman in the art world. These artists relate to Drew’s mission in the art activist space by eliciting change through documented pieces of themselves that denote their personal cultural experience in a way that is receptive.




    Dayana Munoz is a Cuban artist who seeks to celebrate ethnic features and display the social, political, and cultural realities of Cuba. Munoz’s collages repurpose photos that have “lost their function” as a way to depict her existential, psychological, and social issues as a human being. Her works are interpretations of reality as she searches for her own identity. This can be seen in her collage referenced above entitled Collage 2: Transcendence Series. The additional painting is a piece by Ray Arcadio, a Dominican-American artist. His work addresses the importance of iconography on our identity. As a Latino American, Arcadio aims to demonstrate through the Messengers series who he is and where he comes from. It can be assumed that the piece titled Lisa, Lisa: Messages Series shown above is in dedication to the Puertorican icon Lisa Velez, lead singer of renowned 80’s band Cult Jam. This piece not only stands for Latin American representation but also a noteworthy piece of Arcadio’s portfolio as Lisa is an icon that took part in shaping his identity. Drew states, “Our activism, like any other part of ourselves, develops into something bigger than a singular experience. Activism is a collective action and an investment in the lives of other people” (Drew, 47). The artwork in Artistas de Latinoamérica Sueños y Posibilidades are visual conduits of Munoz and Arcadio’s respective personal journeys in parallel to Drew’s message about art activism by giving power to the Latin American community and inspiring Latino youth beyond the scope of stereotypes. Susan Sontag states in her anthology On Photography that “photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe” that they are “interpretation(s) of the world” (Sontag 2010). Curators control the art that we see and consequently who and what that art represents. This gallery in particular calls attention to the beauty and pain of the Latin American experience. As we’ve discussed in class, art activism is a way to make activism personal as well as interactive as a means to engage a specified audience to evoke change. Hence why Artistas de Latinoamérica Sueños y Posibilidades is inherently activist.

Works Cited 

Drew, Kimberly. This Is What I Know About Art. Penguin Random House LLC, New York, 2020

Sontag, Susan. On Photography. Farrar, Straus and Giroux, 1977

Lambert, S. (2021). ART OF ACTIVISM: your all-purpose guide to making the impossible possible. Or Books.

* I couldn't figured out how to make this double-spaced here 

10/18 kimberly drew quotes

3 quotes from Kimberly Drew book

https://blackcontemporaryart.tumblr.com/

“Small actions foster change. Our activism, like any other part of ourselves, develops into something bigger than a singular experience. Activism is a collective action and an investment in the lives of other people. And, as the late artist Thornton Dial once said, “If there is one thing that you can do, leave something for somebody else . . . You can work for somebody else’s freedom. You can leave something for somebody else’s child” (Drew 47).

• Art activism seeks to make advocacy personal and interactive as a means to engage the audience and evoke change within them with the hopes that they will pass it on. This quote is beautiful in the sense that, we may not individually possess the ability to change the world. Still, we can spark change in those around us and that is what is most important to inspire collective change and collective movement. It is also a comforting notion that our activism should go beyond immediate protesting; it should leave a mark, something tangible to be left behind for others to continue where we left off.

“Then, just as I began to regret the post, he went on to explain that I had also made my classmates feel “uncomfortable” during the discussion. I retorted, explaining that I was upset the conversation had quickly turned into a support circle for white guilt. He looked at me and said, “If you wanted to be in a classroom with other students of color then you should not have enrolled in art history classes” (Drew 22).

• This quote especially resonates with me as it is quintessential and an inevitable part of the minority experience. It is characteristic of an oppressor to feign victimization when confronted as this quote demonstrates. As the only visibly Muslim and ethnically ambiguous student in most academic spaces I’ve encountered thus far, I have felt the dismissal and invalidation Drew speaks of in this quote and have also adapted to being my best advocate. Though the experience is hurtful nonetheless, I have come to believe it most often stems from ignorance. So it is simultaneously as she states, these instances which propel me towards activism and change. Being a representative not only of my religion but of the Muslim-American experience and the nuanced micro-aggressions faced by my particular minority group, this quote hit.

“my voice was powerful one. Instead of leading with rage, she helped me understand this difficult crossroads. By the end of the meeting, she asked me to think deeply about what I wanted to say, and, more importantly, how I wanted it to be interpreted. It was not just enough to be angry. I had to be strategic” (Drew 33).

• While frustration, anger, and civil unrest are all valid and necessary to enact change on a larger scale, art activism allows us to ignite change within people on a psychological level. Though most activist settings share the same animating principle, traditionally they express a need for change whereas art activism conveys a feeling of why that change is necessary.

FROM THE BLOG:

- I found this set of photos Drew included to be very fashion-forward, I find the use of traditional patterns and prints to be a beautiful touch, and given that this look is very editorial it adds realism and depth to it making it artistic activism. I am curious about how the photographer/art director for this shoot wished for these to be portrayed. 

Final Intervention(Its Okay To Not Be Okay)

 

https://www.instagram.com/mensmentalhealthawareness2023?igshid=MmVlMjlkMTBhMg%3D%3D&utm_source=qr

IT’S OKAY NOT TO BE OKAY

“Men’s mental health struggles often go unrecognized or undiagnosed, and due to widespread stigma and misunderstanding surrounding suicide, deaths by suicide may be incorrectly or mistakenly listed as ‘deaths by unintentional injuries'". (Stats on Suicide in Men: What You Need to Know | HeadsUpGuys, 2023)

   Out of the unfortunate number of people who take their lives as an escape route (“Nearly 800,000 people die by suicide in the world each year, which is roughly one death every 40 seconds," Suicide Statistics and Facts, SAVE, 2023), a huge percentage are males (one male dies by suicide every 13.7 minutes in the U.S.). This means that there are 3.9 male deaths by suicide for every female death by suicide. Statistics like this demonstrate how urgent attention to the deteriorating state of the mental health of men is needed.

   Men are taught to be strong in order to be "manly" or masculine. We are also raised as protectors, which creates an inclination to put other people's needs ahead of our own. As a man, I have come to understand how men's masculinity is sometimes questioned, and we are perceived as weak when we voice our emotions or complain about unfair circumstances. When a man experiences a traumatic event, he is often told to “be a man"—to move on and pretend nothing happened. Due to these circumstances as well as the widespread stigma associated with seeking therapy, men find it hard to speak up and suffer in silence instead, leading to a high rate of unhappiness in adult men. “Research evidence suggests that the prevalence of mental health conditions in Canada has increased, while a considerable percentage of people with a mental health issue do not seek professional mental health services."  (McDonald et al., 2017)

   “All being an activist really entails is having an idea of what needs to be changed and doing something about it." (Duncombe & Lambert, 2021)

After identifying the need to address men's mental health, I aimed to challenge the stigma around it and normalize conversations about emotions and seeking help. I feel that it is vital for people to understand that it's perfectly okay for men to express vulnerability and seek support, ultimately encouraging empathy, understanding, and destigmatization. 

My project was publicized through social media campaigns and community outreach. I engaged my family and friends by focusing on the men among them and listening to their thoughts, stories, and personal experiences related to men's mental health struggles, fostering dialogue and participation. "A series of narratives where these participants spoke about how they believed freedom was afforded, or not, but also about the ways in which we embody those narratives," according to Soto, served as the inspiration for this. The feedback I received was mostly positive, with many expressing gratitude for initiating such an important conversation and providing an opportunity for expression, which most of them never thought they needed. I have since come to appreciate the advantages of voicing my concerns and speaking up in circumstances where I would have previously remained silent or beared. So I can definitely feel the effects of this intervention on a person's life. “A great deal of activism and political art is directed toward criticizing what we don’t like. Occasionally, it suggests the steps we might need to take to change things.” (Duncombe & Lambert, 102)

My intervention creates social impact through art. It demonstrates my commitment to using art as a means of addressing societal issues and fostering positive change. And by tackling the stigma around men's mental health, this project showcases my ability to engage an audience and spark meaningful dialogue through visual storytelling. Several pieces of art and artists, including the following, served as inspiration for my intervention: 

JR: Inspired by his participatory art installations, I aimed to involve people actively, engaging them in conversations, in order to see things from their perspective.

Soto's Narrative Work: The idea of exploring personal narratives influenced my project's foundation, providing a space for individuals to express their experiences regarding societal expectations and mental health challenges.

The Man Therapy Campaign: This campaign uses humor and direct duialogue to break down the stigma surrounding men's mental health, using a fictional therapist named Dr. Rich Mahogany to engage men in discussions about mental health in a relatable and approachable way.

"A Mile in My Shoes" by Empathy Museum involves walking a mile in someone else's shoes—literally. Participants wear the shoes of someone else while listening to their personal story through an audio narrative. 

The CALM (Campaign Against Living Miserably) Project: CALM is a charity dedicated to preventing male suicide in the UK. They use various artistic mediums, including photography, campaigns, and events, to challenge societal norms around masculinity and encourage open conversations about mental health among men.

Research that informed this project:

"Stats on Suicide in Men: What You Need to Know" HeadsUpGuys

"Suicide Statistics and Facts" (SAVE)

"Understanding Suicide and the Silent Epidemic"—Psychology Today article

"Research on Mental Health Conditions in Canada" (McDonald et al., 2017)

“CALM. (2023, December 9). Campaign Against Living Miserably (CALM). Retrieved December 11, 2023, from https://www.thecalmzone.net/ ”

Man Therapy | Men’s Mental Health Resources. (n.d.). https://mantherapy.org

A Mile in My Shoes and Empathy Museum. (2022, May 12). Empathy Museum. https://www.empathymuseum.com/a-mile-in-my-shoes/

Works cited

Stats on Suicide in Men: What You Need to Know | HeadsUpGuys. (2023, November 30). HeadsUpGuys. https://headsupguys.org/suicide-stats-men/#ref

Suicide Statistics and Facts (SAVE) (2023, February 16). SAVE. https://save.org/about-suicide/suicide-statistics/

McDonald, B., Kulkarni, M., Andkhoie, M., Kendall, J., Gall, S., Chelladurai, S., 

Yaghoubi, M., McClean, S., Szafron, M., & Farag, M. (2017, July 14). Determinants of self-reported mental health and utilization of mental health services in Canada. International Journal of Mental Health, 46(4), 299–311. https://doi.org/10.1080/00207411.2017.1345045

Duncombe, S., & Lambert, S. (2021, November 2). The Art of Activism or Books. http://books.google.ie/books?id=J8VZzgEACAAJ&dq=Steve+Duncomb,+Steve+Lambert+-+The+Art+of+Activism_&hl=&cd=1&source=gbs_api

Soto, E. (2022, July 1). Performance, Pedagogy, and Philosophy: Hispanic Executive https://hispanicexecutive.com/shaun-leonardo/

Social media Outreach account 

https://www.instagram.com/mensmentalhealthawareness2023?igshid=MmVlMjlkMTBhMg%3D%3D&utm_source=qr