Do Butterflies Remember Being Caterpillars?

Luca “Lazylegz” Patuelli is the breakdancing star at the heart of this film. Born with a neuromuscular disorder, he has spent decades finding new and innovative ways to participate in dance. Usually incorporating scrutches into his routines, Patuelli invents adapts breakdancing moves that harness his upper body strength.

Caraz is a rising director based in Montreal. With a background in photography, he explores striking, powerful characters set in diverse worlds. Her ability to create highly crafted aesthetics with an emotional approach gives her films not only a sense of style but also personality.

Born in Italy, Alessandro Giaquinto is this movie’s choreographer and a dancer for The Stuttgart Ballet. (literally via).

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image via

Saul Steinberg. A Genius Facing Antisemitism.

Romania is an anti-Semitic country, as Saul finds out when he moves to the capital with his family. His scholastic career in the Liceu Matei Basarab in Bucharest would be made difficult by this climate. After enrolling in the Faculty of Philosophy and Letters, in 1933 he decides to study architecture but is not admitted: there is a limit to the number of Jewish students. Years later he would write: "My childhood, my adoslescence in Romania were a bit like being a Negro in the State of Mississippi" (Reflections and shadows, 2001). (literally from the exhibition at the Triennale Milano currently showing Saul Steinberg's works)

Saul Steinberg was born on 15th June 1914 in Ramnicu Sarat, a small town north of Bucharest, in Romania. His parents, Moritz Steinberg and Rosa Iacobson, belonged to the Jewish middle class. In 1915 the family moved to Bucharest and Moritz set up a bookbinding shop and then began to produce decorative boxes. Some of the family had already emigrated to America in the late nineteenth century. In 1925, Saul enrolled in the Liceu Matei Basarab and three years later graduated to its upper school. Having gained his diploma in 1932, he enrolled in the Faculty of Philosophy and Letters at the University of Bucharest. He received good grades but the university's anti-Semitic atmosphere kept him from regularly attending courses. (text from exhibition, Triennale Milano)

In 1933, he applied for admission to the Faculty of Architecture but was denied entrance because a quota system limited the number of Jewish students who could be accepted. Instead, he went to Milan and enrolled in the Faculty of Architecture of the Regio Politecnico, arriving in the city in November. (...) But in 1938 the Fascist regime promulgated racial laws and Steinberg risked expulsion from Italy. He was able, however, to complete his studies in 1940, but his efforts to leave Italy for the US failed. After various ups and downs, including being arrested and confined in an internment camp, he managed to leave for Santo Domingo, where he spent a year waiting for a US visa. He finally arrived in New Yorsk in July 1942. (...) (text from exhibition, Triennale Milano)

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photographs via and via

Quoting Gilberto Gil

"I think that the global consciousness concerning all those elements that produce tension, fractions of societies, is changing in the sense that we all tend to understand a little more the needs for harmonizing the process and integrating races and cultures and producing multiculturalism and different melting-pot situations. That affects global things, tolerating the Arab, the African, the Eastern civilizations, getting rid of this hegemonic dominance by the West. That's all comprehensive now in terms both of understanding and approaching the whole planet."

Gilberto Gil



"Sometimes, from outside, and from America especially, where the racial tension is so intense, you tend to understand Brazil as a kind of ideal situation, but it's not. There are a lot of problems. Historically, we have been in struggle, in real struggle to protect and defend the natural leaning towards absorbing the African and the Indian heritage that our society has." 

Gilberto Gil

"We are sufficiently conscious of this dimension or quality of Brazil as a melting pot, as a culture and a nation that is being subjected to an amalgamating process. More than just a mixing process, it is an amalgamation where the fragments, the parts in collision, really interact profoundly. They become another thing after the contact." 

Gilberto Gil

photographs via and via

What I am, what you force me to be is what you are. By Gordon Parks.

For I am you, staring back from a mirror of poverty and despair, of revolt and freedom. Look at me and know that to destroy me is to destroy yourself. You are weary of the long hot summers. I am tired of the long hungered winters. We are not so far apart as it might seem. There is something about both of us that goes deeper than blood or black or white. It is our common search for a better life, a better world. I march now over the same ground you onced marched. I fight for the same things you still fight for. My children's needs are the same as your children's. I too am America. America is me. It gave me the only life I know - so I must share in its survival. Look at me. Listen to me. Try to understand my struggle against your racism. There is yet a chance for us to live in peace beneath these restless skies. Gordon Parks



photograph of Norman Fontenelle by Gordon Parks (1967) via

The Art World. Sharing the Same Prejudices We Face in the Real World.

"When one thinks of the art world, one thinks of a place of openness and tolerance -- yet that is hardly the case. The ‘art world’ shares the same prejudice we face in the real world. That said, the illusion of togetherness that has been constructed around the art world makes said reality even more toxic. Forms of sexism, racism, and ageism dominate art culture just under the surface -- which dictates our collective knowledge of art history. This is a topic that few gallery owners want to discuss -- because it is a topic that, more often than not, reveals a world of bigotry and unnecessary challenges placed before artists." Brian Sherwin



photograph of Silvana Mangano by Eve Arnold (1956) via

Ageism. Prevalent. Unrecognised. Unchallenged.

 ... also widespread and accepted. Ageism is there, everywhere. Age determines who receives medical procedures, treatments, lifesaving therapies, who is disadvantaged in the workplace, who has access to specialised training and education. Ageism leads to poorer health and earlier deaths, it causes social isolation, reduces quality of life and costs economies billions. Nevertheless, every second person in the world holds ageist attitudes (United Nations, 2021).

Ageism is also costly:

Ageism costs our societies billions of dollars. In the United States of America (USA), a 2020 study showed ageism in the form of negative age stereotypes and self-perceptions led to excess annual costs of US$63 billion for the eight most expensive health conditions. This amounts to US$1 in every US$7 spent on these conditions for all Americans over the age of 60 for one year (see note to editors). 

Estimates in Australia suggest that if 5 per cent more people aged 55 or older were employed, there would be a positive impact of AUD$48 billion on the national economy annually. There are currently limited data and information on the economic costs of ageism and more research is needed to better understand its economic impact, particularly in low- and middle-income countries. (United Nations, 2021)

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photograph by Diane Arbus via

Television Portrayals, Ethnic Stereotypes and Guilt Ratings

Abstract: An experiment was conducted to test the hypothesis that stereotypical television portrayals of African-Americans increase the likelihood that whites will make negative social perception judgments of an African-American (but not a white) target person. Forty white subjects were exposed to comedy skits featuring stereotypical or netural portrayals of African-American characters. Subjects then read a vignette describing an incident in which a college student was allegedly assaulted by his rommate. In half of the conditions, the alleged offender was assumed to be white; in the other half he was assumed to be African-American. 

Subjects rated the likelihood that the alleged offender was guilty of the assault. Guilt ratings of the white target did not differ significantly between the stereotypical and the neutral comedy skit conditions. In contrast, guilt ratings of the African-American target were higher in the stereotypical comedy skit condition than in the neutral comedy skit condition. (Ford, 1997)

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- Ford, T. E. (1997). Effects of Stereotypical Television Portrayals of African-Americans on Person Perception. Social Psychology Quarterly, 60(3), 266-275.
- photograph by Pierre Verger via

Gazing up at the poorest of the poor. Pierre Verger

“I started traveling, not so much driven by a desire to do ethnographic research or journalistic reports, but rather as a result of the need to distance myself, to free myself and escape the environment in which I had been living until then, whose prejudices and rules of conduct did not make me happy.” 

Pierre Verger, 1982

Pierre Edouard Leopold Verger (1902-1996) was a French photographer and researcher born in Paris into a bourgeois family. In 1932, he discovered photography and travelling, a combination that changed his life. Verger travelled around the world and, after disembarking in Brazil, decided to stay there (via) 

Verger traveled extensively during his long career, but his central focus was the exploration and visual depiction of the enduring continuities linking peoples and cultures of West Africa and the African Diaspora. Over the course of five decades, he took an estimated 65,000 black-and-white photographs with his Rolleiflex camera, depicting individuals and groups in humanistic, light-drenched portraits. In his approach to photography, he placed great emphasis on documenting the beauty of the human form as encountered in scenes of everyday life. In large part, his intention was to counter racism and all-too-prevalent derogatory representations of Africans and peoples of African-descent in the Americas. (via)

Verger turned toward his subjects, his photographs differed from etchnographical approaches "based on measured gestures and the obscene gaze directed at the object being photographed". In fact, he had an aversion to voyeurism and made sure that even when photographing the poorest of the poor, they maintained their personality and dignity. He captured them from an ascending camera angle which reflected his own gaze, i.e. gazing up at them and giving them a heroic aura (via).

Unlike the friends also ethnologists from the Musée de l’Homme in Paris, Roger Bastide and Alfred Métraux, who often gave him their texts to correct, Verger’s approach was deliberately undetached. He was the opposite of an aloof observer; he never used the lens of his camera as a partition between the observed object and the subject being interpreted. Moreover, his almost obsessive attempts to escape the middle-class milieu, and to subject himself to extreme situations, prompted him to always see himself as a part of his own experimental arrangement. There was method in his empathy. He never saw sympathy and shock as obstacles; they were the motivating forces of his understanding that enabled him to place himself in the position of the other; to overcome ethnic, social and epistemological barriers, and to experience in this way – recalling Rimbaud – oneself as the other: “To be honest, I’m only marginally interested in ethnography. I don’t want to study people as if they were just beetles or exotic plants. On my journeys, what I like is living with people and learning their different lifestyles. That’s because I’ve always been interested in what I never was, or in what I could be with others.” (via)

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photographs via and via and via

The Gendered Nature of Divorce

Abstract: Contrary to previous studies treating divorce as a couple's decision, we make a distinction between 'his', 'her', and 'their' divorce by using information about who initiated divorce. Using competing risk analysis, we re-examine four well-known determinants of divorce: (i) the wife's employment, (ii) the financial situation of the household, (iii) the presence of children, and (iv) the quality of the match. Because existing arguments on the underlying mechanisms focus on the relative costs and benefits of a divorce for the wife, the husband and/or the couple, this approach offers new insights into the validity of competing theories.



Our results confirm some theoretical interpretations, but they refute others. Furthermore, our findings shed light on the gendered nature of divorce. We not only find that women more often take the initiative to divorce, we also find that many social and economic determinants have stronger effects on 'her' divorce than on 'his' divorce. The one exception is children, which seem to affect men's decision to (not) divorce more strongly than women's decision. (Kalmijn & Poortman, 2006)

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- Kalmijn, M. & Poortman, A.-R. (2006). His or Her Divorce? The Gendered Nature of Divorce. European Social Review, 22(2), 201-214.
- photograph by Diane Arbus via

Black Awareness Day

On 20th of November, Black Awareness Day is celebrated in Brazil in order to make sure the journey and cirumstances of the black community's ancestors are not forgotten and their contribution to both the country and society are recognised. 20th of November was chosen because it marks the death of Zumbi dos Palmares (born 1655), a Brazilian of Kongo origin and one of the pioneers fighting slavery (via).



After more than 300 years of slavery, Brazil abolished slavery only in 1888, it was the last country in the Western Hemisphere to do so despite its mostly black and mixed population which again was and is a result of Portuguese settlers having been primarily male and often seeking out African or indigenous femals as mates. Brazil was also the largest importer of African slaves "bringing in seven times as many African slaves to the country, compared to the United States" (via).



"Miscegenation and intermarriage suggest fluid race relations and, unlike the United States or South Africa, there were no racially-specific laws or policies, such as on segregation or apartheid, throughout the twentieth century. For these reasons, Brazilians thought of their country as a "racial democracy" from as early as the 1930s until recent years. They believed that racism and racial discrimination were minimal or non-existent in Brazilian society in contrast to the other multiracial societies in the world. A relatively narrow view of discrimination previously recognized only explicit manifestations of racism or race-based laws as discriminatory, thus only countries like South Africa and the United States were seen as truly racist. Moreover, there was little formal discussion of race in Brazilian society, while other societies were thought to be obsessed with race and racial difference." (via)



"At the time of the abolition, Brazil's population was mostly black or mixed race until the 1930s, when Brazil encouraged and received a large number of European immigrants as it sought to find new sources of labour. In the context of the scientific racism of the time, which deemed a non-white population as problematic to its future development, Brazilian officials explicitly encouraged European immigration while blocking Chinese and African immigrants. The growing population of European origin was also expected to mix with the non-white, further "whitening" the Brazilian population." (via)



"More than just a celebration, it is a day to think about the position that Black people have in society then and now. The past generations who have suffered (and still suffer) through racist acts, despite the abolition of slavery in 1888, discrimination still continues. It’s a day dedicated to fight racism and defend Black people’s rights and respect in society." (via).



photographs by Pierre Verger via and via and via and via and via