Tells the story of Viola Desmond, an African Canadian woman who, in 1946, challenged a Nova Scotia movie theater's segregation policy by refusing to move from her seat to an upstairs section designated for use by blacks.

Meet Viola Desmond, community leader and early civil rights trailblazer! On the night of November 8th 1946, Nova Scotia businesswoman Viola Desmond stood up for her right to be in the "unofficial" whites-only section of a New Glasgow movie theatre . . . and was arrested for it. Supported by the Nova Scotia Association for the Advancement of Coloured People (NSCAACP) and the black-owned newspaper The Clarion, Viola took her quest for the right to freedom from discrimination to the courts. While she ultimately did not succeed, she was a beacon to other early civil-rights activists. Her sister Wanda worked hard to promote Viola's legacy, which has been finally honoured by Viola's inclusion on the new Canadian $10 bill. This new picture book biography series features simple text and full-colour, comic-flavoured illustration with speech balloons that help bring the story alive. Historical photos and a timeline support the narrative.

In 1946, Viola Desmond was wrongfully arrested for sitting in a whites-only section of a movie theatre in New Glasgow, Nova Scotia. In 2010, the Nova Scotia Government recognized this gross miscarriage of justice and posthumously granted her a free pardon. Most Canadians are aware of Rosa Parks, who refused to give up her seat on a racially segregated bus in Alabama, but Viola Desmond’s act of resistance occurred nine years earlier. However, many Canadians are still unaware of Desmond’s story or that racial segregation existed throughout many parts of Canada during most of the twentieth century. On the subject of race, Canadians seem to exhibit a form of collective amnesia. Viola Desmond’s Canada is a groundbreaking book that provides a concise overview of the narrative of the Black experience in Canada. Reynolds traces this narrative from slavery under French and British rule in the eighteenth century to the practice of racial segregation and the fight for racial equality in the twentieth century. Included are personal recollections by Wanda Robson, Viola Desmond’s youngest sister, together with important but previously unpublished documents and other primary sources in the history of Blacks in Canada. NEW: Teaching Guide Available Here

Many Canadians know that Viola Desmond is the first Black, non-royal woman to be featured on Canadian currency. But fewer know the details of Viola Desmond’s life and legacy. In 1946, Desmond was arrested for refusing to give up her seat in a whites-only section of a movie theatre in New Glasgow, Nova Scotia. Her singular act of courage was a catalyst in the struggle for racial equality that eventually ended segregation in Nova Scotia. Authors Graham Reynolds and Wanda Robson (Viola’s sister) look beyond the theatre incident and provide new insights into her life. They detail not only her act of courage in resisting the practice of racial segregation in Canada, but also her extraordinary achievement as a pioneer African Canadian businesswoman. In spite of the widespread racial barriers that existed in Canada during most of the twentieth century, Viola Desmond became the pre-eminent Black beauty culturist in Canada, establishing the first Black beauty studio in Halifax and the Desmond School of Beauty Culture. She also created her own line of beauty products. Accessible, concise and timely, this book tells the incredible, important story of Viola Desmond, considered by many to be Canada’s Rosa Parks.

In Sister to Courage, Wanda takes us inside the world she shared with Viola and ten other brothers and sisters. Through touching and often hilarious stories, she traces the roots of courage and ambition, good fun and dignity, of the household that produced Viola Desmond. Tough and compassionate, Viola shines through beyond the moment she was carried out of Roseland movie theatre for refusing to sit I the blacks-only section. Viola emerges as a defender of family and a successful entrepreneur whose momentum was blocked by racism. With honesty and wit, Wanda Robson tells her own brave story, giving new life to two remarkable women and the family she loved.

Controlled Damage explores the life of Canadian civil rights icon Viola Desmond and how her act of bravery in a Nova Scotia movie theatre in 1946 started a ripple effect that is still felt today. An ordinary woman forced to be extraordinary by an unyielding and racist world, Desmond never gave up -- despite the personal cost to her and those who loved her. Andrea Scott's highly theatrical examination of Desmond and her legacy traces the impact that she had on our culture, but also casts light on the slow progress of the fight for social justice and civil rights in Canada.

The African Canadian Legal Odyssey explores the history of African Canadians and the law from the era of slavery until the early twenty-first century. This collection demonstrates that the social history of Blacks in Canada has always been inextricably bound to questions of law, and that the role of the law in shaping Black life was often ambiguous and shifted over time. Comprised of eleven engaging chapters, organized both thematically and chronologically, it includes a substantive introduction that provides a synthesis and overview of this complex history. This outstanding collection will appeal to both advanced specialists and undergraduate students and makes an important contribution to an emerging field of scholarly inquiry.

In a winning new book, Pearleen Oliver: Canada's Black Crusader for Civil Rights brings to life a compassionate and passionate African Nova Scotian, the story of her growth and activism--a book that shows how one woman's voice changed the course of Nova Scotia's history. Pearleen Oliver pushed open doors that blocked Black girls from nurses' training. She kicked Little Black Sambo out of public schools. She was spokesperson for Viola Desmond's appeal of her 1946 conviction for challenging racist customs. A founder of the Nova Scotia Association for the Advancement of Coloured People, the Black United Front and the Black Cultural Centre, she was the first female moderator of the African United Baptist Association, and a founder of the AUBA Women's Institute. Editor Ronald Caplan weaves Pearleen's voice from her interviews and speeches. We experience Pearleen's awareness of injustice as she grew up in segregated New Glasgow schools. A married woman, we see her outrage re-kindled by a bewildered teenager at her door who was barred from nurses' training by her skin colour. Pearleen began to speak out before civic and religious and community groups?Boards of Trade, Rotary luncheons, B'nai B'rith and Baptist services and nuclear disarmament conferences. Newspapers carried her voice?a voice of reason and determination and common sense?across the province, and then across Canada. While raising five sons and carrying on the duties of a minister's wife, Pearleen mentored young girls and women in summer camps, church groups, continuing education, and women's groups. She was the organist in her churches, and she wrote histories of Black communities. In this eye-opening book Pearleen Oliver tells stories of activist journalist Carrie Best who published Nova Scotia's first Black newspaper, of successful businesswoman Viola Desmond who was sidetracked by petty racism, of Black soldiers who fought Nazi racism in the Second World War and then came home to racial discrimination in Canada. This book keeps alive a determined fighter for social justice who should not be forgotten. Pearleen Oliver demonstrated what one person, one voice, can do.

Historically Canadians have considered themselves to be more or less free of racial prejudice. Although this conception has been challenged in recent years, it has not been completely dispelled. In Colour-Coded, Constance Backhouse illustrates the tenacious hold that white supremacy had on our legal system in the first half of this century, and underscores the damaging legacy of inequality that continues today. Backhouse presents detailed narratives of six court cases, each giving evidence of blatant racism created and enforced through law. The cases focus on Aboriginal, Inuit, Chinese-Canadian, and African-Canadian individuals, taking us from the criminal prosecution of traditional Aboriginal dance to the trial of members of the 'Ku Klux Klan of Kanada.' From thousands of possibilities, Backhouse has selected studies that constitute central moments in the legal history of race in Canada. Her selection also considers a wide range of legal forums, including administrative rulings by municipal councils, criminal trials before police magistrates, and criminal and civil cases heard by the highest courts in the provinces and by the Supreme Court of Canada. The extensive and detailed documentation presented here leaves no doubt that the Canadian legal system played a dominant role in creating and preserving racial discrimination. A central message of this book is that racism is deeply embedded in Canadian history despite Canada's reputation as a raceless society. Winner of the Joseph Brant Award, presented by the Ontario Historical Society

In Projecting Citizenship, Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government’s Colonial Office Visual Instruction Committee at the beginning of the twentieth century—a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen. Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.