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CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 65 

 

                                                                                  

 
 

                                                       

Canadian-Trinidadian Activism: Navigating 

 Intersectional Identity in Queer Care 
 

Julia Chapman 

Faculty of Arts and Science, University of Toronto 

 
Julia Chapman is a Trinidadian-Canadian third-year undergraduate student at the University of Toronto. She is pursuing a double major in Political 

Science and English. Chapman’s personal experience of identity within the Caribbean diaspora drives her academic interests in decolonization and 

intersectional identity. 

                                                                                  
 
KEYWORDS: 

QTBIPOC 

Trinidadian-Cana-

dian 

Intersectionality 

Identity 

Activism 

 
 
 
 
 
 
 

 

ABSTRACT   

                                                                                      
This paper seeks to explore what Trinidadian Canadian QTBIPOC (Queer, Trans, Black, Indigenous, People of Colour), 

and allied activism and care can look like in Canada and how this activism is informed by this complex intersectional 

identity.  This paper focuses on three activists: Richard Fung, Anthony Mohammed, and Deb Singh. Richard Fung in-

forms complex art-based activism through his complex identities as Trini, Chinese, Canadian, and as a gay man. Fung 

presents complex identity informing complex activism, for Fung, this is film-based art that explores the many topics 

surrounding his identity. Anthony Mohammad and Deb Singh present similar experiences of complex identity as Trini-

dadians within a South Asian diaspora and identity within Queer communities. For Mohammad navigating his sexuality 

as a gay man through Caribbean and South Asian communities presents contradicting yet synchronous experiences of 

inclusion and exclusion. Mohammed exhibits complex activism through his work in varied queer groups intended for 

Caribbean and South Asians separately. Singh similarly identifies the acceptability of a particular identity; navigating 

fluid sexuality, binary gender, and monogamy presents a similar thread of contradicting inclusion and exclusion. For 

Trinidadian-Canadian Queer activists, their complex navigation of intersectional identities informs their community 

work and artistic expression as activists.

 

 

Intersectional identities are at the core of Queer, Trans, 
Black, Indigenous, People of Colour (QTBIPOC) activism 
and care. For many, intersectional identity is complex and 
can be contradictory. Navigating queer and ethnic commu-
nities can mean interpreting parts of the self through con-
flicting lenses. For Trinidadian-Canadian queer activists, 
identity must be navigated through queer identity, ethnic  

community and cultural background. This paper seeks to 
explore what Trinidadian Canadian QTBIPOC and allied 
activism and care can look like in Canada and how this ac-
tivism is informed by this complex intersectional identity. 
For Trinidadian-Canadian queer activists, their complex 
navigation of intersectional identities informs their com-
munity work and artistic expression as activists.  
 

Caribbean Quilt 
Journal Homepage: https://jps.library.utoronto.ca/index.php/cquilt/index 
 
 



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 66 

This essay begins by providing background for the re-
search as it was conducted through a Research Opportunity 
Program and supervised by Professor Tara Goldstein and 
postdoctoral fellow Jenny Salisbury as a Research Oppor-
tunity Program. The essay delineates my inspiration from 
d’bi.young anitafrika and the archival research method us-
ing the ArQuives. It introduces the inspirations by d’bi and 
the methods throughout the ArQuives of Trini/Canadian 
activists Deb Singh, Anthony Mohammed, and Richard 
Fung, with an in-depth look at Richard Fung's intersecting 
identity and how that contributes to his activism.  
 
Trinidadian Canadian QTBIPOC activists present a shared 
experience of navigating their queer identity through cul-
tural and racial identity. This research was conducted under 
the supervision of Professor Tara Goldstein, and postdoc-
toral fellow Jenny Salisbury as part of a Research Oppor-
tunity Program (ROP) towards a larger project focused on 
60 Years of Queer, Trans, BIPOC (QTBIPOC) Activism 
and Care. The University of Toronto Research Oppor-
tunity Program provides second and third-year Faculty of 
Arts and Science undergraduate students the opportunity to 
join an instructor’s research project and earn course credit.1 
The overarching objective of Goldstein and Salisbury’s re-
search program was to conduct archival research on mo-
ments of activism and care between the 1970s to 2020s that 
have challenged heteronormativity and cis-normativity in 
Canada. This project builds on the work of Bishop Owis, 
a postdoctoral fellow at the University of British Columbia 
and a recent student of Professor Goldstein.2 Owis identi-
fied the different appearances of activism in differing com-
munities and linked activism and care in QTBIPOC 
spaces.3 To elaborate, Owis recognized building networks 
of care and creating chosen families as activism for sur-
vival and thrival in these communities.4 This ROP project 

 
1 “Research Opportunities Program,” 2023. Faculty of Arts & 
Science. https://www.artsci.utoronto.ca/current/academics/re-
search-opportunities/research-opportunities-program. 
2 Owis, Bishop. “Out at School: Imagining a Slow Ethic of Care 

in Research-Based Theater.” 2023. Qualitative Inquiry, Vol. 

29(2), pp. 323–331. 
3 Ibid., 323-331. 
4 Ibid., 323-331. 
5 anitafrika, d’bi.young. “Creating New Decolonial Frameworks,” 

2022. NEW299. University of Toronto. 

uses an intersectional lens which examines the intersec-
tions of heteronormativity and cis-normativity with other 
forms of structural discrimination, such as anti-Asian rac-
ism, anti-Black racism, anti-Indigenous racism and settler 
colonialism. 
 
To help the students prepare for their own individual pro-
jects, the research team invited guest speaker d’bi.young 
anitafrika Jamaican-Canadian feminist dub poet and activ-
ist to present their teachings in care. d’bi’s instruction on 
Sacredness and Experience were guiding principles in my 
research. For d’bi, sacredness is defined by the self for the 
self; they ask how we define what is sacred to us and how 
we treat what is sacred to us. Experience means recogniz-
ing our individual canvasses of knowledge. d'bi empha-
sizes communicating experience through a hierarchy of 
oppression and communicating in a decolonial direction.5  
 
Therefore, I began with familiar intersections of identity. I 
began with an interest in immigrant queer activism. As the 
child of a Trinidadian immigrant, I felt curious about how 
this identity may influence an intersection of QTBIPOC 
and allied activism in Canada. My research was gathered 
through the ArQuives. The ArQuives, located on Isabella 
Street in Toronto, formerly the Canadian Lesbian and Gay 
Archives, is the largest independent LGBTQ2+ Archives 
in the world. It was founded in 1973 as part of the Canadian 
Gay Liberation Movement and has since been the only 
LGBTQ2+ Archives in Canada with a national scope. Ini-
tial searches into the ArQuives brought me to Suhail Abu-
alsameed and a newcomer program for Queer Muslims.6 
and El-Farouk Khaki for the queer liberation Theory Pro-
ject7. Each of these activists and their work is undoubtedly 
impactful; however, I did not feel connected to their stories. 
Since there are certainly differences between each activist's 

6 Abualsameed, Suhail. “Suhail Abualsameed discusses Salaam, 

a SOY Newcomer Program for Queer Muslims,” Interview by 

Nancy Nicol, The ArQuives Digital Exhibitions. https://digi-

talexhibitions.arquives.ca/items/show/645. 
7 Khaki, El-Farouk. “Interview with El-Farouk Khaki for the 

Queer Liberation Theory Project,” Interview by Nick Mulé and 

Queer Ontario, The ArQuives Digital Exhibitions. https://digi-

talexhibitions.arquives.ca/items/show/1127. 



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 67 

experiences and my own, it is crucial that in the care of this 
project, I attempt to understand the activists I research as 
best I can. d'bi.young anitafrika inspired me to boldly pur-
sue Trinidadian immigrant activism and care through her 
emphasis on experience and sacredness.8 For transparency, 
my father is an Anglo-Canadian, my mother is an Indo-
Caribbean immigrant from Trinidad, and I was born in 
Canada. I realized through d'bi’s inquiry with respect to 
how we treat what is sacred to us9, that I hold this part of 
my identity sacred to myself, and thus I will approach this 
part of my activist identity with a sacred respect. This is a 
place in which I felt empowered to approach this research; 
hence I decided to focus on Trini QTBIPOC and allied ac-
tivism. My research seeks to explore what Trini QTBIPOC 
and allied activism and care can look like in Canada and 
how this activism is informed by this complex intersec-
tional identity.  
 
I began with preliminary research into three activists via 
the ArQuives: Deb Singh, Anthony Mohammed, and Rich-
ard Fung. Deb Singh is a queer, polyamorous, cisgender, 
Canadian-born Indo-Caribbean, working-class parent. 10 
She is an activist and counsellor at the Toronto Rape Crisis 
Centre/Multicultural Women Against Rape. 11  Anthony 
Mohammed is an AIDS activist, equity worker and Indo-
Caribbean LGBTQ leader. He was born in 1967 in San Fer-
nando, Trinidad and Tobago, and in 1969 his family relo-
cated to Toronto.12 In high school, Mohammed took up his 
activism with strength, and he attended Camp Kandalore, 

 
8 anitafrika, d’bi.young. “Creating New Decolonial Frameworks,” 

2022. NEW299. University of Toronto. 
9 Ibid. 
10 Brown, Elspeth. LGBTQ Oral History Digital Colaboratory, 

Prof. Elspeth Brown, PI 2021. The ArQuives Canada’s 

LGBTQ2S+ Archives Pussy Palace Oral History Project Fonds, 

F0205, Series31. 

https://collections.arquives.ca/en/permalink/descriptions49549  
11 Brown, LGBTQ Oral History Digital Collaboratory. 
12 Mohammed, Anthony. Interview by Nancy Nicol, September 

1st, 2004. The ArQuives Canada’s LGBTQ2S+ Archives Nancy 

Nicol Fonds, F0051, Series 3, File F0051-03-576, Item 

F0051-03-576-071. 
13 Mohammed, Interview by Nicol.  

an anti-racist and equity camp where he met counsellors 
and gay activists Tim McCaskell and Richard Fung. 13 
Richard Fung is a video-oriented artist and writer; he was 
born in Trinidad in 1954 and came to Toronto via Ireland 
in 1973.  
 
Richard Fung’s work as an activist is that of an artist. His 
work encompasses films which have been broadcast in 
Canada, the United States, and Trinidad and Tobago. 14 
Fung has published numerous essays and received awards 
in both Canada and the United States.15 He is currently a 
professor in the Faculty of Art at OCAD University. My 
exploration of his work focuses on the mid-1990s to early 
2000s, where I find Fung’s political engagement and work 
particularly, as he says, “grounded in [his] contradictory 
experience as gay, Chinese, Trinidadian, Canadian, a video 
maker, middle-class, and so on.”16 
 

In the early 2000s, after receiving a research-creation grant 
from the Canada Council for the Arts to study the relation-
ship between nationalism and homophobia in Canada and 
Trinidad and Tobago, Fung attended a solo exhibition by 
Trinidadian visual artist Christopher Cozier. 17  Here he 
was “accosted” by the word “bullers” “written on an old-
fashioned, stand-up blackboard that formed part of an in-
stallation.” 18  Buller is a derogatory word for gay men 
which references anal sex and, specifically, sodomy. Fung 
informs us that "buller" is sharp and poisonous and that in 
his youth, he lived in "terror that the word would be shot 

14 Fung, Richard. “Biography: Richard Fung,” 2021. Richard 

Fung.ca. http://richardfung.ca/index.php?/about/biographycv/. 
15 Ibid. 
16 Fung, Richard. “Dirty Dozen: An Interview with Richard Fung 

by Helen Lee,” Interview by Helen Lee, 2002. Originally pub- 

lished in: Like Mangoes in July ed. Helen Lee and Kerri Saka-

moto,2002. http://www.richardfung.ca/index.php?/inter-

views/dirty-dozen-2002/ 

 
17 Fung, Richard. “Uncomfortable: The Art of Christopher 

Cozier (2005),” 2005. Originally published in Public 31, 2005. 

http://www.richardfung.ca/index.php?/articles/uncomfortable-t 

e-art-of-christopher-cozier-2005/ 
18 Fung, “Uncomfortable,” publication.    



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 68 

[his] way."19 I admit that I cannot share his experience as 
a gay Asian man, but as a Trinidadian, I recognize the sharp 
pain and fear of the cutting language.  
 
Cozier used “buller” in a listing of attributes to describe 
“them” separate from “us”.20 Cozier further listed “them” 
as white people, rich people, people from big countries, 
and all of the above.21 While “us” was described as people 
who must pray, people who must work hard, people who 
must learn to love their “culture” and who must always re-
spect their leaders.22 I want to note that Cozier made the 
decision to place culture in quotation marks. I can theorize 
this as a  reference to the colonial implemented culture 
rather than the blend of found and shared culture among 
the people. This piece was a social commentary on the 
Trini nationalist project ongoing during this time. Fung 
claims he was drawn to this piece because it was a critique 
of homophobia in building the xenophobic nationalist pro-
ject from an artist he knew not to be gay.23  
 
Fung created his documentary “Uncomfortable: The Art of 
Christopher Cozier (2005)” and an accompanying essay of 
the same title. In his essay, Fung prefaces that he did not 
plan to make a documentary surrounding an artist and that 
explication by an artist does not further enlighten him be-
yond the artist’s art.24 In the film, in addition to speaking 
on his blackboard installation, Cozier talks about the cul-
tural aspects of Trinidad and their influence on his art. He 
discusses decorated fences to keep people in and out, and 
he speaks on native trees in front of historically colonial 
buildings such as banks and government buildings. He 
speaks on what he sees as the three roles for men on the 
island, as intellectuals, workers, and incarcerated, and on 

 
19 Fung, “Uncomfortable”, publication.    
20 Fung, Richard. “Uncomfortable: The Art of Christopher Co- 

zier (2005),” 2005. Documentary by Richard Fung. The  

AQuives Canada’s LGBTQ2S+ Archives Richard Fung Fonds, 

F0134, Series 12, File F0134-12-001. 
21 Fung, “Uncomfortable”, documentary.  
22 Ibid. 
23 Fung, “Uncomfortable”, publication.    
24 Ibid. 
25 Fung, “Uncomfortable”, documentary. 

the influence of the 1962 independence and subsequent 
1970s revolts. Cozier also argues that inherent to living on 
an island is looking out and knowing “there is a world out 
there”25. 
 
Fung clarifies that Cozier’s cultural critique originates 
from his “specific ethnic and geographical location, that of 
a middle class, “brown” person from Port of Spain.”26 
This critique is imperative as the island’s largest ethnic 
group has roots in India, yet the political sphere is predom-
inantly an African-Creole space. Moreover, the small num-
ber of filmic images representing the nation means “the 
stakes” for the voices of the country are high.27 I would 
like to note that in his clarification, Fung does not discuss 
the identity of Chinese Trinis; he does not include his own 
identity as a Trini.  
 
Beyond his work on Christopher Cozier, Fung’s work of 
this time also explores the masculine and sexual identity of 
Chinese men in North America. In 1995, Fung cited Bar-
bara Ehrenreich, an American author and political activist 
who claims homosexuality is seen as "the ultimate escap-
ism from the male role of breadwinner."28 Fung elaborates 
that the age of AIDs has expanded the irresponsible image 
of gay men to frame self-destructive behaviour and uncon-
trollable appetites for sex.29 He furthers this perception to-
wards Chinese gay men in North America, recalling the in-
flux of Chinese immigrants in the late 1800s as miners and 
railroad builders.30 These immigrants largely consisted of 
single men; the few women included were listed as either 
married women, girls, or prostitutes, and not granted iden-
tity beyond their connection to men.31  
  

26 Ibid. 
27 Ibid. 
28 Fung, Richard. “Burdens of Representation, Burdens of 

Responsibility,” 1995. Maurice Berger, Brian Wallis, and Simon 

Watson (Eds.), Constructing Masculinity, pp. 291-298, New 

York: Routledge 
29 Fung, “Burdens,” 291-298. 
30 Ibid. 
31 Ibid. 



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 69 

In Victoria, British Columbia, reinforced by the 1884 
Royal Commission on Chinese Immigration head tax 
which rose from $10.00 to $500.00 in 20 years, and the 
1923 Chinese Exclusion Act, which was only lifted after 
WW2, Chinese communities were commonly referred to 
as "bachelor societies" without the presence of women or 
families.32 Fung finds the “anxious suppression of the pos-
sibility of sexual relations between [these] men.”33 most 
significant. Fung states that the word “bachelor” is com-
monly used as a euphemism for homosexual men, even 
though this usage presumes heterosexuality34. Simultane-
ously, the label infantilizes Chinese men into non-men, yet 
"endows them with the sexual threat of men devoid of so-
cially sanctioned sexual release," meaning men seeking 
prostitution and displaying predatory sexuality.35 The con-
temporary North American Chinese man is still perceived 
along this spectrum of “asexual wimpiness and a degener-
ate, sexual depravity," continually producing an unstable 
masculinity 36 . Fung explores the narratives of Chinese 
male masculinity and sexual identity as it was formed in 
North America. He finds two possible avenues of “wimpi-
ness” or “depravity” and none which encompass a gay Chi-
nese male identity.  
 
Richard Fung's 1996 film "Dirty Laundry" elaborates on 
the gay Chinese male identity. Fung's film opens with the 
concept of not speaking Chinese languages when you are 
Chinese, and although he does not explicitly state it, I 
would note that this is something Fung personally experi-
ences as a Trini Chinese Canadian. Fung continues his ex-
ploration of Chinese migration, emphasizing the heavy 
segregation between men and women in these mining and 
worker communities, and he informs the viewer that queer 
male relationships were not uncommon.37 These relation-
ships may have engaged in sexual pleasure or non-sexual 
bed sharing; regardless, heavy companionship and 

 
32 Ibid. 
33 Ibid. 
34 Ibid. 
35 Ibid. 
36 Ibid. 
37 Fung, "Dirty Laundry."  
38 Ibid. 

affection amongst men in these societies were prevalent.38 
The film also features Sky Lee, a Canadian artist and nov-
elist who spoke on the misplacement of Chinese culture for 
the descendants of these migrants, as the migrants initially 
attempted to dampen their culture.39 Sky Lee also explains 
her own experience coming out to her Chinese Canadian 
mother, whose concerns for her rose from what Sky Lee 
called a "circumstantial location."40. Sky Lee's mother was 
concerned that without a husband, her daughter might not 
be taken care of; Lee connects this to the identity of Chi-
nese women in Canada being connected to their status in 
proximity to a man.41  
 
 
 
Richard Fung's activism as a Trini Chinese Canadian gay 
man rests on his artistry and representation. He explores 
the multi-facets of his identity and sustains a thread of 
complex belonging and isolation. In his 1980 essay, 
"Asians Gay and Proud" Fung states that "non-white gays 
and lesbians face a double-edged sword." He says they ex-
perience cultural schizophrenia, that the racism of general 
society filters into the gay community while the sexism and 
homophobia of "ethnic" communities creates a constant 
isolation42. His work between the mid-90s to early 2000s 
explores this dichotomy. He represents his Trini culture 
while recognizing sharp homophobia in his work with Co-
zier, and while combating racism and xenophobia faced by 
his identity as a Chinese Canadian, he corrects narratives 
to include further parts of his identity as a gay man.  
 
I have conducted preliminary research into Anthony Mo-
hammed via his 2004 interview with Nancy Nichol, a pro-
fessor in the Visual Arts Department at York University. 
Mohammed, as a Trini QTBIPOC activist, speaks on a 

39 Ibid. 
40 Ibid. 
41 Ibid. 
42 Fung, Richard. “Asians: Gay & Proud,” 1980. The  

Asianadian v. 2. N 3 Winter 1979-80, p.30  

http://www.richardfung.ca/index.php?/articles/asians-gay- 

and-proud/  



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 70 

similar thread of this "double-edged sword"43. Mohammed 
was born in Trinidad but grew up in the west end of To-
ronto.44 In high school, he began his activism and commu-
nity role in earnest, joining ZAMI, which is generally 
known as a black queer group in Toronto but was intended 
for Black people and West Indians; most members were 
Afro-Caribbean.45 While Mohammed is Indo-Caribbean, 
he acknowledged that this organization was a community 
he felt connected to and could navigate the types of homo-
phobia he experienced in Caribbean communities.46 Mo-
hammed also joined KHUSH, a South Asian gay and (to a 
lesser extent) lesbian organization.47 Through both organ-
izations, Mohammed states he found all of his needs met, 
but there was nothing which met him as a whole person.48 
Mohammed further speaks on the differing identities to 
which he belongs and how he feels received. For example, 
as a teenager, when called racial slurs, he felt support from 
his parents and community in rectifying this behaviour. 
However, when he was called homophobic slurs, he felt 
alone and could not seek support. 49  Mohammed also 
touches on cultural pride and homophobia, which occur 
simultaneously for him. While discussing Reggae and 
Dancehall lyrics, which encourage hatred for LGBTQ2S+ 
communities, Mohammed explains the contrast of his feel-
ings, on the one hand, he is proud of the Caribbean culture 
which is taking hold in Canada's Caribana culture, but on 
the other hand, he says that "just because it's cultural 
doesn't make it right"50. Mohammed continues the thread 
found in Fung's work of navigating a queer identity 
through cultural and racial identity. Mohammed, in his 
search for the queer community, struggled to locate a com-
munity which encompassed himself entirely and experi-
enced conflict in cultural pride and sharp homophobia.  
 
Deb Singh has similar experiences in navigating 

 
43 Ibid. 
44 Mohammed, Interview by Nicol. 
45 Ibid. 
46 Ibid. 
47 Ibid. 
48 Ibid. 
49 Ibid. 
50 Ibid. 

conflicting identities. To note, I have engaged with Deb 
Singh’s Pussy Palace Oral History Project Interview as a 
member of the Toronto Women's Bathhouse Committee. I 
would highlight her navigation of identity, beginning with 
her journey through her identities as bisexual, pansexual, 
and omnisexual to identifying herself as a queer woman.51. 
Singh also states that she has been in open relationships her 
whole life yet has found it far easier to discuss queerness 
than to discuss her poly identity. Furthermore, Singh is of 
Indo-Carib identity, yet often finds herself placed in a 
South Asian diaspora. As a first-generation Canadian, she 
feels a “mix up of three different spaces”52. Singh also re-
flects on her religious identity. She was raised Catholic and 
went to an all-girls Catholic school in her youth, yet she 
says she “can feel Hinduism and Islam in [her] blood."53. 
Part of the South Asian diaspora and Indo-Carib identity is 
the amalgamation of religious identity which Singh recog-
nizes. 
 
The Pussy Palace was a lesbian bathhouse in Toronto 
which was raided in September of 2000. It was a safe space 
for queer women and non-binary folx. Deb Singh was part 
of the Toronto Women’s Bathhouse Committee and on the 
subcommittee that organized Sugar Shack events, a BI-
POC-led bathhouse series for BIPOC queers. In her inter-
view, Singh speaks about the “eroticization of certain bod-
ies” and the importance of safe spaces or Sugar Shack 
events intended for racialized women and non-binary 
folx.54 These events were exclusively based on self-iden-
tification, meaning that racialization was not dictated by 
the external judgement of appearance. Singh notes the dif-
ficulty in maintaining and sustaining racialized safe spaces 
within the queer spaces, desiring inclusion with the im-
portance that racialized women and non-binary folx need a 
space within the space.55  Singh navigates identity as a 

51 Singh, Deb. Interview part of LGBTQ Oral History Digital  

Collaboratory, Prof. Elspeth Brown, PI, 2021. The ArQuives 

Canada’s LGBTQ2S+ Archives Pussy Palace Oral History Pro- 

ject Fonds, F0205, Series 31. 
52 Ibid. 
53 Ibid. 
54 Ibid. 
55 Ibid. 



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 71 

queer, polyamorous and racialized woman. As a South 
Asian diasporic Trinidadian born in Canada, she experi-
ences an amalgamation of religious identities and feels the 
"mix up" of these three identities.56  
 
My research on the identity of Trinidadian immigrant 
QTBIPOC and allied activism and care excludes Afro-Car-
ibbean and Anglo-Caribbean identities, excludes trans ex-
periences, and is generally male-dominant. However, it is 
apparent Trini QTBIPOC and allied activism and care are 
certainly varied. It includes visual artistry, representation, 
taking roles in spaces which may conflict with other parts 
of identity, involvement in rape crisis and assistance, and 
other methods not explored in my research. It also appears 
that this intersectional identity requires complex naviga-
tion, which aligns with complex activism, such as visual 
artistry expanding many topics surrounding identities of 
sexuality, gender, race, and culture. The complex identity 
of Trinidadian QTBIPOC appears to inform complex ac-
tivism and complex navigation.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

 
56 Ibid. 

 
 
 
 
 
 



CARIBBEAN QUILT 
2023 VOL. 7 NO. 1 
 

 72 

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Abualsameed, Suhail. “Suhail Abualsameed discusses Salaam, a SOY Newcomer Program for Queer Muslims,” Interview by Nancy 

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anitafrika, d’bi.young. “Creating New Decolonial Frameworks,” 2022. NEW299. University of Toronto.  

Brown, Elspeth. LGBTQ Oral History Digital Collaboratory, Prof. Elspeth Brown, PI 2021. The ArQuives Canada’s 

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https://collections.arquives.ca/en/permalink/descriptions49549. 

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Fung, Richard. “Biography: Richard Fung,” 2021. RichardFung.ca. http://richardfung.ca/index.php?/about/biographycv/. 

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http://www.richardfung.ca/index.php?/articles/uncomfortable-the-art-of-christopher-cozier-2005/. 

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