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Autism spectrum disorder is a neurodevelopmental disorder that particularly affects social and language skills. Many intervention methods have been developed to help individuals with autism cope with these challenges. Some make use of the arts, such as music therapy. This article reviews the literature on music group interventions to examine how they foster social development in children with autism. Six databases were searched and seven articles that met the inclusion criteria were reviewed. The research findings are discussed and future directions are proposed.

Keywords: autisme, autism, habiletés sociales, social skills, développement, development, children, enfant, literature review, revue de littérature

This article shows how the in-depth analysis of a key professional physical gesture contributes to training and professionalization. The article is based on the results of an analysis of an activity conducted with psychomotor therapists working with pediatric patients. A microscopic but central part of the professional work resides in the therapist’s body and their gestural adjustments, but remains implicit and hardly put into words by the therapists carrying these movements. The results of this analysis show that the psychomotor therapists conduct a body, sensory and affective inquiry with their pediatric patients. These results inform a professionalization perspective and provide an opportunity to consider group constitution, training composition and institutional recognition.

Keywords: Activité, Activity, Professionnalisation, Professionalization, Psychomotor Therapy, Formation, Psychomotricité, Recognition, Reconnaissance, Training

Keywords: Bande dessinée québécoise, Delporte Julie, Yanow Sophie, Samson-Dunlop François, Fontaine Rousseau Alexandre

This article focuses on the process of creating the first “Sarau das Minas Montreal: An Evening of Artistic Sisterhood” which took place on March 8, 2020. It is an artistic event conceived, directed and realized by a team of immigrant allophone women. The process of creating this event is rooted, on the one hand, in the empirical feminist approach of building a safe stage for allophone immigrant women artists, and on the other hand, in the preliminary analysis of data from my doctoral research on immigrant musicians working in “world music” in Montreal. First, the construction of a safe stage for these women involves the creation of a space in which they are first recognized and appreciated not as women, but as artists. Secondly, the analysis of the data shows that being an artist, a woman, an immigrant and an allophone at the same time imposes itself as a quadruple challenge. Inspired by the notion of safe space, this event project sought pragmatic responses to two problems experienced by immigrant, allophone women artists: the under-representation of these artists in the professional Quebec artistic milieu and language as a barrier to their inclusion. Le Sarau is the result of the collective work and will of a group of immigrant allophone women artists undertaking a process of emancipation from their own invisibility.

Recent studies of twenty-first century electronic dance music culture (EDMC) highlight the importance of women's creative agency as producers and DJs, and the role EDM plays in women's formation of identity (Farrugia 2012; Hutton 2006; Rodgers 2010). Prior to the 21st century, however, women's roles in club cultures and nightlife economies were more circumscribed, and women frequently took on roles outside the profitable and creative domains of these cultural economies. Despite being relegated to these less prestigious or profitable roles within the EDMC, as well as historically having been neglected and trivialized as participants in subculture dance music scenes, women have been active participants in Montreal's club cultures since the 1950s. Without claiming to be exhaustive, this article offers a historical survey of the various ways in which women participated in Montreal's nightlife from the 1950s to the 1990s, as well as in the EDM and social dance music scenes, from discos to raves.In this paper, that draws on a broader ethnographic and archival project on LGBTQ club cultures in Montreal, are explored the historical experiences of women in club cultures between the 1950s and 1990s. Themes such as nightlife activism, strategies of territorialization and self-determination, the role of the state, musical participation, creation, and technology will be explored in relation to various recreational “spaces” of the city. These spaces include the Red-Light district, the first lesbian-run nightclubs, the “golden age” of feminist and lesbian establishments in the 1980s, and their decline with the emergence of queer culture in the 1990s.

AbstractThe translation of song lyrics shares in the difficulties of constrained translation, as well as in the impossibilities of poetic translation. In Gilberto Gil's adaptation of the song “I just called to say I love you” by Stevie Wonder, two translation procedures stand out: (1) to take broad semantic fields as translation units, and (2) to opt for cultural adaptation in terms of the translation's poles of domesticating/foreignizing. The way Gil faces up to the challenges of the translation of the song is consistent with Haroldo de Campos ideas on transcreation.

Keywords: song, constrained translation, transcreation, Gilberto Gil, Haroldo de Campos, chanson, traduction subordonnée, transcréation, Gilberto Gil, Haroldo de Campos

AbstractThe Democratic Republic of Congo has known serious interethnic conflicts which led the country to a balkanization. After being its “father”, President Mobutu became seen as the “orchestrator” of the Zairian nation, because everybody knew that he was the instigator of internal divisions among different Congolese populations in general and, in particular, of the conflict that created for the second time a division between natives of Kasaï and those of Katanga.In this study, we review different mechanisms set up by public institutions and by NGOS and associations to bring together the two antagonistic communities, by initiating negociations and mediation in order to reread their common past, recognize their mistakes, mend their ways, reharmonize their link and restore peace in the province of Katanga in particular and in DR Congo in general.

Keywords: Dibwe dia Mwembu, conflit, reconstruction nationale, paix, négociations, réconciliation, Katanga, Congo, Dibwe dia Mwembu, conflict, national reconstruction, peace, negotiations, reconciliation, Katanga, Congo, Dibwe dia Mwembu, conflicto, reconstrucción nacional, paz, negociaciones, reconciliación, Katanga, Congo