Using video and workshops, participants in the study reported here had the opportunity to share their perceptions, thoughts, and hopes for the future of adult education in the North.

During the last decades the Arctic has become more central on the world stage. However, despite increased interest how much do people really know about ‘the north’ and the ‘northern people’? The aim of this article is to chronicle a research project by students, who saw themselves as northerners, that used video to capture northerners’ definitions of the north, as well as asking the community about what they wanted newcomers and southern Canada to know about the north. The group also embarked on a new discipline of northerners studying ‘the south’. 43 students interviewed 95 people in the Beaufort Delta, Northwest Territories and 25 people in Edmonton, Alberta. The student researchers’ responses and that of their interviewees are some of the most direct messages on how northerners view their identity and that of their fellow southern Canadians. This project created a video tool to share, educate, and commence a dialogue between people about the north straight from the source.

This essay explores the roots of Ethel Smyth's opera The Wreckers (1903–04), composed to a libretto by H. B. Brewster, in fin-de-siècle debates on the legal and religious regulation of morality. Taking into account Smyth's jaundiced use of Cornish history, the contribution of Brewster's professed individual anarchism and sexual libertarianism, and Smyth's willingness to parody and manipulate musical conventions in order to reinforce radical ideals, it views the work both as a reflection of its authors' engagement with modernism and as a herald of Smyth's subsequent contribution to militant feminism.

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