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      <image:title>Content - In Conversation with: The Bentway’s Public Space Fellows (Part 1) - NAHOMI AMBERBER</image:title>
      <image:caption>Nahomi Amberber (she/her) is a Black public health researcher that uses data to push forward conversations of justice and health equity. A graduate of the Master of Public Health – Epidemiology program at the University of Toronto, she strives to bring her passion to all projects she works in, which have included those with Black Lives Matter – Toronto, the Wellesley Institute and The Centre for Active Transportation. As a researcher and budding organizer, Nahomi is constantly learning from the people around her who continue to defend the health and livelihoods of their communities.</image:caption>
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      <image:title>Content - In Conversation with: The Bentway’s Public Space Fellows (Part 1) - GELILA MEKONNEN</image:title>
      <image:caption>Gelila Mekonnen (she/her) is a planner with a diverse background in research, policy, community engagement, and active transportation. She is a graduate of the Master of Planning in Urban Development Program at Ryerson University, where her research focused on cycling equity and micromobility. Gelila has worked in active transportation with the Bike Share Toronto program, and has a keen interest in placemaking. Using an intersectional approach, Gelila is interested in how community co-creation and intercultural collaboration can enhance public space and city building practices.</image:caption>
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    <loc>https://www.safeinpublicspace.com/content/inclusivity-through-decolonizing-the-design-process</loc>
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      <image:title>Content - Decolonizing Design: The Case for Universal Inclusivity</image:title>
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      <image:title>Content - Decolonizing Design: The Case for Universal Inclusivity</image:title>
      <image:caption>Credit: City of Toronto</image:caption>
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      <image:title>Content - Decolonizing Design: The Case for Universal Inclusivity</image:title>
      <image:caption>Credit: Daniel Novykov</image:caption>
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      <image:title>Content - Snapshot: Centering Indigenous Perspectives in Public Space</image:title>
      <image:caption>Photo by Smoke Architecture</image:caption>
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      <image:caption>Photo by Rene Johnston / Toronto Star</image:caption>
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      <image:caption>Photo by Ebti Nabag</image:caption>
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    <loc>https://www.safeinpublicspace.com/content/expressions-of-place-keeping-with-tanya-chung-tiam-fook</loc>
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    <lastmod>2021-01-18</lastmod>
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    <loc>https://www.safeinpublicspace.com/content/talk-hypervisibility-in-public-space</loc>
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    <lastmod>2020-12-22</lastmod>
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    <loc>https://www.safeinpublicspace.com/content/potw3</loc>
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    <lastmod>2021-01-18</lastmod>
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      <image:title>Content - Photo of the Week</image:title>
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    <loc>https://www.safeinpublicspace.com/content/honouring-community-partnership-through-design</loc>
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    <lastmod>2020-12-22</lastmod>
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      <image:title>Content - Stewards: Honouring Community Partnership Through Design with Krista Nightengale &amp;amp; Matthew Clarke</image:title>
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      <image:title>Content - Stewards: Honouring Community Partnership Through Design with Krista Nightengale &amp;amp; Matthew Clarke</image:title>
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    <loc>https://www.safeinpublicspace.com/content/audio-tour-the-bentway</loc>
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    <lastmod>2021-01-18</lastmod>
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    <loc>https://www.safeinpublicspace.com/content/unravelling-the-measures-of-safety-a-dialogue-with-process</loc>
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    <loc>https://www.safeinpublicspace.com/content/snapshot-reflected-in-public-space-reimagining-monuments-amp-place-names</loc>
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      <image:title>Content - Snapshot: Reflected in Public Space - Reimagining Monuments &amp;amp; Place Names</image:title>
      <image:caption>Jim Lo Scalzo/EPA, via Shutterstock</image:caption>
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      <image:title>Content - Snapshot: Reflected in Public Space - Reimagining Monuments &amp;amp; Place Names</image:title>
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    <lastmod>2021-01-18</lastmod>
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    <loc>https://www.safeinpublicspace.com/content/new-monuments-for-new-cities</loc>
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    <lastmod>2020-12-22</lastmod>
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      <image:title>Content - New Monuments for New Cities</image:title>
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      <image:title>Content - New Monuments for New Cities - Coco Guzman - Missing Democracy</image:title>
      <image:caption>Coco Guzman’s poster Missing Democracy engages with the missing pet poster format as a recognition of everyday actions of reclaiming public space and sharing stories, and of asking strangers for help to find what is lost. The poster also works as an ephemeral monument to private relationships made public.</image:caption>
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      <image:title>Content - New Monuments for New Cities - Susan Blight - Untitled (Land and Life)</image:title>
      <image:caption>Susan Blight honours the Anishinaabeg peoples of Canada and the United States with her poster, Untitled (Land and Life). Blight depicts Nanaboozhoo, the half-human, half-spirit teacher, in the traditional Anishinaabeg pictograph technique. She articulates an interconnected landscape that includes land, sky, spirit, humans, and consciousness, referencing the inextricable link between land and life.</image:caption>
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      <image:title>Content - New Monuments for New Cities - Quentin Vercetty - Library of Unlearning</image:title>
      <image:caption>Quentin VerCetty’s monument reimagines the statue Alma Mater at Columbia University’s Low Library as a Ugandan woman, displacing the existing statue into an alternate universe—an Afrotopian world where people of color are safe, empowered, and appreciated. The pictured monument bears the inscriptions “new school” (ādīsi timihiriti bēti) and “unlearning” (timihiriti yelemi) written in Ethiopian Amharic G’eez. The words replace the Latin phrase “alma mater” from the original monument as a commentary on the unlearning of ancient languages and knowledge. The work also contains elements of carnival and West African adinkra symbols.</image:caption>
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      <image:title>Content - New Monuments for New Cities - An Te Liu - Memoria</image:title>
      <image:caption>Memoria is a collage based on a painting by Hubert Robert (1733 – 1808), known for his fictional renderings of architectural ruins and landscapes. By inserting the fragment of an elevated highway into Robert’s landscape, An Te Liu imagines a future where key elements of urban infrastructure are preserved and memorialized. Memoria questions narratives of technological progress—from the vantage point of an uncertain future, the structures and landscapes we find in the city today will inevitably pass into obsolescence, either as monument or as ruin.</image:caption>
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      <image:caption>The Treaty of Huế (1884), signed after the French colonialists seized the Imperial City in Huế, Vietnam, marked the beginning of French colonial oppression in Vietnam for the next 70 years. Life of a Craphead member Jon McCurley’s ancestor, Phạm Thận Duật, was a governor and high ranking public official who was forced to sign the treaty on behalf of court. This poster, Angry Edit of a Wikipedia Page, is a screen capture of their disruption to this treaty’s Wikipedia page, which suppresses information about the Vietnamese and is riddled with French biases. For a single day, their fact checking shed light on the truth of the conflict.</image:caption>
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      <image:caption>How do you feel in this public space? List 3 words that describe how you feel in this space.   Why do you think this is how you feel in this space? Do you feel like you “belong” in this space? Do you feel safe? Why or why not?</image:caption>
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      <image:caption>How would you compare the north side vs. the south side of Bloor Street? Which feels more inviting and welcoming? How is a space signalled as “closed off” versus “welcoming”? Contrast these two buildings and their purpose. Who might feel welcome in each of these spaces? What are the invisible boundaries that exist that we take for granted, and contribute to whether we feel welcome or not? What are the invisible boundaries that exist that we take for granted (across space and time), and contribute to whether we feel welcome or not?</image:caption>
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      <image:caption>Photo: Cara Chellew via Azure</image:caption>
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      <image:title>Content - Cycling Safely: The Role of Bikes in Urban Recovery with Dave Shellnutt</image:title>
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      <image:caption>PHOTO: Earthscape</image:caption>
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      <image:caption>PHOTO: Rasmus Gerdin</image:caption>
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      <image:caption>PHOTO: Robert Ruggiero</image:caption>
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      <image:caption>PHOTO: Snøhetta</image:caption>
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      <image:caption>Designed by Claude Cormier, the Berczy dog park (here and at the top of this article) invites people to play. PHOTO: INDUSTRYOUS Photography</image:caption>
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    <lastmod>2020-11-05</lastmod>
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      <image:title>Virtual Events - Hypervisibility in Public Space: An Artist Talk with Public Visualization Studio &amp;amp; Syrus Marcus Ware</image:title>
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    <image:image>
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      <image:title>Virtual Events - Hypervisibility in Public Space: An Artist Talk with Public Visualization Studio &amp;amp; Syrus Marcus Ware</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1603723355436-CJETRHRM0CNMR1F5SI3J/Talk-1-Immony.png</image:loc>
      <image:title>Virtual Events - Hypervisibility in Public Space: An Artist Talk with Public Visualization Studio &amp;amp; Syrus Marcus Ware</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1603724782911-YSJQ4ENUQYM6LMKJRYEG/Syrus+Marcus+Ware+-+Headshot++-+photographer+Jalani+Morgan.jpg</image:loc>
      <image:title>Virtual Events - Hypervisibility in Public Space: An Artist Talk with Public Visualization Studio &amp;amp; Syrus Marcus Ware</image:title>
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      <image:title>Virtual Events - Hypervisibility in Public Space: An Artist Talk with Public Visualization Studio &amp;amp; Syrus Marcus Ware</image:title>
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    <loc>https://www.safeinpublicspace.com/virtual/to-be-safe-in-our-skin</loc>
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    <lastmod>2020-11-30</lastmod>
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      <image:caption>Photo by Kevin Jones</image:caption>
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      <image:caption>Photo by Kevin Jones</image:caption>
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      <image:caption>Photo by Peter Maddison</image:caption>
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      <image:caption>Photo by Zahra Saleki</image:caption>
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    <loc>https://www.safeinpublicspace.com/virtual/stewardship-governance-in-public-space</loc>
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    <lastmod>2020-11-17</lastmod>
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      <image:title>Virtual Events - Stewardship &amp; Governance in Public Space</image:title>
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      <image:title>Virtual Events - Stewardship &amp; Governance in Public Space</image:title>
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      <image:title>Virtual Events - Stewardship &amp; Governance in Public Space</image:title>
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    <loc>https://www.safeinpublicspace.com/press</loc>
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    <lastmod>2021-01-22</lastmod>
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  <url>
    <loc>https://www.safeinpublicspace.com/press/toronto-star-10-20</loc>
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    <lastmod>2020-10-23</lastmod>
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  <url>
    <loc>https://www.safeinpublicspace.com/press/cbc-10-22</loc>
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    <lastmod>2020-10-23</lastmod>
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    <lastmod>2020-11-17</lastmod>
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    <loc>https://www.safeinpublicspace.com/press/canadian-art</loc>
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    <lastmod>2021-01-22</lastmod>
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    <lastmod>2021-01-22</lastmod>
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  <url>
    <loc>https://www.safeinpublicspace.com/creative-projects</loc>
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    <lastmod>2020-12-02</lastmod>
    <image:image>
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      <image:title>Creative Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606948206547-IOEC9M0Z0PLMSN16VM7S/Chris+Lee+Cover.png</image:loc>
      <image:title>Creative Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605552681877-AZJSOA5HT3EOZ19SPLU0/Bentway+as+Hostile+Architecture_Image-2+quick.jpg</image:loc>
      <image:title>Creative Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605553413280-E03L9GC8NMARWROAC34U/DSC_9728+by+Drew+Berry.JPG</image:loc>
      <image:title>Creative Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605553083205-FC4YYMRFTVI5X0H10PUB/DSC08627+%281%29.jpg</image:loc>
      <image:title>Creative Projects</image:title>
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  <url>
    <loc>https://www.safeinpublicspace.com/receipts</loc>
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    <priority>0.75</priority>
    <lastmod>2020-12-17</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1603139516442-767566QOIQZ2X6P2DZ6S/DSC08325-cop+for+project+pages.jpg</image:loc>
      <image:title>Receipts - Receipts</image:title>
      <image:caption>A multimodal interface that receives, anonymizes, archives, and performs testimonies to anti-Asian aggression in public space. Viewable on The Bentway site from October 16 – November 11, 2020. “In addition to the direct health impacts of COVID-19, we are experiencing parallel shadow pandemics of racial discrimination and violence, housing precarity and homelessness, and negative effects of isolation. These occurrences disproportionately affect our vulnerable communities. For example, Asian diasporic communities have seen troubling intensifications of racism that have had negative impacts on personal safety. Receipts is a multimodal interface that receives (via voice, video, and/or text), anonymizes, archives, and performs (on the web and in public) the testimony of people that have experienced or witnessed anti-Asian aggression in public spaces. At its core, this project is concerned with addressing safety in public space by focusing on the social and technical aspects of recording and publicizing testimony. We hope to build on this prototype in order to develop a more robust and flexible tool that can be modified and employed by equity-seeking groups to influence political decision-making.” —     Public Visualization Studio http://receipts.publicvisualizationstudio.co/</image:caption>
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    <loc>https://www.safeinpublicspace.com/ebti-nabag</loc>
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    <lastmod>2021-01-26</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1601408512439-M35KH89ME2XS8A84EA4T/EbtiNabag-Portrait.jpg</image:loc>
      <image:title>Ebti Nabag - EBTI NABAG</image:title>
      <image:caption>Ebti Nabag is a graduate of Ryerson University’s MFA program Documentary Media in Film and Photography. She is a Sudanese-Canadian visual artist who works with photography, video, and installation. She is also a digital and analogue photography instructor. She teams up with galleries and community organizations to deliver visual programs that provide opportunities for creative self-expression and aid in the development of identity. Her personal work is motivated by stories from the average human, and hopes her documentations serve as bridges between people and communities.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1602641843804-GIQ2F806GHI6YHOGA268/SafeInPublic5.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>Photographed in Parkdale, a man protects his face twice by covering it with a face mask and a face shield. In these times, maintaining a normal life and carrying on with a routine takes courage and resilience. How do you work around fear to start leading a somewhat normal life as we transition into life post quarantine?</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1602641841451-SEJNTR380YAYUV04K3R2/TheBentWayDay3--35.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>Photographed in Scarborough, Qais who lives on the 8th floor comes down to meet Yusuf outside of his 2nd floor balcony. “We actually used to meet like this often earlier in the pandemic.” Qais says. Balconies have become the meeting place for many people during the pandemic. It’s that place between the indoor and the outdoor, the private and the public. From showing appreciation to the healthcare workers, to music parties and exercise classes, balconies have made community connections possible during isolation.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1603466425760-NYPPDLPHX9SBNAOKY6OP/TheBentwayDay3--5.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>Photographed in Trinity Bellwoods, the exterior of the public bathroom is covered in Covid-19 signage. Even prior to the pandemic, public bathrooms served a vital need and had a pre-existing reputation of danger and risk. Accessibility has long been an issue. The excess signage adds another perceived layer of danger and reconsideration for use. But, if used while adhering to the rules, how unsafe are public bathrooms compared to other indoor spaces?</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1604090786085-3QKNO6E5C0SYSOQY2T1W/SafeInPublic2.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(1/2) Canadians should wear a mask as an "added layer of protection" says the Canadian Chief of Public Health. As COVID-19 spreads, you might find yourself under varying layers of protective measures when occupying public spaces. A man wearing a mask while under an umbrella at Sugar Beach relaxes in the summertime, protecting himself from the virus and the sun.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1604090772818-DU9R9GBKCZ42B7OGXM51/TheBentwayDay2-2.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(2/2) While an eerily empty University of Toronto Scarborough campus uses garbage bags to keep students 2 meters apart amidst rising infection rates. Layers of protection, whether purpose-built or ad hoc, have changed the way we both work and play during these times.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1604923622775-XT7B769U99X1ADCQS7HA/BLM2020Toronto-3.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(1/2) COVID-19 collides with a pre-existing pandemic, the pandemic of racism and discrimination. In Toronto’s downtown core, a Black Lives Matter protest captures the intersection between a novel virus and the systemic racism and discrimination Black people have long experienced in larger society. COVID-19 has further highlighted social inequities as the economic and public health crisis continues to disproportionately impact BIPOC communities.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1604923612395-AITM8XCWFOM29IDGVXTU/BLM2020Toronto-2.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(2/2) Around the world people have marched for long hours, experiencing an array of emotions ranging from anger and sadness, to unity and hope. Dancing has also become a vital component of peaceful protests. Black communities have learned to deal with trauma and pain through music and dance, as a way to express frustration and anger, but also as a way to bring people together.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605275642094-LUE5H5WNFSO52GWC7K2O/BentwayDay5-1sm.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(1/3) The statue of Egerton Ryerson, the architect of the residential school system, along with the statue of John A. Macdonald and King Edward VII were defaced in an art-based BLM protest in Toronto on July 18th. The statues exalt figures who have historically contributed to the oppression of BIPOC in Canada; as such, protesters demanded they be taken down.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605275630901-5JRO407ROWWAZ9D5ZKK1/BentwayDay5-5sm.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(2/3) These monuments to figures that have negatively shaped our society have always been there, but it took the act of defacing them for their current context to become visible.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605275614072-FE68K478QK3ZSTEECZGE/BentwayDay5-4sm.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(3/3) Residues of the past have remained, emerging in new forms that continue to oppress BIPOC communities. These figures have inflicted intergenerational trauma, and their presence is a continuous reminder of that.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605555189912-ANJNHIHE16S3R6FH05OV/BentwayDay5-8.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(1/2) Graffiti has been used to express the voice of city residents outside of traditional exhibition spaces. While street art contributing to the Black Lives Matter movement has been viewed by some as vandalism, it allows communities to reclaim their narratives and be heard. This silent work has an enormous visual impact, and can be more influential than speech alone.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1605555183272-0D749C56O3SF8I1MIEBL/TheBentwayDay3-19+%281%29.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(2/2) Street art comes in different forms. What at first appears to be an official street sign amongst Toronto city parking regulations is actually a notice that reads “Black Lives Matter 24/7, 365 days a year.” The sign is positioned next to a P Parking sign with time restrictions, subverting our expectations and playing on the idea of duration and urgency.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606755952287-I1RETPUOBS1K1KKYYRAR/TheBentwayDay4-6.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>COVID-19 has further revealed Toronto’s housing crisis. During the pandemic, encampments created by those impacted by homelessness have appeared throughout Toronto’s public parks. In fear of contracting the coronavirus, residents of encampments argue that the public space tents provide safer living conditions than those offered by the shelter system. The City has worked to depopulate shelters, negotiating vacant buildings and hotels to house the homeless. However, the City’s accommodation efforts have not always been well received. Some homeowners residing in neighbourhoods proximate to tents or temporary shelters have protested over safety concerns. Similarly, those impacted by homelessness argue that the housing options provided by the City are located far from the social connections and services they often access in their communities.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1610376465990-PMKKC0HYNT35JUQQYEYM/Day7-5.JPG</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>Food security has been a growing issue in the city for more than a decade. Last year, a high number of residents were accessing food banks, that number has increased during COVID-19. Originally the city did not allow community gardens to open due to social distancing rules, as gardens were not seen as a necessity the same way grocery stores were. A petition to reopen community gardens was created and signed by other community gardens and community members that deemed gardens essential. The city soon realized that food is a necessity whether from a grocery store or a community garden and that communities need food security during this time. Historically, the community of Malvern has experienced an oversaturation of processed foods and limited access to affordable healthy food options. In 2009 a Malvern resident - with support from the community - started a garden in the back of their apartment building that sparked a local movement of residents preserving local green spaces to grow healthy, culturally appropriate food.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1610376472854-NEJCUL296WO02PX66CZH/Day7-3.JPG</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>Now, Malvern has three community gardens supported by the Malvern Family Resource Center, and coordinated by members of the resident-led Malvern Food Security Work Group. The first is The Malvern Children Garden created for youth and children to grow and learn. The second is Little Roads Community Garden for hobbyists where a portion of their harvest is donated back, and the third is the communal Nelson Park Garden where 100% of the harvest is donated back to the community.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1610376478406-XFB1O7MHYJNY0TXW7GH9/Day8-8.JPG</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>It is estimated that food insecurity affects almost 1 in 5 Toronto households. In the past few months, food pantries have been showing up in various communities throughout the GTA under the communal project Toronto Little Free Pantries. The pantries are made available for anyone in need of food supplies, and have provided an opportunity for community members to give back through labour and/or donated goods.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1611678288368-J2RM6EZWFNEE4C2PIHHM/BentwayDay10-5.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(1/2) To continue operating, outdoor recreational public spaces have the responsibility to assess and mitigate the risk associated with their activities. Implementing measures to reduce the risk of infection among those using the space means placing barricades or fences to section outdoor spaces into exterior and interior, in addition to rigorous cleaning protocols.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1611678304796-IXVCZ8ZS1K6VZJXMVAY9/BentwayDay10-16.jpg</image:loc>
      <image:title>Ebti Nabag</image:title>
      <image:caption>(2/2) While the rules of public spaces might be ambiguous, signs along the fence emphasize following safety measures once you are inside. These demarcations are required to keep the public safe; however, the rules within these spaces may well change the public’s navigation and perceived access.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/radical-love</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-10-30</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1602188073924-C5RXAHQV5DRO3TQ5LTYF/1523806484116115972.png</image:loc>
      <image:title>Radical Love - Radical Love</image:title>
      <image:caption>A multimedia installation that centres Black and Afro-Indigenous Trans women and non-binary people, creating monuments to Trans lives and their survival. “Rooted in Black radical thought, this project draws on the 1977 Combahee River Collective articulation that if we make the world safer for those most marginalized — for me, this means specifically Black Trans women (who are Deaf, Mad and disabled) — we are necessarily making the world safer for everyone.  It is so rare for Black and Afro-Indigenous Trans folks to see themselves reflected in public space, expected and imagined in city planning, despite the incredible contributions that Black Trans and non-binary people have given to the city. My project interrupts this history of erasure and instead centres these experiences at its core, celebrating Trans lives and embodied presence in our city. Abstracted geometric monuments glow in low light, radiating vibrant images that embody the notion that #transisbeautiful and #transispowerful, proclaiming radical love for all our ways of being.  Thank you to Ravyn, Monica, and Chrys for sharing their brilliance and power with me and the world. Their activism makes this city safer for Black Trans people. These monuments are also a way of honouring and celebrating these lives, this labour.” – Syrus Marcus Ware Photo (right): Ravyn Wngz</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1601501381353-BSVWNNDTBVTVD3S7588F/Syrus+Marcus+Ware+-+Headshot++-+photographer+Jalani+Morgan.jpg</image:loc>
      <image:title>Radical Love - Syrus Marcus Ware</image:title>
      <image:caption>Syrus Marcus Ware is an Assistant Professor at the School of the Arts, McMaster University. He is a Vanier scholar, visual artist, activist, curator and educator. Syrus uses painting, installation and performance to explore social justice frameworks and black activist culture, and he’s shown widely in galleries and festivals across Canada. He is a core-team member of Black Lives Matter – Toronto, co-founder of Black Lives Matter - Canada, a part of the Performance Disability Art Collective, and an ABD PhD candidate at York University in the Faculty of Environmental Studies. His ongoing curatorial work includes That’s So Gay (Gladstone Hotel, 2016-2019) and BlacknessYes!/Blockorama. He is the co-editor of the best-selling Until We Are Free: Reflections on Black Lives Matter in Canada (URP, 2020).</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/about</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-10-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1602640494037-ED6K5G2E1JO0S4PXK3J6/752.019.jpg</image:loc>
      <image:title>About</image:title>
      <image:caption>Photo by Nic Lehoux</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/public</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-10-08</lastmod>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/hostile-architecture</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-10-15</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1601406163294-UT2ZLON2YIDRM30IOTHW/Bentway+as+Hostile+Architecture_Image-1+Q.jpg</image:loc>
      <image:title>The Bentway as Hostile Architecture - The Bentway as Hostile Architecture</image:title>
      <image:caption>A call to reinvest the work’s production budget into community initiatives by establishing aid networks to disseminate resources to local affinity groups. The Bentway as Hostile Architecture demands the reinvestment of the work’s $10,000.00 production budget into community initiatives, by establishing aid networks to disseminate resources to local affinity groups between October 2020 and June 2021 — in keeping with The Bentway’s fiscal year. This project questions the efficacy of temporary installation initiatives, and instead looks to divest power, platform, and space by prioritizing the agency of communities. It allows for self determination through ongoing, coordinated communication with BIPOC community leaders, those working with folks living in encampments, as well as other affinity groups who may otherwise seek aid to maintain their operations.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/kaeja</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-12-14</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868171780-3LAQ7ISJQHU43S90B2CV/DSC_1158.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606867906425-MJWMLCY3LW07N1WO0NN8/Irma+Villafuerte+prose.jpg</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption />
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868174414-TMNAQ3QBLN1D4DRN5QC6/DSC_1084.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868288491-ZPN8D2C2TU406L06PWC7/DSC_1319.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606869203184-YZMLZTDLXZDSBQVQX66A/Karen+Kaeja+prose+test.jpg</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868209883-296D1IVC9YD4BVNH1ON5/DSC_1365.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868171258-0HUBSNJ0XBFT70CZKQQO/DSC_1141.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606867903866-YA2WSZVFV5BDXUCH03VY/Nickeshia+Garrick+prose.jpg</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868232245-GZ8UAHGJ7GUSO51ZNSJY/DSC_1401.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1606868363760-TJQD9MM1EXEKSGW9POB8/DSC_1329.JPG</image:loc>
      <image:title>Kaeja D'dance - To Be Safe in our Skin</image:title>
      <image:caption>Photo: Drew Berry</image:caption>
    </image:image>
  </url>
  <url>
    <loc>https://www.safeinpublicspace.com/survey</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2020-12-11</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5f63d2939e6285096fa01da4/1607570850929-9P4J9XMSOXSO0WQX1R4N/Active_Safe.jpg</image:loc>
      <image:title>Safe in Public Space Survey</image:title>
    </image:image>
  </url>
</urlset>

