Almerinda Travassos was born in Portugal and is now based in Canada. Her work primarily explores issues of history, memory, and family within the context of the Portuguese-born, Lesbian identity. Travassos’ artistic practice spans 35 years, and includes numerous collaborative and independent videos and films that have been screened worldwide. She has collaborated extensively with the late Colin Campbell and continues to produce and direct work with Margaret Moores.
“Dykes in the Streets” will premiere May 25 at the 2019 Inside Out Toronto LGBT Film Festival.
W&H: Describe the film for us in your own words.
AT: “Dykes in the Streets” is a documentary that examines the rise of Lesbian visibility in Toronto over the past 35 years. Lesbians Against the Right (LAR) organized the first Toronto dyke march called “Dykes in the Streets” in 1981. I was there and documented five minutes of the historic march on Super 8 film.
The project recalls the the personal and political ramifications of the march through the voices of some of the original 300 participants/organizers. It also demonstrates the growth of the Toronto Lesbian and LGBTQ community by way of its visibility and street activism.
W&H: What drew you to this story?
AT: It became apparent that our very recent Lesbian history was already being lost. Aside from the original 300 demonstration participants and friends, most Lesbians had no knowledge that the historical 1981 march had occurred.
W&H: What do you want people to think about when they are leaving the theater?
AT: I want younger viewers to celebrate the strength and courage that these brave Lesbians showed in 1981. It was a small but triumphant event!
W&H: What was the biggest challenge in making the film?
AT: The biggest challenge was two-fold: how to structure the 35-year narrative by providing the political context to a younger generation and to celebrate the memories of the participants. I’m not a fan of voiceover as a storytelling technique and wanted the women to speak for themselves. However, the story spans 35 years and I relied on the use of text to illustrate the various dates as the storyline progressed.
The other challenge was coping with the feeling of loss as I had to leave a lot of good footage behind — after all, how much demo footage do viewers want to watch?
W&H: How did you get your film funded? Share some insights into how you got the film made.
AT: The video was conceived in three to four parts. The original 1981 march was documented on two rolls of Super 8 film and paid for out-of-pocket. I received a small Canada Council grant on the 10th anniversary in order to commemorate the event in a “final” video. However, the footage continued to expand over the years and at the 35-year mark I commenced its final completion, which was self-funded. My distributor, Vtape, did provide the cost of tape transfers from Super VHS to digital.
W&H: What inspired you to become a filmmaker?
AT: I knew in high school that I wanted to go into the arts. Since I wasn’t a fine-artist, it seemed that filmmaking could provide some commercial options — that’s how I sold the idea to my mother, anyway.
W&H: What’s the best and worst advice you’ve received?
AT: I didn’t receive advice of any kind. I think everyone assumed that it was just a fad.
W&H: What advice do you have for other female directors?
AT: Go for the top job!
W&H: Name your favorite woman-directed film.
AT: “No Home Movie,” by Chantal Akerman.
W&H: It’s been over a year since the reckoning in Hollywood and the global film industry began. What differences have you noticed since the #MeToo and #TimesUp movements launched?
AT: I’m mostly involved in the independent arts community and thus haven’t noticed [the movements’] impact on the non-industry sector in Canada.
