Although the 1960s are overwhelmingly associated with student radicalism and the New Left, most Canadians witnessed the decade's political, economic, and cultural turmoil from a different perspective. Debating Dissent dispels the myths and stereotypes associated with the 1960s by examining what this era's transformations meant to diverse groups of Canadians – and not only protestors, youth, or the white middle-class. With critical contributions from new and senior scholars, Debating Dissent integrates traditional conceptions of the 1960s as a 'time apart' within the broader framework of the 'long-sixties' and post-1945 Canada, and places Canada within a local, national, an international context. Cutting-edge essays in social, intellectual, and political history reflect a range of historical interpretation and explore such diverse topics as narcotics, the environment, education, workers, Aboriginal and Black activism, nationalism, Quebec, women, and bilingualism. Touching on the decade's biggest issues, from changing cultural norms to the role of the state, Debating Dissent critically examines ideas of generational change and the sixties.

An extraordinary work that brings to life the events and trends of the '60s in Canada.

During the “long sixties,” baby boomers raised on democratic postwar ideals demanded a more egalitarian society for all. While a few became vocal leaders at universities across Canada, nearly 90% of Canada’s young people went straight to work after high school. There, they brought the anti-authoritarian spirit of the youth revolt to the labour movement. While university-based activists combined youth culture with a new brand of radicalism to form the New Left, young workers were pressing for wildcat strikes and defying their aging union leaders in a wave of renewed militancy. In Rebel Youth, Ian Milligan looks at these converging currents, demonstrating convincingly how they were part of a single youth phenomenon. With just short of seventy interviews complementing the extensive use of archival records from ten different cities, this book claims a central place for labour and class in the legacy of the Canadian sixties.

Making the Scene is a history of 1960s Yorkville, Toronto's countercultural mecca. It narrates the hip Village's development from its early coffee house days, when folksingers such as Neil Young and Joni Mitchell flocked to the scene, to its tumultuous, drug-fuelled final months. A flashpoint for hip youth, politicians, parents, and journalists alike, Yorkville was also a battleground over identity, territory, and power. Stuart Henderson explores how this neighbourhood came to be regarded as an alternative space both as a geographic area and as a symbol of hip Toronto in the cultural imagination. Through recently unearthed documents and underground press coverage, Henderson pays special attention to voices that typically aren't heard in the story of Yorkville - including those of women, working class youth, business owners, and municipal authorities. Through a local history, Making the Scene offers new, exciting ways to think about the phenomenon of counterculture and urban manifestations of a hip identity as they have emerged in cities across North America and beyond.

This book for students examines a child welfare policy in Canada that began in 1951 in which Indigenous children were taken from their homes and put into the care of non-Indigenous families. These children grew up without their birth families, cultural roots and language. Many tried to run away and some died in the attempt. The taking of the children became known as the Sixties Scoop. The term “Sixties Scoop” makes explicit reference to the 1960s, but the policies and practices started before the 1960s and lasted long after. Today, Indigenous children are over-represented in the Child Welfare System across Canada in shocking numbers. Indigenous communities got organized and fought back for their children. In 1985, the Kimelman Report was released, condemning the practice of adopting Indigenous children into non-Indigenous families and for taking so many children out of their communities. In the 1990s, lawsuits were filed against the governments who had supported taking the children. In 2018 and 2019, Alberta, Saskatchewan and Manitoba apologized for their roles in supporting the adoption programs. In 2020, the Canadian government agreed to a settlement for survivors of the Scoop. Through hundreds of photos and primary documents, readers will meet many survivors of the Scoop. They’ll also learn how Indigenous communities fought back to save their children and won, and how Indigenous communities across Canada are working towards healing today.

At a time when Canadians were arguing about the merits of a new flag, the birth-control pill, and the growing hippie counterculture, the leaders of Canada's largest Protestant church were occupied with turning much of English-Canadian religious culture on its head. In After Evangelicalism, Kevin Flatt reveals how the United Church of Canada abruptly reinvented its public image by cutting the remaining ties to its evangelical past. Flatt argues that although United Church leaders had already abandoned evangelical beliefs three decades earlier, it was only in the 1960s that rapid cultural shifts prompted the sudden dismantling of the church's evangelical programs and identity. Delving deep into the United Church's archives, Flatt uncovers behind-the-scenes developments that led to revolutionary and controversial changes in the church's evangelistic campaigns, educational programs, moral stances, and theological image. Not only did these changes evict evangelicalism from the United Church, but they helped trigger the denomination's ongoing numerical decline and decisively changed Canada's religious landscape. Challenging readers to see the Canadian religious crisis of the 1960s as involving more than just Quebec's Quiet Revolution, After Evangelicalism unveils the transformation of one of Canada's most prominent social institutions.

Leading Canadian artists, curators, and art historians from Douglas Coupland to Paul Bourassa look at questions of design and national identity in the 1960s.