On Feb. 2, Sonia Igboanugo, a fourth-year McMaster biomedical discovery and commercialization student and co-founder of Black Aspiring Physicians of McMaster, received the Lincoln Alexander scholarship at the John C. Holland awards, which celebrates African-Canadian achievement in Hamilton.
Igboanugo and McMaster grad student Kayonne Christy launched BAP-MAC during the 2016-2017 school year to support Black McMaster students striving to become physicians and other healthcare professionals.
Igboanugo was inspired to create the club following her attendance at a University of Toronto summer mentorship program geared towards Indigenous and Black students interested in health sciences.
“I felt like that program changed my life in terms of inspiring me in what I thought I could do and what my capacity was as a potential health care professional,” Igboanugo said. “I felt very empowered and I felt very interested in this in bringing the same experience to McMaster.”
Since then, BAP-MAC has steadily grown. Currently, the club has over 100 members, proving a variety of resources to its members.
As part of the BAP-MAC mentorship program, younger students are paired with a mentor who provides academic and career guidance.
Throughout the year, BAP-MAC also arms students with information about research opportunities and hosts workshops and talks led by healthcare professionals.
At its core, however, BAP-Mac simply serves as a community for Black students on campus.
“For me, the biggest part has been connecting with older students who can help me navigate through university,” said first-year kinesiology student Ida Olaye, who aspires to go to medical school. “BAP-MAC gives you that support group, to know that you’re not alone, that there are a lot of people trying to pursue the same dream that you are pursuing and it is very doable.”
This past year, BAP-MAC received a three-year grant from the Ontario Trillium Foundation.
The grant has allowed BAP-MAC to host a conference for the first time. The event is scheduled for this upcoming May.
The grant also allows the club to expand its vision to empower Black youth on a larger scale.
“Because we have a pretty good campus presence, I would say, but the goal was to address the issue of lack of diversity on a more systemic front,” Igboanugo said.
Part of that is a new initiative aimed at incorporating high school students into the BAP-MAC program by connecting them to undergraduate student mentors.
Second-year human behaviour student Simi Olapade, who is also the associate director of multimedia for BAP-MAC, sees a lot of value in the initiative.
“Reaching out to those high school students is an opportunity that I even wished I had to be honest. Seeing someone like you in a place where you want to be helps so much in terms of making you focus more on achieving that goal, making you more goal-oriented and making you more focused,” Olapade said.
Reflecting on the award she recently received, Igboanugo says the work she does as part of BAP-MAC only reflects how others have helped her.
“It was very humbling to actually be recognized for the work because it is the greatest thing or greatest privilege I have to always serve my community or use my strength to better my community and the people around me,” Igboanugo said.
Students wishing to get involved with BAP-MAC can learn more about the group’s initiatives on BAP-MAC’s Facebook page.
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By: Rya Buckley
Mia Sandhu’s paper cut outs depict images of women partially or entirely nude, amidst backgrounds of leaves or behind curtains. She began working on these figures four years ago as a way of working through her own ideas about women’s sexuality.
Sandhu is a multidisciplinary artist currently based in Toronto. Her work has been exhibited in Toronto, Kingston, Halifax and Hamilton. She is a member of The Assembly gallery here in Hamilton, has done an artist residency at the Cotton Factory and also exhibited her work at Hamilton Artists Inc.
Last November, Sandhu exhibited her collection Soft Kaur at The Assembly, which featured playful figures who are comfortable with their sexuality. The name of the exhibition, which alludes to both to the softness and fierceness of women, incorporates the half Punjabi artist’s cultural background into her work.
“It's the idea [of] a female warrior spirit and the idea of equality that exists… Singh and Kaur are these given names and it was designed to eliminate status and… [create] men and women as equal. And I liked the play on this idea of soft female spirit slash warrior spirit [and] also the sexual undertone,” Sandhu explained.
There are other motifs in Sandhu’s work that suggest a dialogue between Sandhu’s culture and her evolving ideas on sexuality. A lover of Indian fabrics, silks and tapestries, Sandhu includes these aesthetic features in her work through the exotic plants in the environment her figures reside in. With the evolution of her work, she now references more domesticated plants that humans have formed a relationship with.
The silhouettes that are seen in Soft Kaur are also the result of Sandhu’s art’s progression. Her earlier work featured brown-bodied figures because Sandhu felt it more appropriate to use brown bodies in a work related to her upbringing and culture. Over time Sandhu employed more silhouettes in order to represent any woman, regardless of race.
The silhouettes do not broadcast as a uniform but as a canvas onto which women can project their own sexuality and ideas about sexuality. Sandhu is a believer in the fact that no one should decide for a woman how she should be represented sexually in society.
“I want women to be safe and I want them to feel safe and feel free and strong and empowered… [W]e're autonomous [and] each of us should choose for ourselves how we want to be represented sexually or in any other way because we're individuals. Hopefully we're not represented with any sort of attachment to shame. We should just be proud of who we are,” Sandhu said.
Facilitating space for women to speak about their ideas on sexuality was one of Sandhu’s aims behind this body of work. She finds it interesting to observe how her audiences connect with and interpret her art. By enabling dialogue, she finds that women can begin to realize the experiences that they share.
Exhibiting at The Assembly also gave Sandhu a location to speak with others about her work and to receive feedback. One thing that she appreciates about the Hamilton art scene is the sincerity of the participants who she feels are open to talking about important issues and are creating art that is driven by content.
While there is no linear narrative to Sandhu’s work, the content is obviously evolving as Sandhu’s own views develop. One of the motifs whose symbolism has changed over the years is the cloak that Sandhu’s figures have covering and revealing their bodies.
“[The cloak] represents shame, it represents personal space and it represents a number of other things as well… But it's like they're choosing how much of themselves that they're revealing and then as the work evolves, it's like the… cloak… stops being on them directly and starts being like in their space around them and they're allowing you in, or not letting you in,” explained Sandhu.
Through her work, Sandhu is also choosing to what extent she decides to let her audiences in. She is working on a new set of drawings and will continue to explore women’s sexuality and empowerment in the future. Her artwork is her diary, the paper cut outs and pencils replacing the thousands of elusive words that would be required to speak on the complicated ideas that she depicts.
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