Local slow fashion business aims to promote sustainable fashion through their simple, timeless pieces
Menta Clothing Co. is an up-and-coming local Hamilton business that was founded two years ago by Luke Guevara. They participated in their first Supercrawl fashion show on Sept. 8.
Guevara grew up in Hamilton and has attended Supercrawl many times in the past, though this was his first year as a vendor.
“I've been going to Supercrawl pretty much my whole life, on and off. [It]’s really exciting to be able to set up a booth and have my own little business, my own little space,” said Guevara.
I've been going to Supercrawl pretty much my whole life, on and off. [It]’s really exciting to be able to set up a booth and have my own little business, my own little space.
Luke Guevara, founder, Menta Clothing Co.
When he was casting for models for their fashion show, Guevara looked for models with an energy that glowed and had vibes that matched his.
“I was really looking at energy and the vibe that they had, that kind of radiates off them and it kind of glows. It's something I really find important and for the people I surround myself with,” explained Guevara.
Guevara takes pride in being very rooted as a Hamiltonian, especially since Hamilton has many up-and-coming small businesses.
“There [are] a lot of great entrepreneurs in Hamilton. Hamilton's been known for being a hardworking place,” said Guevara.
While Menta Clothing Co. has gone through some ups and downs over the past two years, they have been featured in several events, including Art Crawl, and have received great reception from the community.
“They all love the idea of what Menta is: staying local [and] using premium quality fabric. . .[The] majority of people that buy a shirt come back for a second one because they love it so much and that's because it's different,” said Guevara.
They all love the idea of what Menta is: staying local [and] using premium quality fabric. . .[The] majority of people that buy a shirt come back for a second one because they love it so much and that's because it's different.
Luke Guevara, founder, Menta Clothing Co.
However, despite being connected to the local community, Guevara sources his fabric from Austria. The fabric that he uses, TENCELTM Modal, comes from the Beechwood tree, whose fibers are extracted via an environmentally friendly pulp-to-fiber process. As a result, this material is biodegradable under industrial, soil and marine conditions.
Guevara is passionate about leaving a low carbon footprint and keeping Menta Clothing Co. as ethical, sustainable and green as possible, which is why most of his third-party suppliers are local, either in Hamilton or the GTA.
“I think what makes me unique is I'm very rooted and being Canadian and being a Hamiltonian. Everything I do is pretty tight knit. Meaning that all my third parties I work with, they're all Canadian and they're all local,” explained Guevara.
Guevara hopes that customers will be encouraged to support local businesses or Canadian businesses after they see Menta Clothing Co.’s fashion show and visit their booth. During the rest of the year, their items can be purchased from their website.
How stopping to explore the culture of Hamilton helped Volume 93 A&C Reporter make up for lost experiences as the world kept turning
Time is argumentatively linear. By that, I mean it continues to move forward even if you don’t realize it. Even when you try to keep yourself awake a little longer to make the day last longer, 12:00 a.m. will always mark the beginning of a new day.
The reality that time doesn’t stop at one's will is something people spend their entire lives accepting. It isn’t that the mass population believes they can stop time, but rather a sad feeling knowing there will always be time that can’t be returned.
The reality that time doesn’t stop at one's will is something people spend their entire lives accepting. It isn’t that the mass population believes they can stop time, but rather a sad feeling knowing there will always be time that can’t be returned.
These kinds of thoughts never plagued my mind growing up. As per the average child, I was just happy to exist. I found easy happiness in holding my mom's hand as she walked me to the big yellow school bus that would always stop over the same bump and made all the kids yell.
However, in recent years, I have fallen victim to the hope that time will pause with me. I know it is truly unrealistic to hope for such a thing, but alas I am one of the billions of people who cycled through a pandemic and now I'm one of the many third-year students at McMaster University who sometimes forgets which direction on Main Street West will take her to downtown Hamilton.
Though the glaring lack of knowledge about their university town isn’t uncommon among university students, the degree to which it affects people is different. When I brought up my own fears to my friends about how little I have explored within Hamilton, they admitted they didn’t necessarily have the same worry.
To them, it was a given that they didn’t explore Hamilton as much as the average student. Though it is more than fair, it was hard for me to accept how little I knew about a city I lived in.
My worries of not knowing much about Hamilton became more prominent through my position as a reporter for the Silhouette. For almost the past eight months, I have been learning about how robust Hamilton is. Every week I have had the privilege to talk about the arts, thriving businesses and new events prospering in Hamilton.
It wasn’t as if an external person was keeping me from the plethora of culture in Hamilton, but rather the glaring eye of time. As a third-year undergraduate student, so much of the year was spent trying figure out my next steps and classes, I felt as though I would lose time if I enjoyed myself.
It wasn’t as if an external person was keeping me from the plethora of culture in Hamilton, but rather the glaring eye of time. As a third-year undergraduate student, so much of the year was spent trying figure out my next steps and classes, I felt as though I would lose time if I enjoyed myself.
The first time anxious knot in my stomach had begun to unravel was for a piece I wrote earlier this year. I had thought the interview was meant to be done through Zoom, for an upcoming exhibition. Instead, it ended up being an interview that was meant to be in-person, at the exhibit. What had been a miscommunication between the interviewee and me, ended up becoming a secret blessing.
With limited opportunities to leave the confines of McMaster this year, visiting the exhibit in-person for the interview offered me a unique chance to experience art in real-time. As I walked around the exhibit, with the artist who had spent years creating the work, I found myself truly connecting. When I was able to put aside my initial hesitancy regarding the underlying fear of losing time, I was enjoying myself. The simple mistake made me realize how fulfilling it is to explore; how even if I may lose time in one aspect, I am enriching myself in another.
As I walked around the exhibit, with the artist who had spent years creating the work, I found myself truly connecting. When I was able to put aside my initial hesitancy regarding the underlying fear of losing time, I was enjoying myself. The simple mistake made me realize how fulfilling it is to explore; how even if I may lose time in one aspect, I am enriching myself in another.
The chance to view my own life beyond the confines of my own fears would not have been possible if not for my time on the Silhouette. The undeniable reality is that time will continue, no matter what we do.
As someone who up until recently was consumed in the fear of never fully using my time correctly, I urge you to take a chance. Visit the art exhibit showing up on your feed, go to the concert even if it seems far away, stop by the street fair that pauses the traffic and let yourself be present. Let yourself take back control of the time you fear you’ll never get back.
New festival by Red Betty Theatre is offering a stage for BIPOC women stories
C/O @redbettytheatre
The experience of colonization is something communities around the world are familiar with. However, since no two places had identical experiences, each community has its own histories and struggles to grapple with now. At its core, decolonization is about holding space to share these diverse histories and acknowledging the hurts that hide there in order to build a better, more equitable and inclusive future.
Theatre, like all art, is an essential part of decolonization for the unique opportunities the stage offers to share stories and experiences. Though theatre has been around for centuries all across the world, it is too often regarded as a European tradition. As such, it is often difficult for marginalized and racialized individuals to showcase their work and share their stories.
“The majority of artistic directors look at things through a Eurocentric lens and the plays that I write maybe are alienated, by the titles even. For example, my one play which has won awards, it is called Rukmini’s Gold, if they don't know that Rukmini is a name, if they don't know what it is, they have no tie to it culturally. So it's the last thing that they'll read on their pile if they'll even read it. So I found that the only way to get my work produced was to start my own company,” explained Radha Menon, the founder of Hamilton’s Red Betty Theatre.
"For example, my one play which has won awards, it is called Rukmini’s Gold, if they don't know that Rukmini is a name, if they don't know what it is, they have no tie to it culturally. So it's the last thing that they'll read on their pile if they'll even read it. So I found that the only way to get my work produced was to start my own company.”
Radha Menon
The theatre recently celebrated its tenth anniversary. Though it has received little support from the city of Hamilton, the theatre has offered its stage to productions including Ganga’s Ganja (2012, 2018), Cockroach (2017) and In The Shadows (2018), written by Menon and put on by Black, Indigenous and People of Colour actors, directors and designers. Its upcoming productions include Blackberry, in partnership with Hamilton Fringe, from June 4 to 13, 2021 in Carter Park and the Decolonize Your Ears Festival in June 2021.
Decolonization is at the core of the theatre’s work. It offers a stage for the stories of BIPOC women so that they may reach broader and more diverse audiences. Red Betty also encourages Canadian theatre groups to better reflect cultural diversity and the cultural practices of different communities.
“[Red Betty Theatre] is inclusive, non-competitive, friendly, equitable, for the people, by the people, of the people. We are open to women artists who are Indigenous, Black or racialized because we believe that their stories are important, our stories are important,” said Menon.
The art world is a difficult one. Theatre projects are typically funded through grants from the government or other institutions. Currently, these grants are extremely competitive and often privilege older, more established organizations but funding cuts in the arts sector have made this process increasingly challenging. Newer organizations especially struggle to receive necessary funding and it is often even harder for groups like Menon’s Red Betty Theatre.
“So put it this way, it took us 10 years to get a Canada council production grant . . . [W]e don't get much funding from the city because we're a new organization and the way the funding structures in arts bodies work is very much based on how long your institution has been around. So all the older ones which are generally male, white-led, they get funded to the teeth whereas the new organizations get the leftovers . . . It's very hard to get everything going and it takes us a lot of time to be able to plan for even one show,” explained Menon.
For example, Menon has had the idea for the Decolonize Your Ears Festival for some time, but it was only recently that the theatre was able to secure the necessary funding to make this festival reality.
“We don't see anything on stages that reflect the cultural diversity and the cultural practices of different communities. So, Decolonize Your Ears is that opportunity for artists to express their own specific cultures and communities in ways that are unrestricted and uncensored,” said Menon.
“We don't see anything on stages that reflect the cultural diversity and the cultural practices of different communities. So, Decolonize Your Ears is that opportunity for artists to express their own specific cultures and communities in ways that are unrestricted and uncensored.”
Radha Menon
The festival will feature four plays. One by Menon and three others by emerging BIPOC women playwrights: Natasha Cecily Bacchus, Melissa Murray Mutch, Gaitrie Persaud-Dhunmoon and Joanne Roberts. The festival also offers these playwrights the opportunity to consult and develop their pieces with Hamilton-based playwrights Marilo Nuñez and Donna-Michelle St. Bernard.
Offering a stage and a space to share these stories is a crucial part of not only decolonizing theatre but also the larger decolonization movement.
“Until there is the decolonization of all institutions, government and non-government, we will continue to see racism, bigotry and harassment . . . Decolonization is a massive thing that needs to happen, for there to be any equity amongst people,” said Menon.
Theatre is very personal and different people will walk away from a play with different impressions. Menon especially encourages students to check out the festival and the theatre’s other work, not only if they’re interested in or studying theatre but also if they’re curious about and interested in new stories.
“[T]his is the place where you will hear stories that you will never read in class or in the library or see on TV. These are stories that have been curated especially because of how unique they are and this is an opportunity to grow. And for students, I think the point of going to any kind of institution is to grow. Universities are very colonized places and this is an opportunity to step out of that colonized space into a decolonized space,” said Menon.
“[T]his is the place where you will hear stories that you will never read in class or in the library or see on TV. These are stories that have been curated especially because of how unique they are and this is an opportunity to grow. And for students, I think the point of going to any kind of institution is to grow."
Radha Menon
Decolonize Your Ears Festival will take place from June 22 to 26, 2021 outdoors, public health restrictions permitting. Alternatively, the event will be livestreamed. Menon hopes that the festival will become an annual event.
Organizations such as Red Betty Theatre and festivals such as Decolonize Your Ears are crucial components to sharing communities’ diverse experiences and histories with colonialism, decolonizing theatre and creating a more equitable and inclusive future.
This article is part two of a two part series. Give the first part a read here.
As part of his newest publication, The Terror of the Unforeseen, McMaster professor Henry Giroux enlisted the help of his friend Julian Casablancas, lead singer of The Strokes, to provide some insight on the rise of various right-winged movements throughout the world. We had the chance to catch up with Casablancas to talk about music and politics.
Q: So in the early Strokes days, the music scene in general was saturated with songs about politics, but now, it’s been critiqued as being too “pop-y”. Why do you think it’s kind of sloped down?
I’m not sure I necessarily agree with that. If anything, [for me] personally, [it’s] probably more overtly political now. I think political music has not really been in the mainstream for a long time other than I guess, maybe like hip hop or hardcore punk. But if we’re talking just like mainstream, yeah I guess, I don’t know, I would say that the corporate confusion about what the real problems are has kind of saturated all minds, that there’s not really a . . . I don’t wanna say there isn’t an outlet, but maybe there hasn’t been an outlet yet that is connected, like a mainstream political concept that is connected in a mainstream way. I think the people who are truth-saying are crazy on the margins and essentially kind of mocked by corporate culture and news and therefore society at large . . . So I think truth is on the margins and it’s been like that as far as I can tell since 1971, maybe ‘69.
Q: Do you think it’s important for music to be used in a political way?
I think that it is important if you are to kind of create some kind of a movement towards any kind of philosophical, spiritual awakening in terms of human culture taking a forward progress-type step. It’s something like Buddhism or someone like Martin Luther King or Gandhi, I think inspiring is a key element to that. I think great books and works of art have inspired changes. I would say art tends to have more of a “further down the road” generational change. Politics is maybe more direct, or you know, action. People like Gandhi and MLK, it’s more kind of direct progress and art is more, kind of inspires the minds of tomorrow or generations that will make the change happen, more so than a song changes everything.
Also, it’s a fine line because there’s different kinds of art. Sometimes people seek art, it’s like watching a documentary or a rom com. Sometimes people want to be inspired and educated, and sometimes people want to just have fun. So I think all of mainstream music is basically designed that way and so being serious doesn’t really connect and you got to be careful not to bum people out who are maybe there to learn but want to also have a good time. So it’s a delicate dance and, short story long, I would say it doesn’t have to be. I think sometimes even a light song, if it’s well done and powerful, can have a politically-inspiring emotional power. So I just think quality is maybe the most inspiring thing because it could be an album like Thriller or Star Wars. I feel like when something is really good and popular, that tends to inspire people that things that are true and good can be widespread through society.
(Casablancas paused)
So there’s another library for you. Am I failing this?
No, I don’t think so!
(Pretends to be a reporter) “So, we were looking for a one word answer . . .” (everybody in the room laughs).
https://www.instagram.com/p/B4BsleBAv47/
Q: What would you say that your political work looks like now with your music? You wrote the forward [for Giroux’s book]? Would you even describe your work in that way?
To be honest, it’s probably more similar to when I was working on music before I even put anything out. I’ve spent so many years reading and learning and it’s a little more . . . I’m gonna say a lot more intense than the music world because I think whatever you say people are going to come at you from all [angles], especially in this day and age. I think in the long run, it’s a good thing, but you’re expected to kind of understand every situation from all angles so perfectly that you gotta be careful with everything.
So I think I’m more in the process of getting my thoughts together and organizing ideas and stuff; and sure, I put it in songs and I put out a little, like the forward . . . I’m meeting people, talking to people, I’m kind of like “the battle is yet to happen” and I think that you need a very clear, sexy, simple ideology and philosophy, an exciting, inspiring thing if you’re going to unite all people to create separation of wealth and state.
Q: How did you meet Professor Henry Giroux? You guys did a sit down interview in 2016 for Rolling Stone magazine, how did that come about? And then how did you get involved with The Terror of the Unforeseen?
That’s kind of how we met. I’d seen him on Bill Moyers, was a fan of his mind and he’s one of the few truth-sayers around. I think he’s one of the people that I kind of would meet, talk to, and we did the interview and then he was writing a book, asked me to do the forward, told him that I’d come up to Toronto whenever the book came out. So yeah, we’re buds.
Q: How would you describe what The Terror of the Unforeseen is about?
He focuses a lot on fascism and neoliberalism and I think he’s got a really good knack for describing how things are malfunctioning and I think that’s a very important thing. It kind of reminds me of, like Malcolm X too, he’s good at holding the mirror up [and] saying the truth plainly. And I think that he does that really well.
Then the forward, not that I [wrote] it in the forward, but I guess, yeah. The counterbalance, team, superfriends, interview tour is about, for me, always kind of keeping that goal of like a simple strategy and solutions. I think they’re both part of the equation and I think people being informed is probably the first step in anything. Weirdly, the truth is not a tactic. I think people who try to fight for justice or whatever, think that it’s enough to value truth — even though I think it is something that should be valued higher than anything almost — I think it’s not a strategy, it’s almost a handicap. So you should still use it because the ends are inherent in the means or the means are inherent in the ends so you almost have to kind of fight with one hand tied behind your back and not cheat and do things the right way. Fighting against people who are cheating is what the fight looks like, I think, but my point is you need to be informed first and foremost. I think Henry’s one of the ideal. He’s a professor and one of the ideal people to teach the children to sing.
Q: Would you think that applies to the current political climate in the United States right now going into the next election?
I mean, it’s the world. The iPhone world, all the news. It’s interesting. Whether it’s Spotify and Netflix, the news on your phone, as soon as it asks you for your preferences, you’re screwed. It’s already funneling stuff towards you and limiting what you hear and even the options. The news options . . . it’s like this magic trick. It’s like pick a card, but really you only have — you know, it’s like in Canada, for example, you have these two options [Conservatives or Liberals]. You only have corporate options, you don’t have a non-corporate option. There should only be non-corporate options. Maybe there could be one in a future utopia or something, but right now, that’s the only option [Canadians] have.
Like, I remember when I had to select the news on my phone, I couldn’t . . . the websites I go to, you couldn’t even select that. You could only select the CNN type. I mean, even though more liberal ones, they’re still owned by these big companies and they’re all controlling the argument and it’s dark. If you really go deep and analyze it detective style, it’s extremely dark.
But my general point is it’s a worldwide issue that I think, corporations are fine and should thrive and we all want a world where companies are trying to make good products that help people’s lives be easier — unemployed people and all that, so it’s not about down with capitalism. For me, it’s about just separating capitalism and government. Basically keeping capitalism in the private sector and separating wealth and power. It’s a pretty simple concept and it’s not just money out of politics, it’s a worldwide thing. America, Europe.
In more oppressive dictatorships, the problem goes beyond [separating capitalism and government], they need separation of church and state still — they’re missing that step. So I think there’s a couple of things you need. You need separation of church and state, separation of wealth and state, all these kinds of power structures that are incentivized to manipulate and exploit people for their own benefit. They can exist, but they can’t secretly take over governments which they have done everywhere in the world.
The Terror of the Unforeseen is the 71st book by Henry Giroux and features a forward by Julian Casablancas. Casablancas’ new album with rock band The Strokes entitled, The New Abnormal, comes out April 10.
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Due to COVID-19 being declared a pandemic, The Good Foot has decided to postpone their first in-person event. They plan to hold an Instagram live-stream on Saturday March 21 at 8 p.m. instead, in order to lift people’s spirits up during this time. Stay tuned to their social media for updates.
Ring of Fire, You Can’t Hurry Love and Hard Day’s Night; you may not be able to name a 60s song off of the top of your head, but you definitely know the words to one. Starting soon, The Good Foot will be bringing the songs of the 60s to a dance floor near you, complete with prizes for best outfit and a songlist perfect for boogying down.
The Good Foot was created by a group of local DJs, dancers and vintage fashion lovers looking to liven up the Hamilton dance scene with 60s tunes. They include owner of Girl on the Wing Whitney McMeekin, illustrator and dancer Jacqui Oakley, DJ Spaceman a.k.a Stacey Case, DJ Donna Lovejoy a.k.a Rachael Henderson and Jen Anisef of Weft projects. Anisef says that Weft projects’ aim is to create collaborative opportunities for local creators and makers.
https://www.instagram.com/p/B9CR8ArpSAJ/
“[I]t's like the weft are the threads that bind everything together. So the idea is to serve the community through facilitating creative collaboration. So this project, it's brought together a lot of different folks that all have different areas of interest and expertise, to throw a really fun party that is hopefully intergenerational and is just unpretentious and to celebrate dance and fashion, and have a good time,” said Anisef.
Henderson, also known as DJ Donna Lovejoy, describes herself as a Jill of all Genres, and she definitely lives up to her name. Thanks to collaborators like her, The Good Foot is set to cover songs from every nook and cranny of the 60s.
“It’s gonna be Soul, Motown, Early Funk [and a] bit of Rocksteady, Britpop, Mod, just a bit of everything,” said Henderson.
Social distancing is making it more difficult than ever to connect with other people. The Instagram live stream that The Good Foot will be running will hopefully help bring people from all walks of life together that might never have met otherwise. Anisef and Henderson say that they are hoping that their future parties can create a sense of intergenerational bonding and community.
https://www.instagram.com/p/B9xryXrHvft/
“I think the beauty of 60s music is that most of us kind of know it deep in our soul, even as kids it was around and the music has endured so much. Plus, it's really nostalgic for older folks like the music of their youth. And I think it also really is like, it touches a lot of different cultural communities as well. So our hope is that it draws people together,” said Anisef.
Henderson says that in all of the events that she DJs, whether they be corporate events, weddings or club nights, 60s music appeals to everyone.
“I do find that 60s music crosses generations and does actually speak to a younger crowd. I'm always impressed when the younger people know all the lyrics and they get really excited,” said Henderson.
When Anisef lived in Glasgow, Vancouver and Toronto, she says that there used to be regular 60s and soul dance nights, with attendees dressing to the nines and dancing their cares away. There will be a contest for the best 60s outfit at the event, but Anisef says that everyone is welcome to come as they are.
“Some of those nights, people would really like to make an effort to dress up. And so I'm hoping that we can also build that we're trying to build that culture in the event. You don't have to, by all means come in your sweatpants and just have a great time. But if you're inspired, we'd love for people to play around and dress up,” said Anisef.
The Good Foot may not be shimmying to a dance floor near you just yet, but once everyone is safer they hope to bring the 60s back to Hamilton. In the meantime, having a 60s dance party in your very own home might just be a great way to add some spark to your day.
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Hamilton has become an increasingly popular destination for production companies to film their projects. From Netflix’s Umbrella Academy to Marvel Studios’ The Incredible Hulk, pictures of all genres were created on the streets that we call home. One such movie is an indie project called Speak Your Mind, directed by Hamilton-born Cyrus Baetz.
Baetz called Dundas home throughout his high school years. When he graduated, he decided to pursue a path in public relations at Humber College. At Humber, Baetz tried out an acting for film and television course for a year and then decided to complete a course on intensive film studies at Ryerson University. Since Baetz completed his studies, he has focused on film, writing, directing and editing two short films and two feature-length projects.
Recently, the director has been working on his latest flick, Speak Your Mind. The film revolves around a struggling actor who was told by his therapist to express everything and anything that is on his mind. He struggles to walk the line between what is socially acceptable and what is honest enough to satisfy his own conscience.
“Speak Your Mind came from a desire to work with [Steve Kaszas]. I have worked with him on a short film called Blue Collar Buddha . . . He was so special, so talented in the audition and he showed up for the film and really sort of stole the show . . . so I wanted to work with him and I wrote an entire feature script,” said Baetz.
Writing film is a methodical process for Baetz. He likes to work and write by himself, setting time aside each day to chip away at scripts. However, for this production, Baetz was operating under a tight time constraint as he wanted to film in Hamilton, but he was set to move to Brooklyn at the end of 2017. Since he had started the script at the beginning of the new year, there was little time to make final revisions before going into production.
Indie films work on far different schedules than those of major motion pictures. Although each have their benefits, Baetz looks more to the indie side of the industry.
“The benefits of the more indie style of the film, once we auditioned the actors, we were able to do a pretty intense rehearsal process . . . it let us perfect the scenes and dig deep in the dynamics, that way we showed up on set and the actors felt comfortable and prepared,” said Baetz.
Post-production, Baetz sat down with his laptop and cut together his film from start to finish. This time, he was no longer pressed with a tight timeline. Finishing the final edit of a project that had occupied so much of his time, Baetz was able to reflect on the movie as a whole.
“The film is designed to be provocative but also very entertaining . . . at the end of the day it’s a comedy, a bit of a dark comedy at times but it’s still a comedy,” said Baetz.
Thus far, the film has been well received,. At the Toronto Independent Film Festival, it won the best no-budget feature, an award for films with budgets under $25,000. While the film has been popular with audiences thus far, Baetz hopes that patrons walk away with their eyes opened to the times that we live in.
“[On] a more personal level and more one-on-one based level, the idea is that we assume things about people based on what we see superficially on the fronts they give us and we think we know people who we’ve been in relationships with and [in] friendships with for years, in fact a lot of the time we don’t. Sometimes the only way to really get to know people is to humble yourself and not assume you know them and ask from a place of vulnerability,” said Baetz.
The Westdale movie theatre (1014 King St. W.) will host a screening of Speak Your Mind followed by a question and answer period with Baetz. While everyone is encouraged to come out and watch the film, the director believes that students especially will take something away from it.
“This film is perfect for students because it’s a film about young people . . . who [are] struggling to find their place in society, in their social circles and find their voice and their confidence,” said Baetz. The emotional yo-yo process that comes along with that, it’s also really relevant in terms of the conversations that any socially and politically engaged student inevitably has been having. It deals with that in a way that genuinely attempts to be fair to all parties and tries to point it in a direction where there’s a compassionate dialogue and I think that’s something that could hopefully be a productive and entertaining fable for any student to enjoy.”
Speak Your Mind will be screened at The Westdale (1014 King St. W.) on Thursday, Nov. 14 and will be followed by a question and answer period with director Cyrus Baetz.
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