It's no secret that Canada has a long history of systemic racism and injustice. However, much of that history has been buried deep, locked away in old filing cabinets in disused archives. Deanna Bowen's exhibit, A Harlem Nocturne, seeks to break open those cabinets and reveal that history to the world.
Deanna Bowen is an interdisciplinary artist based out of Toronto. Her work explores race, migration, historical writing and authorship. In creating A Harlem Nocturne, she spent three years combing through public and personal archives to uncover the truths of institutionalized racism that have been long forgotten or ignored.
A Harlem Nocturne takes its name from the nightclub that Bowen’s family owned and operated in Vancouver in the 1950s and 60s. It was the only Black-owned nightclub in Vancouver at the time and was subjected to repeated police raids and violence. The exhibit explores the institutionalized racism of the Canadian entertainment industry — and the country as a whole — through the stories of her family members, and others in the industry, from the 1940s through to the 1970s.
Kimberly Phillips, a curator at the Contemporary Art Gallery, Vancouver, where A Harlem Nocturne was first exhibited, curated the exhibition for the McMaster Museum of Art. Phillips describes Bowen’s work as an effort to expose the past by transforming it into something that’s impossible to ignore or overlook.
“[Bowen] starts with the archival material itself, and so each [artwork] will find its own form, a new form in the world that’s very much through a process of extraction from the archive, a kind of translation, often an enlargement and kind of bringing it forward in a different form than you would’ve encountered it originally,” said Phillips.
One of the more literal ways that this is done is through the physical enlargement of a newspaper ad for the nightclub, Harlem Nocturne. The ad was originally the size of a postage stamp, but is now larger-than-life, taking up much of the gallery wall. By sizing up the ad, Bowen is calling attention to the club, inviting the audience to interact with the document and the history behind it that might have otherwise been overlooked.
“[T]here's no point in having these documents around unless you do something with them … the document existing in and of itself is not is not meaningful. It's like we have to take them up, and in order to take them up, we need to make them visible,” said Phillips.
Several of the pieces in the exhibit are hidden or obscured by black fabric, or are set up to be viewed at a distance. Phillips says that these varying levels of visibility reflect the difficulties that Bowen experienced while compiling her research.
“Deanna and I talked a little bit about how those registers of blackness does a number of things. One, which is speaking towards a kind of sense of opacity, or the kind of difficulty in … actually reaching some of this material, not because it doesn't exist or it's hard to find, but because of the blockages that [Bowen] experienced in the form of archivists and trauma, and other things that you know, different members of the community gatekeeping who gets to tell what story. But it's also a measure of protection as well of not over exposing bodies who have been subjected to discrimination and hyper visibility in certain ways,” said Phillips.
Each aspect of the show is intentional and purposeful, even choosing where to exhibit the show. When choosing where A Harlem Nocturne would be shown, both Phillips and Bowen emphasized the importance of working with other women curators. The McMaster Museum of Art’s Senior Curator is Pamela Edmonds, which is part of the reason why the show is being exhibited there.
[pjc_slideshow slide_type="harlem-nocturne"]
“The word that I used to define all the people that we're working with is that they're all co-conspirators, feminist co-conspirators. And that's something that I think is super important. I liked the idea that we could generate something, a project that could span over many years and many institutions and all of it being done with women. It maybe speaks to an unspoken reality that more often than not, it is women doing this hard labour,” said Bowen.
A Harlem Nocturne blends the personal with the public. One of the pieces is a transcription of an interview between Bowen and her mother, and the exhibit itself is named after a building that was integral to her family. She says that A Harlem Nocturne is a homecoming for her, and in some ways a form of healing.
“[G]rowing up in Vancouver, my family was not always well regarded. And so if anything, I hope that people come away and feel the compassion and love that I have for these people, my family, especially for the hard edges that they have and the rough and tumble-ness of their story. These are beautiful people that have persevered over generations of resistance and discrimination and I hope that people really come to see and value their strength and importance,” said Bowen.
Bowen’s work also applies more broadly, underscoring the realities of life for Black Canadians and the injustices they continue to face today. She emphasizes the idea of perseverance in the face of adversity, and the refusal to be silenced.
“The project also helps to push against... Vancouver's old narrative about [how] 'they used to have a Black community and now it's gone.' This show for me is about affirming 'there used to be a Black community, and we're still here,' and really trying to undermine this notion of again, the demise of a Black community, locally, and then of course, nationally,” said Bowen.
Bowen hopes that viewers will leave the exhibit with new curiosity, and a desire to explore their own family history.
“I would encourage people to see themselves in what I'm doing. There's so much rich history in our own family histories. And I think it's important to emphasize that everybody's family story has some impact on the making of a nation … You know, it's about recognizing that the power to create our history and our personal and our national narrative really does kind of boil down to people like you and I,” said Bowen.
A Harlem Nocturne will be exhibiting for free at the McMaster Museum of Art from Jan.16 - May 9, 2020.
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What is a meme? The Cambridge English Dictionary defines a meme as an “idea, image, video etc. that is spread very quickly on the internet.” But is that all? Memes are increasingly becoming a mode of communication and community building, particularly among younger generations. The Hammer Memer, a Hamilton-based meme account with over 6,000 followers, describes it as a “virtual handshake”— a fitting description given handshakes are universally recognized as a sign of greeting or agreement, representing the idea of building friendships and connections between people through the medium of the web.
“You can tell that it can bring a community together … just having these shared experiences, and then laying them out in some sort of comedic visual. It gives people this sense of collective bonding,” explained the creator of the Hammer Memer, who wishes to remain anonymous.
https://www.instagram.com/p/B6YbTEqnuPr/
Each post on the account speaks to that shared experience of Hamiltonians, whether it be the loss of the LRT, a love for the arts or the struggle to stay healthy. There are dozens of comments on each post, with followers tagging their friends to talk to them about it. While the content may be silly, the number of people interacting with it shows how relatable it can be, to friends and strangers alike.
There are dozens of comments on each post, with followers tagging their friends to talk to them about it. While the content may be silly, the number of people interacting with it shows how relatable it can be, to friends and strangers alike.
Despite running a relatively successful local meme account, the creator of The Hammer Memer, has had a rocky relationship with social media prior to creating the account.
“My relationship with social media is kind of all over the place, in a way that I don’t really enjoy, but I also know that it can be a lot of fun, and it can be used for a lot of good things. I just kind of got fed up using it to showcase my personal life because I’m not the most public person, I’m a pretty private person. So I decided, ‘You know what, I’ll start making memes’ because I thought it was a really fun but easy way to use social media for good . . . to make people laugh,” explained the creator of The Hammer Memer.
The response to the page has been overwhelmingly positive, with the account even partnering with the local brand O’s Clothes to sell their own merchandise. While much of the online community and social media has been criticized for becoming increasingly toxic, The Hammer Memer has created a predominantly positive space for Hamiltonians to gather.
“You hear a lot about the volatility of the interweb, and I was expecting a lot of persistent haters after some particular memes especially, but nobody was really attached to attacking me or anything like that. Overall, I’ve only received love,” they said.
https://www.instagram.com/p/B6VjbK1FrHX/
Some of the posts touch on more serious topics, like the Chedoke water crisis and coverup, in order to draw attention to them. The Hammer Memer says that, increasingly, they’ve noticed that younger audiences are turning away from traditional media sources in favour of online content, like memes.
Some of the posts touch on more serious topics, like the Chedoke water crisis and coverup, in order to draw attention to them. The Hammer Memer says that, increasingly, they’ve noticed that younger audiences are turning away from traditional media sources in favour of online content, like memes.
“I do know that a lot of media sources don’t appeal to younger crowds especially. I guess it’s a generational thing, but I think the [former] reliance on getting information from major networks, I feel like some people have lost confidence in them, or trust in them. I know that I do have a younger crowd following me, and when it comes to sharing information to the public about relevant information that affects our community . . . I do get to help certain groups of our community to be informed and stay informed,” they said.
So what is a meme? Is it just an image to be shared? In many ways, that simplicity is what makes memes appealing; they’re easy to access and they’re relatable. At the end of the day, memes are what you get out of them, whether that be a laugh shared with friends, or a slightly forceful exhale as you laugh on your own.
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Jackson Tarlin, a Level V Engineering Physics student at McMaster, has presented a wide-ranging platform that aims to address a range of issues affecting students.
“Our goal is to take every annoyance you’ve grumbled about during your time at McMaster and throw them in the trash. Then set the trash on fire. If we have time left over once we’re done, we’ll use the trash fire to light our pipe and then sit in a muskoka chair and watch the sunset,” the platform overview states.
Tarlin built his platform upon four pillars: Student Life, Clubs and Services, Campus and the Environment.
Student Life
Tarlin’s platform approaches student life with a focus on personal expression, McMaster Student Absence Form extensions, hydration, affordability and accessibility.
Beginning with personal expression, Tarlin aims to address conflicts between personal expression and a need to maintain illusions of harmony on important issues. He would assign zones to different parts of campus, with each one corresponding to a distinct and permissible level of personal expression. Tarlin’s five zones range from Zone 1, which prohibits politics and foul words, to Zone 5, which restricts conversation to swearing and screaming only, prohibiting compassion.
With regards to the MSAF policy, he proposes changing the current allowance period, which currently allows up to three consecutive days of missed work, to allowing up to two months of MSAF use. Tarlin states that this would increase stress during exam time and reduce student retention.
Hydration has its own place in Tarlin’s platform. He plans to shame individual water fountains by putting up a bulletin board dedicated to criticizing the worst water fountains across campus. He believes this will encourage water fountains, although they are inanimate, to better themselves.
Tarlin proposes the replacement of all stairs on campus with ramps. He hopes that the amount of construction required would facilitate a familiar and comfortable ambience for McMaster students.
“It just wouldn’t be McMaster without [all the noise and construction],” Tarlin’s platform explains.
Clubs and Services
Tarlin’s second pillar focuses on The Silhouette, Spotted at Mac and McMaster Confessions. He suggests increasing the tuition of 20 students by $15,000 to hire full-time journalists for The Silhouette and allow the newspaper to release issues every day.
Tarlin’s proposal to give full club status to Spotted at Mac and McMaster Confessions is something he hopes will increase their reach with their respective audiences. Both of these Facebook pages are known for publishing anonymous posts from Mac students.
Campus
Tarlin sees opportunities to change campus in five ways: moving the A.N. Bourns Science Building to Parking Lot I to make Thode more accessible from the John Hodgins Engineering building, replacing a tree near Togo Salmon Hall with a “better tree” and building a monorail between the McMaster University Student Centre and Mills Library.
Due to the very small distance between MUSC and Mills, the monorail would not need to move. Tarlin believes that the costs of constructing the monorail would be saved by the absence of electricity costs needed to run the monorail.
The Environment
Tarlin dedicates the rest of his platform to the environment. He encourages more animal safety awareness in order to stop students from eating cockroaches at Centro. As a tribute to modern music, he wants to rename Cootes Paradise, “Gangsta’s Paradise”. He also points out the moderate nature of geese at McMaster; he believes they could be trained to be as violent as geese from universities such as Waterloo and University of Toronto.
Lastly, Tarlin’s platform delivers one ultimate goal: to solve climate change once and for all.
More information can be found on his Facebook page “Tarlin 2020”. He is also reachable via email through Earthtoned.prezidante@gmail.com
Krystina Koc is a Level IV Commerce student at McMaster.
Koc’s platform consists of eight points of action distributed between her two core initiatives: advocacy and student life enhancement.
Advocacy
Within the advocacy section, Koc focuses on safety, transparency, comfort and internal issues within the McMaster Students Union. Citing reports of break-ins in Westdale and Thorndale areas, Koc claims that student safety is a growing concern among students. Koc aims to improve student safety by increasing lighting in student neighbourhoods and facilitating safety measures with landlords. She also plans to create video modules detailing instructions that might help in potentially unsafe situations.
Her second initiative calls for the improvement of transparency within the MSU by writing bi-annual reports that would disclose the progress of MSU activities.
The third platform point, titled “Be comfortable,” aims to re-open discussions on McMaster’s Department of Athletics and Recreation’s tank-top ban in the Pulse. Koc’s goal is to ensure that everyone can feel comfortable while using McMaster’s athletic facilities.
Koc’s fourth point aims to make the MSU’s internal processes, such as conflict management and review of MSU services, more efficient.
“I plan to take the work that our current President, Josh Marando, has already begun and [continue] his efforts to improve [the MSU’s] internal workings,” she states in her platform.
Student Life Enhancement
Koc’s fifth platform point revolves around MSU Clubs. She plans to review all McMaster clubs that are redundant or have been inactive for six months. She believes this would make room for unique clubs and allow students to choose clubs with more ease.
Koc is open to exploring non-MSU clubs having access to campus resources, such as room bookings, for fundraising purposes.
Koc also advocates for the use of student cards at Union Market and aims to reduce the time that the store takes to restock food items. Koc claims that Union Market shelves are often left empty as the shipments needed to refill them come in too late.
Koc’s seventh point intends to improve access to mental health services on campus by developing strategies to enhance the Student Assistance Plan, a free online platform that offers psychological counselling to McMaster students. She also plans to increase support to Maccess, a peer support outlet for students with disabilities and disabled students.
Koc’s final platform point aims to combat food insecurity on campus by raising awareness for existing services such as the Food Collective Centre. She cites a U.S. study conducted in 2019 that states that 41 per cent of fourth-year students are food insecure.
More information about Koc’s platform can be found on her website krystinakoc2020.com.
Keep an eye out in next week's print issue for a feature on Hamilton's LRT project. For now, here are the updates:
[Video descripton: Andrew Mrozowski, A&C Editor at the Sil, walks around campus to discuss updates on Hamilton's LRT project.]
On Jan. 12, 2020, McMaster University’s Student Representative Assembly met for the first time in the new year to ratify 15 new clubs and to complete their initial review of non-MSU groups on campus.
Incite Magazine was the final non-MSU group to present their organization’s activities and budget to the SRA. According to Associate Vice-President (Finance) Jess Anderson’s report on Jan. 8, the McMaster Student Union’s Finance Committee has completed their review of all non-MSU groups on campus. These non-MSU groups receive funding from McMaster students but do not fall under the purview of the MSU Club Department.
According to the report, there are currently five non-MSU groups on campus: McMaster Marching Band, Engineering without Borders, McMaster Solar Car, Incite Magazine and the Ontario Public Interest Research Group McMaster.
“While there were a few hiccups regarding communication throughout the reviewing processes, the committee was very pleased with McMaster Marching Band, [and] have provided recommendations to Engineers without Borders, McMaster Solar Car, and Incite Magazine,” states Anderson in the report.
The Finance Committee has yet to come to a decision or provide recommendations for OPIRG McMaster. While a delegation from OPIRG attended the Dec. 8 SRA meeting, the group is still currently discussing salary and administration logistics with their union, Canadian Union of Public Employees 1281.
[pjc_slideshow slide_type="sra-jan-16-2020"]
During the meeting, 15 new clubs were ratified by the SRA after recommendation from Clubs Administrator Aditi Sharma. A list of newly ratified clubs and their mission statements was also provided on Jan. 7. These include cultural clubs such as the Indonesian McMaster Student Association and McMaster Bengali Student Union; social issues clubs such as Blackspace and Glamour Girls; and recreational clubs such as the McMaster Real Estate Society and McMaster Filmmaking Club.
Each semester, potential clubs submit their applications to the Clubs Administrator and Clubs Executive Council. Successful applicants are then interviewed by the Clubs Administrator. Potential clubs are evaluated for their uniqueness, ability to maintain significant student interest and ability to positively impact the McMaster community. Finally, recognition as an official MSU club requires ratification by the SRA.
Last semester, there were two instances that raised concerns about the process of vetting proposed clubs. On Jul. 21, SRA ratified the Dominion Society, triggering an intervention three days later by MSU President Josh Marando due to the club’s alleged connections to people and organizations with white supremacist ties. Similarly, the SRA passed a motion on Sept. 22 to de-ratify The McMaster Chinese Students and Scholars Association for violating section 5.1.3 of the Clubs Operating Policy by endangering student safety.
Discussion regarding club ratification lasted under four minutes. The question of the club recognition appeal process for unsuccessful applicants was also brought up at the meeting.
“One of my constituents wanted to start a club with the purpose of, if I’m remembering correctly, creating a space where the ideas of various faculties (science, humanities, etc.) could be discussed and shared openly together [...] The clubs department did not approve the club for reasons the constituent did not agree with and the constituent claims not [to] have been informed of a formal appeals process in their rejection,” wrote one SRA member wishing to remain anonymous.
According to the SRA member, the applicant was told that the proposed club fit a niche already occupied by the Controversial Texts Discussion Club, which aims to encourage discussion of academic texts and potentially controversial topics in Science, Philosophy and Religion. However, after reaching out to CON-TEXT several times and receiving no response, the applicant told the SRA member that they believe the club to no longer be active.
Section 4.13 of the MSU Clubs Operating Policy states that club applicants can first appeal to the Clubs Administrator. If still unsuccessful, applicants can make a second and final appeal to the CEC.
“In the email that [an unsuccessful club] got, they have an appeal period. They can send their appeal to the clubs administrator and CEC to be reviewed,” added MSU President Josh Marando at the meeting.
Lasting just over 42 minutes, this was the shortest SRA meeting so far in the 2019-2020 school year.
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By Adeola Egbeyemi and Caroline Bredin, Contributors
One like helps clean one beach. Repost on your story to plant 100 trees. Share to save the bees!
Slacktivism is a new and trendy form of online activism that, according to the United Nations, involves “people who support a cause by performing simple measures [but] are not truly engaged or devoted to making a change.” Slacktivism looks like reposts, retweets and shares on social media with no deeper commitment to the issue at hand. It’s being used increasingly often for social movements.
Slacktivism has developed because of the usage of Web 2.0, a shift to a user-centric internet, allowing individuals to create interactive profiles and share their thoughts, likes and photos. This internet evolution has fostered the growth of opinion leaders, who receive information from media and pass on the content, with their interpretation, to a reachable audience. This is exactly what we see with slacktivism, where large, branded accounts are believed to be opinion leaders and trick a considerable number of individuals into thinking they can passively support a good cause. As Web 2.0 is carefully designed to maximize shared content, it’s not surprising how fast spreading these accounts can be.
To be clear, sharing posts about social movements or global issues does raise awareness of those issues. It may even reflect a deeper desire to create positive change, regardless of whether this desire is actualized outside of social media.
However, there are negative implications of slacktivism that seem to be overshadowing the good. Instagram accounts that claim to be helping an issue can often be deceptive. The Instagram account @plantatreeco, boasting nearly 580,000 followers, is one example that has been subject to scrutiny. In one popular Instagram post, the account promised to donate one dollar for every 100 people who shared the post and followed the account.
Last week, the Huffington Post reported that a number of Instagram accounts promising to donate money to Australian wildfire relief efforts could not prove that they had actually made the donations. Hours after Huffpost reached out to @plantatreeco about allegations that it was a scam, the account provided what appears to be a $3,173.00 receipt of donation to the New South Wales Rural Fire Service. However, HuffPost did not receive immediate confirmation of the donations’ authenticity from the NSW Fire Service.
@Plantatreeco also constantly post stories, urging people to visit its website, where they sell jewelry, with no indication that this money is donated anywhere. Additionally, the account has erased all its Instagram content, starting over multiple times. Lastly, the account does not seem to have partnerships, or any other external source of money. These are good indications of fraud because the account is able to jump from planting trees, as their name suggests, to the next popular issue like the wildfires in Australia. This allows them to constantly maintain popularity and page traffic. With no identifiable source of money or partnerships, there is no tangible evidence that they are receiving resources to do what they claim. The account has not issued any statements responding to these concerns. Yet, we see individuals still sharing stories with posts from this account.
It’s a scheme that seems paper-thin, but the fact that we are seeing it occur time and time again says otherwise. Last June, for example, the Instagram pages that sought to increase awareness of the plight of Sudan were, at best, simplifying the complex political issues in the nation. At worst, they were using tragedy to garner social media traffic. Sudan Aid accounts, such as the now-deactivated @savesudanpeople and @sudanmealproject, claimed to donate to Sudan through, for example, one meal for a Sudanese person per like on the post.
But, according to the BBC, “there [was] no evidence that any of the ‘Meal Project’ accounts were going anything at all.” The Meal Project accounts did not respond to these allegations, but are now shut down. Misinformation spread by “Meal Project” accounts was then disseminated by individuals who thought they were promoting positive social change through their shares and reposts.
In the case of immediate disasters, like the current wildfires in Australia, taking time to educate yourself and donating money directly to established causes is your best bet to help. However, after Australia has contained its wildfires, we’ll see slacktivism move to the next issue — beach clean-ups or tree-planting — with a disregard for the reasons why we are seeing fires more often globally. Donating to solve an issue like the wildfires does not prevent it from happening again because does not address the pervasive source of the problem: climate change. Thus, in the case of systematic problems, we should begin to consider supplementing large social media movements with consistent environmental engagement at the personal and local level. Examples of this are volunteering with Zero Waste McMaster, Fridays For Future Hamilton, The Sustainable Future Program or leading an OPIRG project. There’s even a fourth-year Communication Studies course at McMaster that explores the role of media in social activism.
Slacktivism is becoming more prevalent and although awareness is necessary, it is hardly sufficient for change. McMaster University is ranked second in the world for global impact. This ranking means that, as students and navigators of today’s Web 2.0, we should hold ourselves to a high standard when it comes to how we deal with social issues, taking care to read up on issues, being critical of social media pages and looking for local opportunities to effect meaningful change. The most significant threat to modern activism may not be the issues it fights against, but the passive and indifferent “share it and move on” attitude we see forming towards them.
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It was my second year of university and I was finding it increasingly difficult to keep up with my studies because I was having traumatic flashbacks every day and night terrors every night. I was seeing a counsellor and a doctor to address my poor health. Despite this, my marks continued to slip.
Luckily, I was able to register with Student Accessibility Services when I realized I needed some extra help with school. This lifted a lot of weight from my shoulders, as I was able to access lecture notes through the SAS website and spread out my tests over a longer period of time. However, it wasn’t smooth sailing from there.
One of my accommodations under SAS is for instructors to provide an alternative to missed classwork. Knowing this, when I was unable to write a midterm due to my disability, I emailed the instructor to let them know.
In their reply to my email, I was told, “We do not offer an alternate date to write the midterm. If you are unable to write the midterm today, you will need to use a [McMaster Student Absence Form]. Using an MSAF will move the weight of the midterm to the final exam making the final worth a total of 94%.”
Despite having SAS accommodations, I was rejected of the accommodations that were supposed to help level the playing ground when it came to succeeding in courses. I remember being upset and frustrated because I’ve always had the impression that educators should be focused on helping their students succeed. Because of my instructor’s response, this situation dragged out for over a month as my assistant dean had to talk to the instructor to advocate for me. Meanwhile, I was constantly studying for a midterm whose date was unknown to me. Since I was having difficulties rescheduling my midterm, I fell behind in class and ended up dropping the course.
According to the Ontario Human Rights Commission, educators must accommodate their disabled students. Furthermore, accommodations should be unique and individualized — meaning, “blanket” accommodations that are meant to cover all disabilities often don’t work because disabled students have different needs. Educators should be cognizant that an accommodation, which may seem helpful in their eyes, may not actually be helpful for a student. As a result, they could be putting undue stress on the student who needs the accommodation.
Saying that I can use an MSAF to redistribute the weight of my midterm is not an accommodation. I don’t know about you, but having a 96 per cent exam doesn’t exactly exemplify a good ‘accommodation’. In fact, I’d argue that most non-disabled students would find a 96 per cent exam overwhelming. Maybe someone else might be okay with this accommodation, but it just wasn’t going to work for me. And that’s okay.
The unfortunate thing is that even with SAS, I still faced many barriers in receiving adequate accommodations. However, many disabled students go through their undergraduate career without SAS because registering can be a long process. For example, SAS registration requires medical documentation from a doctor, meaning that a formal diagnosis is necessary even though many conditions can be difficult to diagnose or may be highly stigmatized, which may result in the lack of diagnosis.
The unfortunate thing is that even with SAS, I still faced many barriers in receiving adequate accommodations. However, many disabled students go through their undergraduate career without SAS because registering can be a long process. For example, SAS registration requires medical documentation from a doctor, meaning that a formal diagnosis is necessary even though many conditions can be difficult to diagnose or may be highly stigmatized, which may result in the lack of diagnosis.
Instead of focusing on formal diagnoses, instructors should concentrate on providing support to students who need it. Evidently, there can be many complications that prevent someone from receiving disability status at McMaster. As a result, disabled students can fall behind in their coursework just because they cannot provide an accommodation letter from SAS to their instructors.
Even when you do have SAS, advocating for your accommodations can be taxing. Meeting up with your professors to discuss accommodations can make you feel vulnerable. Emailing professors every time you’re absent from class and having to reschedule several midterms after a flare-up can be exhausting.
Even after all of this, you may still face resistance regarding your accommodations. I have faced the risk of my SAS accommodations expiring even though my disability is permanent. As a result, I had to get medical documentation again to verify that my disability wasn’t going away anytime soon. I’m not the only person who has faced this problem — I’ve heard from many peers that they’ve faced a similar situation where their SAS status expired and they were unable to access accommodations when they needed them most.
The accommodation process is made more complicated by negative perceptions that students who ask for course accommodations are “cheating the system.” Of course, there’s always the possibility that there will be a student who asked for an accommodation they don’t actually need. But, more often than not, it’s because they really need it. A student’s SAS status shouldn’t be the only reason why an instructor should provide course accommodations. If students are reaching out to you about how they might need some extra help in class, consider giving them the support they need to succeed in your course.
Often times, accommodations can be easy to arrange. Providing a student with notes, lecture slides or an extension for an assignment doesn’t usually require extra effort on the instructor’s behalf. However, it’s important to note that even if the accommodation isn’t ‘“convenient’” to provide to a student, they still deserve to be adequately accommodated. To ensure that accommodations are properly handled, there should be a clearer follow-up process of accommodations within each faculty. Students should know who to go to when something isn’t properly handled, as well as be able to access support from their faculty during this process.
Because at the end of the day, educators should be concerned about a student’s success — not their disability status.
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Four days, seven shows and one location. For the past five years, the Frost Bites theatre festival has created a space for non-traditional theatre in Hamilton. Frost Bites focuses on site-specific theatre, which means that the shows are created for a particular venue. Therefore, shows can only be performed in one space and at one time.
This year the festival is taking place in and drawing inspiration from the Hamilton Waterfront Trust. Claire Calnan, the Executive Director of Hamilton Fringe, explains that before they begin writing, artists are taken on a tour of this venue and asked to write shows inspired by the space, challenging the typical process of writing the script first and finding the venue second. The festival is run by Hamilton Fringe and was created to add a dash of fun, bite-sized theatre to the cold winter months, and to challenge local artists to create something that transforms a space.
“Site-specific work is really interesting for me because it can transform a location for you, so that whenever you go by that location in the future you will think about it differently, because you’ve seen something happen there, or you’ve thought about it in a different way. It kind of transforms a landscape, and it can transform the landscape of a city,” said Calnan.
https://www.instagram.com/p/BfUCjvIAxl8/
The festival also works with the Artistic Leadership and Entrepreneurial Training Program, a program run by Hamilton Fringe to develop new artistic leaders in the city. The youth that participate in the program assist with running Frost Bites, whether that be by helping to design the space or running the box office. In this way, Frost Bites not only fosters new theatre in the community, but paves the way for the future of the artistic community in the city.
One of the companies performing is DeVision, a collective of six McMaster Film and Theatre alumni: Adeline Okoyo, Maddie Krusto, Claudia Spadafora, Jamie Milay Kasiama, Brianna Seferiades and Yvonne Lu. Their show, Key Words Include, explores the complicated concept of femme bodies as marginalized and marginalizing. Krusto, now a Master of Arts student at McMaster in the gender studies and feminist program, says that the site-specific nature of the festival creates a unique opportunity to exercise their creativity.
“As an artist, it’s really interesting to not only have this mandate of ‘Make a show,’ but to be able to come in and be inspired by things in the room. For example, when we came in for the venue tour and came into the room, there’s a big glass case, and we walked in and we immediately were like, ‘We could put people in there!’ and, ‘What can we put in there?’ and we were climbing into it, and it’s just really fun to explore what that space offers . . . in some ways it’s very liberating to get to explore first, and to play in this space, and think about what we can do,” said Krusto.
“As an artist, it’s really interesting to not only have this mandate of ‘Make a show,’ but to be able to come in and be inspired by things in the room. For example, when we came in for the venue tour and came into the room, there’s a big glass case, and we walked in and we immediately were like, ‘We could put people in there!’ and, ‘What can we put in there?’ and we were climbing into it, and it’s just really fun to explore what that space offers . . . in some ways it’s very liberating to get to explore first, and to play in this space, and think about what we can do,” said Krusto.
Each group brings their own unique focus and ideas to their performances. DeVision knew that they wanted their work to examine ideas of subjection and consumption, but working in the building helped to mold and shape their ideas, evolving to fit the space that they are performing in.
“We already knew we wanted to do a show that was something about the consumption of femme bodies, and the way that we’re being consumed, and so now the show has evolved into what is our relationship to the land, both when us as subjects and bodies being consumed, but we’re also settlers and consuming the land and contributing to settler colonialism. So what is that relationship when you’re both marginalized, but also marginalizing,” said Krusto.
Photo C/O Kaz Ehara/Verity Creative Inc.
Every show in the festival is performed in or around the same building, the Hamilton Waterfront Trust. But each show is dramatically different, offering different perspectives on the same building. Another performer is Annalee Flint, the creator of Flint and Steel Productions. She says that her show was entirely inspired by the venue.
“I specifically didn’t want to have anything in mind already, I really wanted to take advantage of the site-specific nature of it. So once I found out what the venue was I had kind of a little lightbulb about something that inspired me, and then once I actually got into the space I had that go further . . . So it really has been created solely with Frost Bites in mind and solely with this particular venue in mind,” said Flint.
Flint’s show is entitled amo, amas, amat, and it examines the meaning of love.
“It’s kind of an exploration of love, but using words and language, and maybe almost looking at what happens when you can have all of these beautiful, poetic words and declarations or statements about love, but you maybe can’t actually feel it or realize it for yourself . . . You spend your time focused on the beauty of language and the beauty of how love has been expressed by other people, but then you sort of neglect to figure out how to express it in your own world,” said Flint.
In order to fit multiple pieces into the same evening, shows are capped at 20 minutes, and are performed several times over the course of the evening. Amo, amas, amat has a run time of just 12 minutes. The multi-layered, complex meanings of the show are condensed down into bite-sized pieces, leaving the audience to construct interpretations of their own.
“[The show is] going to have all of [the meaning] behind it, but what actually is presented to the audience I think is something that everybody is going to take away a different meaning, or a different bit of wisdom, or a different emotion,” said Flint.
Frost Bites focuses on fostering relationships between different artists, encouraging artists to collaborate. Each night, audience members will be led into the main space, where there will be a special performance by Indigenous artist Rod Nettagog. On Saturday Feb. 1, choreographer Kyra Jean Green will be doing a dance collaboration with Nettagog. Audience members will not be the only ones seeing this for the first time, however; neither performer has ever met or worked with the other before — it will be an entirely unique and one-of-a-kind performance.
“It’s hard enough to create traditional theatre in the city and make it be successful, so then if you decide to create something a little bit off the beaten track, or a little bit unusual, or you want to put things in unusual places, it gets really hard to find an audience for that. I think that what I like about Frost Bites is that’s exactly what everybody that’s going to Frost Bites wants. They want something that’s a little bit different, a little bit weird perhaps, a little bit non-traditional; they know that that’s what the festival is about,” said Flint.
The Frost Bites festival happens in a new building every year, meaning that each performance is specific to its environment. The unique nature of the festival means that the artists have the opportunity to experiment and explore with different forms of theatre. Like the Hamilton Fringe Festival, artists that participate in Frost Bites are paid for their work. In this way, artists are able to hone their craft while still being supported by the community.
Frost Bites runs from Jan. 30 to Feb. 2 at the Hamilton Waterfront Trust (57 Discovery Drive). Adult tickets are $25 and grant you admission to as many shows as you can manage in one night. If that does not work with your budget, it is possible to see a 1-3 of the shows on Jan. 29 as part of the preview, for free. For more information or to pre-book, email info@hamiltonfringe.ca with “preview night RSVP” in the subject line.
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cw: misogyny
By Roba Dekamo, Contributor
Most people experience some level of privilege based on a combination of characteristics society considers integral to who you are. Some factors that influence privilege include your race, socio-economic status, sexual orientation, gender identity. Based on these characteristics, your life will be harder or easier, and unfortunately you don’t get a say in the matter. Many folks are able to live easier lives due to privilege. For example, white folks are less likely to be pulled over while driving and men are less likely to be targets of sexual violence. However, one privilege I never considered, likely because doing so would contradict its very nature, is the ability to forget.
A friend of mine invited me to take part in McMaster University’s Mens’ Walk in Solidarity with the the National Day of Remembrance and Action on Violence Against Women. As we made our way through campus, we stopped at four memorial sites: the Student Memorial Garden, Nina de Villiers Rose Garden, the Montreal Massacre Commemorative Stone and the Missing and Murdered Indigenous Women Memorial. During one stop, a group member reminded us of how frequently we may pass by these sites, often daily, without giving them much thought. He defined this as “the privilege to forget”.
This isn’t to say men are dismissive of acts of gender-based violence and their impacts, but to say that, as cisgender straight men, many of us don’t have to carry the weight of our very safety being threatened on the basis of gender. Therefore, we can either consciously or unconsciously ignore the realities that women and non-binary folks face on a daily basis in terms of their physical security.
My daily decisions aren’t impacted by the threat of violence because I am a man. I don’t consider how late I can stay on campus if I am not walking home with friends. I don’t prioritize being aware of my environment or worry about who I’m surrounded by when I am out dancing. The women in my life can’t say the same.
While walking through campus with my mom, she helped me realize how easily I am able to forget. We crossed paths with a few friends and when one of them, a female engineering student, stated her program, she was met with all the affection I had come to expect from my mom but with one additional praise I didn’t anticipate: she called her brave. She cited the events of Dec. 6, 1989, the École Polytechnique massacre, where a man killed 14 women in a horrible act of misogyny because he said they were “feminists” for being in engineering. My mom reassured this young woman that her decision was hers to make, and that by defying gender norms she had been brave and made at least one mom proud. I’m sure her own mother was also very proud but unfortunately we are still waiting on a quote from her.
My mom found my friend brave for pursuing her passion, for choosing a field of study dominated by men and for doing what she wanted regardless of the standards. Brave for doing what men consider normal. This was another reminder of my privilege to be able to dismiss the concerns that women often have to take into account when making decisions. Will I feel safe and comfortable in this space? Welcomed or alienated? Is the discomfort worth pursuing something I want? I never had to face these questions when weighing my options in high school.
I remember a time in my first year when five women I was friends with mentioned that they always felt better when I joined them on late night escapades to find a kegger or backyard party. I was taken aback by the statement, not just because I’m built like a determined toothpick but because I never considered my physical safety to be in jeopardy by simply being out at night. To be fair, this anecdote isn’t as much about forgetting as it is about learning, but even beyond this experience years ago, these thoughts don’t occupy mind nearly as much as I’d argue they should.
I learned a lot from those friends and they helped me realize a few things: my understanding of the world was very limited and I had a lot to learn, but also we as a society need to share more. Sharing the burden of repairing broken systems and perceptions, but also sharing our experiences to help inform and educate each other about things some individuals may never experience themselves.
Violence against women and gender-nonconforming people exists 365 days of the year, at a rate drastically higher than men experience. This allows a lot of male identifying folks the luxury of tuning out the subject for 364 of those days, and acknowledging its significance as it arises, be it a news article, story from a friend or national observance.
Year round, men need to ask more often, listen more intently and genuinely care for what women and non-binary folks have to say about these issues. We can use each others’ experiences to learn a lot about the things we can never experience ourselves and hopefully this can help change the ways we think and act for the better.
