A trove of paintings is held on McMaster’s campus. Monet, Matisse and Van Gogh are just some of the artists in the collection. Staples in galleries around the world, immortalized in art prints or socks, these artists have reached the pinnacle of the art world, but also having a place in Hamilton.
The collection of European masterpieces comes from Herman Levy, a Hamilton businessman and art lover who once took art history classes at McMaster. Levy was a jeweler by trade and in his spare time an engaged member of the McMaster and Hamilton art communities. His interest in European art prompted him to collect famous works from the canon throughout his lifetime, including German expressionists and French painters.
Levy donated his private collection to the McMaster Museum of Art in 1984, and upon his death in 1990 left a bequest so the collection could be expanded. The accumulated art works now belong to McMaster and have toured the world, a testament to the collection’s prestige.
The Levy collection’s return from a cross-Canada tour brings 185 European and American art works back to their Hamilton home. But first the works had to be curated into an exhibit that would resonate with viewers nearly 30 years after Levy’s death. Faced with this challenge, Pamela Edmonds, the senior curator at the MMA, interpreted the pieces to provoke new ideas and interpretations in the homecoming exhibition.
French masters Monet and Matisse now hang on the white walls of the MMA. Monet’s painting of Waterloo bridge shows an industrial scene against a hazy sky, not unlike the real scenes of Hamilton’s shores. Except this image is worth millions. Another work by the impressionist sold for $110.7 Million in May 2019.
But cost doesn’t necessarily equal value.
“The Monet is something I’ve been told is in demand all the time for people to see, but is it more about the cachet or whatever around the artist, or is it the actual object. And so I was trying to play with the hierarchy — of why something if it’s worth $50 million makes it more important? Does it really? . . . For me, I could be just as connected to something if I don’t know the artist,” said Edmonds.
Levy’s donations reflected his art interests: artists are predominantly European, and almost exclusively white. Edmonds, throughout her career as a curator, has questioned why galleries and exhibits didn’t seem to reflect perspectives beyond the western canon. Without curation, dominant voices within the art canon remain unchallenged, despite representing very few experiences captured in the visual form. This prompted the curator to consider how to include more works from the long history of non-western visual arts in the newest presentation of the Levy collection.
The latest exhibition of the collection, it is from here that the world unfolds, which opened Aug. 24 and will run through Dec. 14 2019, prompts viewers to reconsider the familiar art works.
In this exhibition, the big names in the Levy collection are accompanied by artworks that speak to the gaps of a history without much diversity. Contemporary, modern and historical works come together to create an aesthetic experience that contradicts the elitism of the art world. It doesn’t pretend to represent all of art history, but nods to what is missing.
Reflecting on her curatorial practice, Edmonds says, “it was a great opportunity for me to bring together a show . . . from a lens that critiques that canon but still does so respectfully — these are amazing artists — but trying to put a spin on it that’s questioning the way that art has been presented in that linear, universal, humanist way.”
The exhibit, titled it is from here that the world unfolds goes against curatorial convention by avoiding linearity. It doesn’t present a history. Instead, it presents moments in time, space and aesthetic perspectives that speak to one another and to the viewer. That’s what Edmonds thinks that art spaces should be about — a conversation between the art, creator and the person experiencing it.
“The museum, the library, those are kind of the few spaces left that you can congregate to talk about ideas, or to engage in ideas. And I think that specifically within the university, we should be having an engaging conversation around art and ideas … I wanted to take a collection that was maybe more historic but bring it into the 21st century.”
The MMA holds a unique position compared to other galleries and museums in Hamilton. Situated on McMaster’s campus, the MMA has a responsibility to the students, staff and community members who live, work and study here. Edmonds wants students to feel comfortable coming through the front doors. The rules and etiquette of galleries-past do not need to deter visitors. No longer should art spaces exist as stuffy and exclusive places, they should exist for everyone, equally. At the MMA, the quiet is welcome, but not mandatory. As long as you don’t touch it, the art is yours to engage with however you like.
As the world moves faster and public spaces are closed, the museum is one of the last few spaces that exist for the public good. It is one of the few places that are quiet, free of charge and open for all.
Museum goers can expect to see historic works alongside yarn-like sculptures and red squares. If the viewer finds themselves frustrated, then Edmonds says: good. She wants to set up questions without answers and evoke feelings from viewers. Even negative emotional reactions are good, because it means the art is speaking to someone.
For students, the MMA could be a space to decompress or learn something new — but it’s up to you. Edmonds encourages on-lookers to take what they want from the exhibit, even if there isn’t any further engagement beyond viewership.
Visiting it is from here that the world unfolds, time periods and emotions collide. Looking at the giant canvas of Wailing Women (1990) by Ken Currie along with Sun Ra’s chaotic jazz accompaniment, there is a confrontation of eras and aesthetics. The interplay is jarring, and be advised, so is Currie’s painting of a mob of dismembered women. But it is also a reminder of the non-linearity of the exhibit.
Just around the corner from Currie’s work is a set of 16th century religious icons beside a mid-dentury mixed-media piece that is almost erotic and references a variety of eras. The exhibit is jarringly ahistorical, but purposefully so.
Museums are places for the free flow of ideas and dialogue around art and the world in which it is created. The MMA is a place to see important works from the European art canon, but it also gives students, staff and community the opportunity to think about dominant narratives in the art world. Levy’s legacy is held in trust for present and future generations, and will continue to spur creativity and criticism for years to come.
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By: Elisa Do, Contributor
Cw: Indigenous genocide
For 140 years and counting, July 1, also known as Canada Day, has been a day where Canadians celebrate their homeland. This is a day where every Instagram story and Facebook newsfeed is flooded with people in red and white, tattoos of the maple leaf flag on their faces and booming fireworks lighting up the sky. But how many of us truly know what we are celebrating? What would we say to someone who asks the question, “What do you love about Canada?” or “What does it mean to be Canadian?”.
For decades, this nation has been plastered with a reputation of being welcoming, loving and even more so polite and righteous. Personally, I have my doubts about what is underneath this mask.
When the topic of Indigenous communities arise in conversations of history, do you picture communities of vibrant colours and peace or do you picture mass genocides and the robbery of land, many of which still continue today? Canada Day is a day to celebrate Canadian identity. But there would be no “Canada” if Sir John A. Macdonald, Canada's first prime minister, had not approved residential schools and implemented policies to use starvation as a method of clearing way for Western expansion. We, quite literally, live on the brutality of the past.
A quick search for Canada Day history on the web will give you a refined version of the holiday from Canadian government websites.
One such website is the Canadian Encyclopedia, which proudly states: “Locally organized events sometimes provided opportunities for members of marginalized communities to demonstrate their belonging to Canada … and [on Canada Day] members of Indigenous communities participated in sporting events and musical performances.”
This quote makes me question whether such communities should have to find a sense of “belonging” to a colonized Canada at all.
The same article further proclaims, “Indian agents in some regions allowed members of First Nations communities to be part of local Dominion Day pageants wearing traditional costumes, while others sought to emphasize messages of assimilation and conversion.”
In this one sentence alone, the Canadian Encyclopedia has shown the dominance of the Canadian government, their lack of understanding on Indigenous communities, and the obvious acknowledgment of assimilation. When something as simple as clothing requires permission, when outfits of culture and heritage are deemed as “costumes” and ideas of assimilation are so blatantly stated, how can we continue to glorify our disfigurement of history?
In Daniel Heath Justice’s Why Indigenous Literatures Matter, Justice expands on the significance that colonialism has had on the reduction of Indigenous presence in history: “Colonialism is as much about the symbolic diminishment of Indigenous peoples as the displacement of our physical presence. If there are no more people there can be no more stories; without our stories, we’re reduced as peoples and as individuals.”
In diminishing Indigenous stories, Canada is robbing future generations of a true understanding of Canadian identity. I believe that ignorance of Indigenous stories due to diminishing Indigenous presence is far more terrifying than ignorance of Indigenous stories due to lack of effort put into educating yourself.
Colonialism is a deadly thing. It sits in our roots and lies deep below in the grounds we walk on. We can’t see it. And sometimes, you might not even feel it.
But just because you don’t see or feel it, doesn’t mean it’s not there; and it certainly doesn’t mean you shouldn’t do something about it. In choosing to write this piece I had many doubts, including doubts about myself. I do not identify as a member of any Indigenous communities and so I was worried for my lack of understanding and my ignorance about a community that is not my own.
But I am Canadian. And I do live on land that is not mine to claim. So, with all that I appreciate in Canada, I truly believe it is possible to become prouder Canadians if we first learn to accept and take appropriate actions to mend relationships we cannot afford to lose. So Canada, on July 1 of every year, don’t just celebrate for the sake of celebrating. Identify, recall, and challenge the assumptions laid out in history today.
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Cover Art C/O Razan Samara
100 years after the Winnipeg general strike, the Workers Arts and Heritage Center is encouraging us to critically reflect on what we do and do not know about one of the most influential strikes in Canadian history.
In May of 1919, 35 000 workers walked off the job to protest unfair working conditions and mass inequality. The strike culminated in Bloody Saturday, when state representatives killed two protestors and arrested 84. The strike lead to a massive wave of strikes across Canada and paved the way for future reforms.
WAHC’s Massive Disruption exhibition commemorates the Winnipeg General Strike through a series of events running from May 1 to Aug. 16. At the core of WAHC’s programming is Michael DiRisio’s Archiving Unrest exhibition, which encourages audiences to engage with archival documentation of the general strike.
DiRisio was interested in working with displaying the WAHC archives because of the organic structure that, according to DiRisio, is more indicative of the nature of collective action than hierarchically structured, well-ordered government archives. DiRisio notes that WAHC’s collection mandate changes over time, and the archive responds to the community as items are sourced for projects and pieces are donated.
“It’s people and groups that have intersected with this building in this organization at different times and what they’ve left and what’s been absorbed through that,” said DiRisio.
Archives on display at the Archiving Unrest exhibit
The Archiving Unrest exhibition brings the archives to the forefront, allowing viewers to engage in snippets of the collection displayed in works of photography and video.
In displaying the archives, the exhibition also asks us to consider what they leave out. Often times, retellings of history highlight the contributions and accomplishments of individual leaders. In reality, says DiRisio, it is the work of collectives that drive social and political movements.
“We have a very hero oriented culture where we tend to latch on to or focus on these heroes,” said DiRisio. “It can give you some glimpse of a fraction of what was happening, but it leaves most people out; it leaves so much of the conversation out.”
The Massive Disruption exhibition casts the spotlight away from individual leaders, instead highlighting the collective power of the 35 000 workers who walked off the job in the Winnipeg general strike.
A large part of this, says DiRisio, means understanding the motivations and desires of the strikers. The exhibition shows microfilm displaying labour news leading up to and following the strike, chronicling the underlying inequality and indignity of work that prompted mass unrest.
Part of the modular library featured in the Archiving Unrest exhibition
WAHC’s programming works to examine the underlying motivations and causes for unrest and connect them to conditions that persist today. Continuing on the focus on collective action, the exhibition creates space for audiences to engage in critical discussion about what it means to gather and organize.
The exhibition hosts weekly reading groups based on texts that focus on themes of collective organizing and group dynamics. People are invited to make use of the modular library, which holds a collection of texts focused on labour history and collective organizing.
“There aren’t a lot of chances outside of school to talk about these kinds of theoretical, philosophical questions about gathering or crowds or publics,” noted DiRisio. “And so I’m looking forward to different discussions, but also super open to what different people bring to it.”
Each reading group is hosted by a different community organizer who use the strike commemoration as a jumping off point to discuss collective action, injustice and group dynamics more broadly.
The strong focus on public dialogue is part of WAHC’s larger strategy to encourage community engagement. According to WAHC executive director Florencia Berinstein, one of WAHC’s central goals is to appeal to the public that is not typically made to feel welcome in cultural institutions.
“Our school of thought at WAHC is in order to engage with the ideas that we’re putting out there, or with any subject matter, we need to program around it to animate those ideas so that people will find the hooks,” said Berinstein.
By encouraging public dialogue and critically examining history, WAHC aims to commemorate the past while looking forward at the same time.
“What is the legacy of the Winnipeg general strike today in our contemporary culture?” asks Berinstein? “What are the lessons that we can take from the Winnipeg general strike but actually apply them to what’s happening today?”
By: Drew Simpson
Over a month of Hamilton Youth Poet’s Black Poet Residency has passed. So far, the residency has taken place at the Art Gallery of Hamilton every Saturday and the weekly residency will continue until May.
HYP is an arts organization that launched in October 2012. The organization’s four main goals are to manifest a community of cultural understanding, offer youth tools to deliver their writing and literary skill, engage youth towards their academic ambitions and to support aspiring artists’ professional development.
Ultimately, HYP empowers young people by offering training as arts organizers and allowing youth to take part in the planning, promotion and facilitation of events. One of these events is the Black Poet Residency featuring Ian Keteku, a two-time national slam champion and multimedia artist, as a key facilitator.
https://www.instagram.com/p/BcsJpE6nKdY/
Although both the organization and event have poets within its name, participants may be beyond the scope of experienced poets. Those who wish to develop their writing skills, editing, computer literacy and even multi-digital processes will benefit from the residency.
“Those interested need not regard themselves as poets or require any prior knowledge of poetry. The residency aims to transcend simply writing poems,” explains one of HYP’s teaching artists, Akintoye Asalu.
This residency is in line with HYP’s focus on youth-focused events coordinated by youths, as it is aimed towards youth writers, performers and creative-minded individuals. As mentioned by Asalu, anyone who is interested in bettering their skills is welcome to attend.
“When our young people can tell and re-tell their histories in the context of public platforms, they are able to imagine and re-imagine their individual and collective identities and become culturally grounded in their own experiences,” explains HYP’s website.
https://www.instagram.com/p/BiXLjB2AIgI/
The residency aims to provide an inclusive and supportive space which allows black youth to express their experiences and explore their voices. Such a weekly residency is necessary in Hamilton, to amplify often-silenced voices while also developing skills and building community. Asalu can attribute the prosperity of this residency as a participant himself.
“Being able to sit down and converse with people who understand the struggles that come with being a [person of colour] motivates me to keep using my art to help our community in as many ways as I can… My only hope is that the healthy dialogue that exists within the residency will spread to the rest of the community,” explains Asalu.
[Best_Wordpress_Gallery id="235" gal_title="HYP Event"]
Poetry and art directly combat the sense of isolation people of colour experience on a daily basis. Especially as they face daily experiences with institutions that were built without them in mind.
Asalu describes how poetry allows him to be the voice for those cast in silence; bringing light to silenced struggles. He also finds poetry as a healthy coping mechanism. Every HYP event puts youth at the center. Therefore, a Black-focused residency, puts Black youth at the center; a position that may be unfamiliar to them.
“I want Black people all around the city to feel comfortable talking about the things they go through on a day-to-day basis without fear of judgment from those around them. It is my belief that in order to enact change, we must first begin with constructive dialogue. Through this dialogue, constructive actions can be taken to improve the quality of life for [people of colour] as a whole,” explains Asalu.
This residency can be the defining moment for many Black youths in Hamilton. Raising their voices, attending to their mental health and finding support in community are never-ending obstacles for black youth. The ability to express struggles and unbox silenced concerns while doing so is a grand goal that when realized makes a positive difference in a young person’s life.
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In the McMaster Athletics Hall of Fame, there are seven Black athletes, trainers and coaches who have made significant contributions to Marauder history over the years. Whether it was on the field or court or giving support to their team, the Black history of McMaster Athletics is undeniable.
Fast forward to today and there are a number of Black athletes at McMaster today who are also contributing to McMaster history. Although there is not yet an official Marauder Black History Month celebration, this article is the first step in celebrating the Black athletes who have given so much to this organization.
Running back Aidoo started playing for McMaster in 1998 and found immediate success after his first season, when he was named the Canadian Interuniversity Sport Rookie of the Year. Throughout his career, he continued to make Ontario University Athletics history for rushing and scoring. Helping McMaster get to their first-ever OUA Yates Cup Championship in 2000, he was named the Most Valuable Player of the OUA and the MVP of the championship game.
His outstanding talent made him a recipient of a number of awards including the Hec Crighton Award as the most outstanding player in Canada, the Howard Mackie Award as the Male Athlete of the Year in the CIS, the Ivor Wynne Award as McMaster’s Male Athlete of the Year in 2001 and being named a First-Team All-Canadian. Aidoo went on to be drafted into the Canadian Football League by Edmonton, playing for the Eskimos, Winnipeg Blue Bombers, Hamilton Tiger-Cats and Toronto Argos over the course of his professional career.
Image C/O marauders.ca
Photo from Silhouette Photo Archives
The second-year running back has been an explosive player for the Marauders since arrival in 2017. When an injury cut his rookie year short just after week eight, he had already posted consecutive performances of over 100 yards receiving, and even had 225 all-purpose yards against the University of Toronto Varsity Blues the week before.
Even though his season was cut short, Allin was still named to the OUA All-Rookie Team for his contributions to the team. After recovering from his ACL injury, his return to the field in the 2018 season may not have been reminiscent of his rookie season, but his contributions did play a part in helping the Marauders secure a spot in the playoffs.
Unfortunately, due to a number of reasons on and off the field, Allin and Mac’s playoff run ended after the first round. With a new head coach for the 2019 season, and the possibility of Allin’s predecessor Jordan Lyons leaving for the CFL, the possibilities of what Allin can do for the Marauders in the next few years is something many are excited to see.
It only took one year for Titus Channer to make an impact on the McMaster men’s basketball team. The 1993-1994 OUA Rookie of the Year went on to have a successful Marauder career, full of nation-wide recognition. He was named Second Team All-Canadian in 1994-95 and 1995-96 and received Ontario University Athletics Association Player of the Year, a First Team All-Canadian selection, and the McMaster Athlete of the Year Award twice (1996-1997 and 1997-1998).
The accolades for Channer did not end there, as in his senior year he won the Mike Moser Award as the Canadian University Basketball Player of the Year and the Howard Mackie Award. It did not end there for Channer, as he went on to play professional basketball in Europe and represented the Canadian men’s national basketball team.
Image C/O marauders.ca
David McCulloch, a Hamilton local and Cardinal Newman star, chose to stay home and come to McMaster instead of a number of other offers. Deciding to come to a school who already had a star point guard, Adam Presutti, and wanting to learn from him speaks volumes about McCulloch’s character early on.
Today, the fifth-year senior has turned into the team's leader and star, surpassing 1000 points during his time at McMaster. For the 2017-2018 season he was named OUA Third-Team All-Star and in the summer, he joined Team Toronto with Team Canada’s head coach Roy Rana. A consistent leader on and off the court, McCulloch’s departure this year as he graduates will no doubt be seen in the 2018-2019 season.
With a team mainly comprised of first years and transfer, hopefully, not only his talent but the way he carried himself on and off the court will be the blueprint for the young team. As for McCulloch’s future, whether it is basketball-related or not it, it sure looks bright from here.
Lawrence Holmes found great success during his time here as a Marauder. Winning the Canadian Interuniversity Athletic Union 61kg three times, it is no surprise that he was also a two-time recipient of the Ivor Wynne Trophy. Holmes was also an international wrestler while attending McMaster, participating in the 1982 Commonwealth Games and the 1984 Olympics, and a two-time World Team member. Holmes was also a three-time Canadian Open Champion winning in 1982, 1983 and 1984. But it did not end there. Following graduation, Holmes continued to compete globally and made another Olympic appearance in 1988.
Image C/O marauders.ca
A newcomer on the scene, Simi Jayeoba is a second-year wrestler. As one of two Black female wrestlers on the team, Jayeoba is in the process of making a name for herself. Jayeoba ranked in the top 10 in Ontario’s 67kg category last year and won silver early on this year at the York University Open. As a Black woman wrestler, her just being able to compete at this level is something worth celebrating. The level I engineering student still has a way to go to for her wrestling career at McMaster but is an exciting prospect to watch along the way. Although there are no Black women in the Marauder Hall of Fame as of yet, it's not too late for Jayeoba to be the first.
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By: Nyakoar Wuol
The Black experience at McMaster University is not monolithic. I can and will only be speaking in regard to my experience as a Black woman at McMaster.
Being a political science student, I often find myself being the only Black woman or Black person in a tutorial or sometimes even an entire lecture hall.
Within the political science courses, discussions on race, intersectionality and different waves of feminism do not go as in-depth as I would expect them to. After listening to the opinions of white students in these tutorials and their views, it makes sense why these discussions are so limited.
Discussion on race can only go so far if individuals are not sure what to add to the discussion or do not know enough to engage. In tutorials, I feel that when certain topics arise that I find interesting or am knowledgeable of, my opinion is not understood in the way I want.
A perfect example of this would be in my recent tutorial. The tutorial was set up as a debate with around five of us sitting at the front table. We were meant to briefly discuss the key elements of our paper, then answer any questions or rebuttals. For the sake of context, my paper was speaking about the result of Apartheid and its impact on Black South Africans, namely their struggle to be financially independent.
The white man who made the rebuttal made statements along the lines of, “why can’t they pick themselves up by their bootstraps? why don’t they just buy land or a farm? you don’t need a post-secondary education to make money”. All the statements he made would have been answered had he listened to the points I initially made.
I responded by stating that there are systemic barriers in place which limits Black South Africans from attaining wealth or having any form of mobility in their social class. In the wise words of W. E. B. Du Bois, “a system cannot fail those it was never meant to protect.”
And yet after stating that, he was still not satisfied with my answer. He responded in a condescending tone but before I could defend my position, the teaching assistant moved the conversation to the next topic.
What I found most astounding was that this student was willing to stand in his ignorance than to believe that there are systemic barriers in place against Black folks not only in South Africa, but around the globe.
Another thing I noticed mainly in my sociology class and at a workshop I attended was that whenever there was a presence of Black folks, there was an underlying element of censoring from the white students. It seemed like they would mainly stick to saying socially-acceptable answers.
I feel that in order for anyone to learn they should not hinder themselves. White students seem to have this fear that if they say something that is not “acceptable”, then they will be vilified and have their opinion disregarded.
But choosing to only say what one thinks is acceptable does not result in any form of growth. If you fear that your true opinion or view is problematic, then perhaps ask yourself why that is?
Essentially, I feel that as a Black woman at McMaster there is much more that is needed to be done within academic spaces. This is mainly in regards to the limited discussions on race, and the lack of representation within the institution.
I, and many other Black students reading this, may feel that we are given the unasked role of being an educator of all things Black to white people. They may very well have certain questions or are limited in their knowledge on the Black experience.
However, it is not Black students’ job to inform and educate. As a great friend of mine said, “Google is free and it’s a great research tool.”
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By: Andrew Mrozowski
“In the beginning God created Adam and Eve (allegedly), but she soon realized how boring their parties were and created Adam and Steve to be their neighbours and show them how it’s done,” read the official Adam and Steve manifesto.
Since 2016, Adam George and Steve Hilliard have been throwing the queerest parties that Hamilton has seen for decades under their event planning name Adam and Steve. These two community event organizers have a single mission, to create community and carve out LGBTQ friendly events within the Hammer.
“[Our events] are unlike anything you’ve ever seen. It’s like your gayest wildest wet dream,” said George.
George moved to Hamilton in the late 2000s to attend McMaster’s science program. Shortly after meeting Hilliard on campus, the two students clicked. Hilliard went on to graduate from the nursing program and became a full-time nurse while George became a full-time realtor.
The “semi-engaged” duo — they have an ongoing competition over proposals — loved making a life together in Hamilton, but they felt something was missing in their community.
Being inspired by the fact that there weren’t any queer spaces currently in Hamilton, George and Hilliard had an idea. What if they planned and hosted parties in Hamilton that they would want to attend?
“We were tired of having to go to Toronto to have fun,” explained George.
“We were both inspired by being queer, inspired by fun, beauty and I have an intense love of drag. I really wanted to give a stage to queer artists,” added Hilliard.
Historically, Hamilton has had a rough history with queer spaces amounting to raids and police brutality.
“At any given moment, there was at least four or five [gay bars and clubs]. Hamilton was almost too gay and this history is tragic. If you look up the lists of the top ten worst police raids, one of them was in Hamilton at a bathhouse downtown,” said Hilliard.
“But now, we’re moving towards a queer scene about being whoever the fuck you wanna be,” added George.
Attracting the likes of popular Toronto queens, such as Priyanka, and RuPaul’s Drag Race season 8 contestant, Thorgy Thor, the dynamic duo is always on the lookout for who can throw the greatest party.
“We wanted to throw parties that we wanted to go to. Right before we started doing events, we always thought ‘Why hasn’t a RuPaul queen come to Hamilton?’ Then once we started throwing events, it was one of those things where you didn’t think was possible and then one day, I just googled … what would it take to get a RuPaul queen to come,” said Hilliard.
“We did a survey on our Instagram to see if there was interest… in four days the first show sold out and then we added a second date, and that one sold out,” added George.
Community is a large reason why George and Hilliard throw their parties. The duo’s goal is not only create community and a space that fosters inclusivity through their events, but they also wanted to become part of the community.
“It’s about creating a family in this city,” said Hilliard. “Queerness was never something that was handed to us.”
George and Hilliard are consistently looking towards the future and are hoping to open up their own space. The goal is to have a party every night, so there will always be a safe space for the community to celebrate and have fun.
Always busy planning parties, the duo has big plans for this coming romantic weekend. Adam and Steve will be hosting Heart On: Queer Galentine’s Day Party featuring House of Filth on Feb. 16 at Absinthe Hamilton on 38 King William Street.
“Queer and gay bars left [Hamilton], but the gay and queer people didn’t. We need to give those people and ourselves a safe space where they can meet new friends, be safe, and won’t ever need to leave the city at all,” explained Hilliard.
The future for Hamilton’s LGBTQ+ looks as bright as the pride flag thanks to event organizers like George and Hilliard. Adam and Steve events are where you can put glitter on your face, wear your cutest shirts and dance the night away in a safe and inclusive space for all.
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What is the value of an apology? That is one of the questions that JUNO-nominated singer and songwriter Khari Wendell McClelland is exploring in his new concert, We Now Recognize. The show, which consists of all new songs, will tour six Canadian cities for Black History Month. It comes to the Lincoln Alexander Centre in Hamilton on Feb. 19 at 8 p.m.
We Now Recognize is a partnership between McClelland and Project Humanity, a non-profit organization that uses the arts to raise social awareness. The two collaborated in 2017 and 2018 to create the documentary theatre musical of the Vancouver-based artist’s debut solo album, Freedom Singer. Freedom Singer interpreted songs that might have accompanied McClelland’s great-great-great-grandmother Kizzy as she escaped from slavery via the Underground Railroad.
This show is another personal work, although McClelland originally took inspiration from the current sociopolitical landscape. The number of political apologies that have occurred struck him in the past decade or so and especially in Justin Trudeau’s term. He began to question what constitutes a substantive and meaningful apology.
In writing the show, McClelland found himself reflecting on being wrong and the extent of his compassion for those who do wrong. He considered how recognizing wrongdoing feels and how to move forward from it. With this, he also thought about the relationships he has with the generations of men in his family.
“[I was] looking at my grandfather and my father and my brother and even considering what it would be to be… a father and what the implications might mean for a larger society… [I]t's men who are exerting power and have a lot of control in society… What are some of the ideas… I grew up with that I have at different times perpetuated in my own life and trying to figure out like what that might look like through a generational lens,” said McClelland.
The show explores other ideas that McClelland cares about, such as community and the way we wield power over the natural world. In bringing different ideas in proximity with one another, McClelland sees the work as an assemblage like a quilt or collage.
McClelland sees being able to explore a multitude of ideas as a way of celebrating Black life. Unlike his past work with Freedom Singer, which tackled the history of slavery head on, We Now Recognize, is a subtler approach to Black history that it more rooted in the present and in the future.
“I feel like there are ways in which black life can be can be understood as a monolith, that black people in Black communities aren't allowed to have a diversity of experiences and perspectives. I'm very curious… about creating some kind of radical subjectivity around Black life, like being able to be all these different ways that we are just as human beings,” McClelland said.
Not only will the concert allow McClelland a chance to bring forth the multiplicity of Black life, it will allow him to stretch himself and grow as an artist. The personal show will force him to be vulnerable in a way that he hasn’t been before with the communities across Canada that has supported him.
McClelland sees the connection to music as something that erodes for many people over their lifetime. For him, however, it is something that he hasn’t stopped doing ever since it became a part of his life as a kid growing up in Detroit. It moves him in a way that isn’t necessarily positive or negative, but just is. He also sees the medium as essential to building community.
“I feel like healthy communities move together. That they practice together, that they have rituals together… [O]ur connection to artful practices actually has the potential to heal us as communities and individuals coming together… has this real potential for a deep kind of healing… I think it is just a deep medicine in the way that we come together and make music and make art,” explained McClelland.
McClelland is looking forward to this tour to see how audiences connect with the new songs. He is eager to see the way in which people are moved by this meditation on wrongdoing and apology, whether positively or in a way that is a little uncomfortable.
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By: Natalie Clark
Hamilton has been getting its fair share of the winter weather this season, so in what better way to embrace it than to explore all that Winterfest 2019 has to offer?
Winterfest is a two-week long affair that features winter events in and around the city. Beginning Feb. 1, there will be free and paid events held throughout Hamilton such as open skate, live music and various themed events. Take a break from studying and enjoy the winter weather while taking part in this timely Hamilton tradition.
Juno Award winner and Hamilton born indie rock singer/songwriter Matt Mays will be performing at Hamilton Central Public Library on Feb. 10. Mays is currently on his Dark Promises Tour and will be making a pit stop in his hometown for an intimate show. Head on down to Hamilton Central Public Library for some of the best music Hamilton has to offer. This is a paid event and tickets can be purchased on Eventbrite.
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Frost Bites is a four-day event in partnership with Hamilton Fringe featuring some of Hamilton’s best theatre performers. Each night, artists will perform “bites” of theatre shows that are meant to last no longer than 20 minutes each. The festival will also be taking place on Feb. 14 to Feb. 17 at two community locations, the New Vision United Church and St. Paul’s Presbyterian Church.
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On Feb. 13, Winterfest will be holding a lecture featuring guest speaker Kojo “Easy” Damptey, an afro-soul musician and scholar-practitioner. Born and raised in Ghana, he attempts to address societal issues and enact change in the world with his lyrics. He will be speaking on behalf of stories of existence, resilience and resistance. The event is free and will be held at the Historic Ancaster Old Town Hall. All are welcome to join the celebration and commemoration of Black History Month.
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Stressed? Bored? Dying to pick up a new hobby? If any of those resonate with you then this beginners knitting course may be up your alley. For $90 you’ll learn the basics of knitting over the course of three classes, running on Wednesdays from Feb. 13 to Feb. 27. Grab a group of friends and head down to the Art Aggregate in East Hamilton for all the tips and tricks you need to know about knitting.
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In honour of the beginning of the Chinese New Year on Feb. 5, Barton Stone Church will be hosting a Fung Loy Kok Taoist Tai Chi Open House on Feb. 9. This event is free and includes a demonstration and class, as well as various hot drinks including tea and apple cider! There will be volunteer staff available to chat with you about their class schedule, as well as information about the benefits of Taoist Tai Chi. The event is sure to be a warm evening full of new learning experiences.
The Canteen is one of Hamilton Winterfest’s signature events. Featuring live music from a variety of artists, including Hamilton-based singer/songwriter Ellis, a cozy fire, winter marketplace and various other events, this event is worth the trip to the Battlefield House Museum & Park National Historic Site on 77 King Street West. The location is also known as one of Canada’s most significant monuments of the War of 1812. Aside from participating in the event’s attractions, you are also welcome to explore the museum and historic grounds on site. This is an all-day event taking place on Feb. 16 starting at 10 a.m.
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When Hamilton designer Jennifer Kaye visited the Hamilton Museum of Steam and Technology National Historic Site, she was struck by the beauty and craftsmanship of the 19th century steam-powered water pumping engines. It was something that couldn’t quite be captured in a 2D image. That is why her images of the 1859 Waterworks are in 3D.
From Jan. 19 to Sept. 8, the Museum of Steam and Technology National Historic Site will host an exhibit of Kaye’s photography entitled Doing It Justice: The Steam Museum. The free exhibit will be housed in the Woodshed that forms part of the Victorian industrial building complex.
Kaye recently did a graphic design program at Mohawk College, during which she took a photography course. In that class, she was assigned to use an advanced photography technique and chose 3D photography. She felt the museum lent itself perfectly to the medium.
“It's interesting to stand in the woodshed space and experience the engine in three dimensions without actually being there and looking at them. It has sort of a retro feel to it actually because we are using the old school three dimensional glasses, with the red and blue panes and the red and blue offset images. So it feels a bit like all the old school movies or even three dimensional comics,” said museum curator Richard Barlas.
3D photography is created by mimicking the way each human eye perceives a slightly different view. For each photograph, Kaye had to take two shots from slightly different angles and bring them together. When she reached out to the museum for help with the assignment, they loved it so much that they asked her to expand it so it could be displayed at the museum.
On Jan. 19, the opening reception for Doing It Justice took place, coinciding with the birthday of James Watt. Watt was an 18th century Scottish inventor and mechanical engineer who made significant improvements to the steam engine and thus contributed to the Industrial Revolution. The exhibit opening honoured his contributions to the modern world with birthday cake.
Aside from showcasing the machinery, the exhibit will educate patrons on 3D photography and machine art. Kaye prepared an essay highlighting the history of the two forms and the museum staff have been given information on the topic in order to engage visitors. As well, movies from the 1920s and 1930s with machinery in them will be playing in the exhibit.
3D photography became popular around the same time as the steam museum was built, making the use of one to illustrate the other even more fitting. Kaye also wrote in her essay about the early 20th century history of machine art, tracing its usage as a metaphoric icon to the modern acknowledgement of machines as beautiful objects.
“[There’s] real beauty in that kind of machinery. You know it's big and it's almost like it was made to be looked at and admired, you know, beautiful materials and… a real pride in the craftsmanship that I find really inspiring… And the art that uses that uses that iconography, I just find it appealing,” Kaye said.
Kaye hopes that the appreciation for the museum will increase and the exhibit helps to bring new visitors to see the steam engines. Barlas hopes that the exhibition gives those who cannot see the steam engines due to the lack of accessibility a way to experience the historic machinery.
“[T]he industrial past of Hamilton is so tied to its present and maybe to its future… we'll have to see. So I think places like the steam museum… honor a past about Hamilton that sometimes we prefer not to spend too much time thinking about, you know dirty industry and all of that, but that's who we are here. So yeah, I find that inspiring,” Kaye said.
The main goal of the steam museum is to promote education about the industrial and scientific history of Hamilton. Kaye has found a way to take a symbol of that history, the steam engines, and do it justice through art.
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