CW: Islamophobia, violence
On March 19, hundreds of students, faculty and staff filled the McMaster University Student Centre courtyard to mourn the victims of the Christchurch massacre.
The terrorist attack was committed on March 15 by a white supremacist who opened fire in two mosques in Christchurch, New Zealand, killing a total of 50 people and injuring 50 others.
The attack was considered the worst mass shooting in New Zealand’s recent history.
The vigil was organized by the McMaster Muslim Students Association in collaboration with the McMaster Muslims for Peace and Justice and the McMaster Womanists. The three groups brought 15 speakers from various parts of the community to speak.
The vigil began with a recitation from the Quran.
In a particularly poignant moment following the recitation, the organizers honoured and read out the names of the 50 who died due to the attack.
A theme echoed throughout the vigil was that the attack reflected a larger movement of white supremacy, Islamophobia and bigotry across the globe.
“White supremacy exists, toxic masculinity exists, misogyny exists. Xenophobia, racism and Islamophobia exist. These things exist in New Zealand, in the United States. They also exist right here in Canada, in Ontario, in Hamilton,” said Khadijeh Rakie, a staff member of the McMaster Equity and Inclusion Office.
Rakie encouraged Muslim people to grieve freely.
“I don’t think our strength or grief must be looked at in one way, or need to be performative or palatable or always available for public consumption,” said Rakie.
Speakers pointed out the connection between Christchurch and the 2017 Quebec mosque attack, completed by a white supremacist, which killed six people in prayer.
“Far-right populist leaders around the world and false media narratives have stoked the fires behind the dehumanization and demonization of Muslims worldwide, causing events like the one in Christchurch,” said one student speaker.
Many speakers also expressed appreciation for other faith groups who have supported and stood in solidarity with them since the attack.
Other speakers encouraged Muslim and non-Muslims alike to actively stand against discrimination in all its forms.
“As different societies face all forms of prejudice, persecution and rhetoric against immigrants, refugees, visitors and worshippers of all kinds of faith, backgrounds, and communities, we must all stand together against all forms of violence, ignorance and hatred,” said another student speaker.
Mahmood Haddara, the president of McMaster MSA, called for compassion and unity.
“We need at times like these to build those connections with each other, to turn towards each other, to remind ourselves of that love and that connection, to look at the person next to you regardless of their skin colour or their belief and remind yourself that they are your brother or sister in humanity,” said Haddara.
Following the speeches, the organizers held an open prayer in the MUSC atrium.
Gachi Issa, one of the organizers of the vigil, said she is grateful for the support from the McMaster community and hopes the vigil will also spark discussion about discrimination and Islamophobia in Hamilton and on the McMaster campus.
“The message is first and foremost to mourn these [50] and counting victims in New Zealand, but it’s also to localize it,” said Issa. “The same thing that has killed them affects us here.”
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With tuition and living costs on the rise, obtaining a post-secondary education can be extremely costly. One of the higher costs of education are textbook fees; a first year life sciences student can expect to pay $825.15 in new textbooks.
To reduce the overall cost and increase the accessibility of post-secondary education, open educational resources were created.
OERs are any type of educational materials that are in the public domain or introduced with an open license. They can be freely used, shared or adapted by anyone.
There are many benefits of open education. For students, the use of OERs can alleviate the stresses associated with exorbitant textbook costs.
In addition to cost-saving benefits, there are correlations between the use of OERs and higher grades, and the use of OERS and lower course withdrawal rates. Even more, accessible OERs can remove barriers for students with print disabilities.
The use of OERs also avoids the problems characteristic of traditional textbooks. Problems such as bundled content, use of access codes that control and limit access to material and the assignment of “updated” textbook editions made for the sole purpose of profit generation are resolved by the use of OERs.
With all the benefits, it begs the question why hasn’t McMaster University done more to push for OERs?
Recently, McMaster professor Catherine Anderson created the first open-access linguistics textbook with support from the university and a $15,000 grant from eCampusOntario’s open textbook initiative. While this is a great accomplishment, Anderson’s textbook is not enough to create open education on campus.
The McMaster Students Union has advocated for OERs in the past. Last year, they ran the #TextbookBroke campaign with the support of the Ontario Undergraduate Student Alliance. This campaign aimed to encourage instructors to adopt OERs in efforts to address textbook affordability.
The 2018 McMaster University budget submission form also recommends that the university invest $50,000 to support professors in adopting or creating OERs that are specific to McMaster courses.
The document contains many suggestions for the university, moved forward by the MSU. However, in light of the recent changes to post-secondary education funding made by the Ford government, it is unclear if any of the MSU’s recommendations, let alone a $50,000 fund for OERs, will materialize.
But beyond advocacy efforts by the MSU, the university has yet to provide legitimate support for open education. According to Olga Perkovic, co-chair of the McMaster OER committee, the committee’s workings are not supported financially or with policy.
This is in contrast with Queen’s University, who are at the forefront of open education in Ontario. The OER committee at Queen’s is a top-down movement, that is, their provost specifically made open education a priority, which involved providing financial and infrastructural support.
According to the MSU budget submission, other Canadian universities including the University of Alberta, Simon Fraser University and the University of Calgary have thousands of dollars in funding allocated for OERs.
McMaster ought to follow suit and prioritize open education for its students. To do so would mean to commit dedicated funds alongside time and efforts to ensure faculty members have the capacity to implement OERs in the classroom.
In the meantime, instructors can help support the open movement by using open materials in their courses whenever it is possible. There are many available collections of OERs for instructors to use. For example, the non-profit organization eCampusOntario hosts a provincially-funded open textbook library that carries hundreds of textbooks and other educational resources from a variety of disciplines.
Students can also support the open movement through discussing implementation of OERs with their instructors, uploading and encouraging their peers to upload their research onto McMaster’s institutional repository MacSphere and contacting the committee to recommend a president to ensure open education is a priority of the incoming president.
To stay up to date on the happenings of McMaster’s OER committee, the group’s meeting minutes are publicly available through McMaster LibGuides.
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On March 1, creative co-working space Steel City Studio threw a grand reopening celebration to mark the completion of its expansion and renovation. The changes, which began last November, brought better workflow to the space and will allow the studio to grow as a business.
The studio is now 2,000 feet larger than it once was. When the second floor unit beside the studio became available, cofounders Nadine Ubl and Jennifer Donaldson jumped on the chance to increase their square footage. By knocking down the walls between these two units, Steel City Studio now enjoys a brighter and more open space.
Beyond expanding, the renovation involved refinishing the oak flooring on the second floor, replacing the front door with a glass door, changing the tile at the front of the studio, adding a double glass door at the entrance and bringing the wiring up to code. It was important to Ubl and Donaldson to stay within the existing layout and maintain the charm of the 120-year-old building.
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The most significant updates involved making the space more environmentally friendly. The old windows facing east and south were replaced by more efficient windows. Wherever they changed the light fixtures, they also changed the light bulbs from halogen to LED to decrease their power draw.
“[P]art of what we do is keeping in mind [the] environmental component. So by sharing a lot of resources, it means that we can sort of lessen our environmental impact,” Ubl explained.
The studio has become green in more ways than one. The most impressive part of the renovation is the moss wall and ceiling on the second floor. The greenery was done by Greenteriors, one of the businesses that uses space at Steel City Studio. While designed to absorb acoustics in the new open floor plan, the moss also serves to inspire the makers and benefit their health. It is also a sign of new beginnings.
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To celebrate these new beginnings, the studio hosted an event to share the refreshed space with the community. They filled the space with artwork by the Hamilton Female Artists Collective and provided snacks, a cash bar and live acoustic music by musician Murray Thiessen.
They also announced the winner of their Spring Start-up Contest. The contest, which was ran through their socials, was open to creative entrepreneurs, artists and small businesses. They then invited the nominated makers to share their vision and tour the studio. The lucky winners were awarded two months of free studio space.
“[W]e hear a lot that people want to gain access to the studio, but they're not really sure how to go about starting or, financially, they're not sure if they can make that commitment. So the point in this contest was to give someone the opportunity to get started in the space for a couple of months and help them to grow their business so that they can sustain staying in the studio,” Ubl said.
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Helping small creative businesses grow is the main goal of Steel City Studio. Not only does the studio offer space on a membership basis, it also provides flourishing businesses with business knowledge and supplies. An example of this is the six-week program, Open Co-tivation, which kicks off on March 12 and is designed to help entrepreneurs keep one another accountable.
In addition to these programs, the studio hosts various workshops, such as the upcoming Screenprinting Basics on March 16. And on March 30, the business will be hosting its seasonal Open Studio, which allows members of the community to check out the studio as well as meet and buy from makers.
Expanding the space will allow the studio to further meet its mandate and grow its influence in the city. There is a definite benefit to being able to work with, support and seek advice from other makers. The studio wants to continue to cater to individuals who are just starting creative endeavours.
“I think what we hope to be is that next step for people that are transitioning into either work in a creative field or into their own business…. [T]hey had everything at their fingertips while they were at school and then when they go to leave it's like ‘okay and now I'm doing this from home, how do I do that?’ So we definitely want to solidify that a little bit,” said Ubl.
Steel City Studio occupies a unique niche in Hamilton by bridging the gap between the maker and start-up cultures. By expanding its space, the studio has more room for Hamilton’s small creative businesses to grow in.
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By: Natalie Clark
Calling all coffee addicts, there’s a new must try spot in town! Phin Coffee Bar is located at 804 King Street West. The Westdale neighbourhood spot is only a short walk from campus. The owner, Andrew Meas, launched the bar’s soft opening on Feb. 16 and has been committed to serving the Westdale community their best cup of coffee since.
This may be Meas’ first coffee shop, but he has lots of experience in the coffee industry and a lot of love for what he does.
After finishing his bachelor’s degree at the University of Toronto, Meas wasn’t sure what he wanted to do. His grandmother, who owned a café in New Zealand, invited him to make the trip to work for her and learn how to bake and make coffee.
Although Meas wasn’t a fan of the baking aspect of the café, he became intrigued by the coffee. Her returned back from New Zealand and starting working at Smile Tiger Coffee Roasters in Kitchener.
Soon after becoming a pro at brewing coffee, Meas made the decision to start planning his own coffee shop in June 2018. It was a decision of impulse and instinct, and he admits to a little bit of peer pressure.
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This pressure came in the form of the encouragement he had from his friends to take the next big step in career and open up Phin.
Meas quickly realized that opening up a coffee shop meant more than just knowing how to brew a good cup of coffee. While opening up Phin, Meas ran into some challenges, mostly administrative things he didn’t think of, like cups and insurance.
When choosing a location, Meas knew that the Westdale neighborhood would be the perfect place. The community’s charms and close proximity to McMaster were advantageous to the new business.
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Meas is aiming Phin Coffee Bar at students, professors and young adults, and being in the Westdale neighborhood accomplishes that for him.
When asked what he believes Phin will add to the Westdale community, Meas mentioned that he hopes it will create a lot of foot traffic, encourage the exploration of coffee and brew a reputable cup of coffee.
Meas sees coffee as a gateway into people’s lives, it’s a part of their routine and lifestyle, and Phin Coffee Bar aims to be that gateway by creating a cozy and approachable vibe in the Westdale community.
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Robin Lamarr has been the only person of colour in a movement class. With this personal experience and her own desire to make mindful movement accessible, the movement educator and community activist had been thinking about how she could address the lack of representation in the movement community.
When she obtained a physical space for the studio she founded, Goodbodyfeel, she saw it as a good time to introduce a designated space for people of colour. The result was the first Movement Melanin Expression workshop on Feb. 24. The two-hour, three-part workshop was designed for individuals identifying as Black, Indigenous or people of colour.
“The intention is to create a space where folks who usually feel like they don't belong can feel belonging. And then, because it's an exclusive space, we can be open, raw, vulnerable and honest about what… we're feeling and why… [W]e can be super open about it without having to… defend ourselves against someone who might have white fragility for example,” said Lamarr.
The workshop was the result of a partnership with Hamilton-based visual alchemist and movement teacher-in-trainer, Stylo Starr. Starr joined the Goodbodyfeel Teacher Training last year when she met Lamarr and is almost finished her 200 hours of training.
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Lamarr and Starr have collaborated on a similarly structured workshop before. Last summer, they ran a satellite workshop at the Art Gallery of Hamilton wherein Lamarr led a movement sequence followed by Starr leading a walking meditation involving collage material.
Similarly, Movement Melanin Expression began with Lamarr leading participants through her famed R&B Pilates movement sequence. The sequence starts slow and warms up the individual parts of the body before ending with an intense squat sequence wherein participants scream in order to release all their emotions.
After moving, a circle discussion took place. The discussion was intended to address how people of colour can take up space and reverse the lack of representation in the movement and wellness industry. Most importantly, the conversation was meant to be open and unrestrained. Starr hopes that the conversation acted as a catalyst for participants to discuss how they’re feeling with the people in their lives.
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The workshop ended with Starr’s collage workshop. As she did with the series at the art gallery, Starr led participants through a walking meditation, allowing them to find pieces that spoke to them and create something there. The creative portion of the workshop allowed participants to express and liberate themselves.
“I've seen firsthand how movement has helped my creation. It's just a way of accessing a part of your mindfulness that maybe sitting still might not do for many people… I think it's really important to mesh these worlds because it's often implied that they're so different but they're actually very similar. In creating sequences for classes, it's a collage of different movements and they might not always look the same,” Starr explaining.
Approaching creativity through the medium of collage is one of the many ways in which this workshop made itself accessible. Unlike other forms of art, collage is not very intimidating for the non-artist and allowed individuals to express themselves with lesser concern about artistic skill.
Like several other Goodbodyfeel classes, this workshop had a sliding scale in place to reduce the financial barrier for participants. The studio also has clean clothes for participants to use and provides mats and props. By removing these obstacles for participants, the studio is hoping that no one is priced out of accessing mindful movement.
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“I've been practicing some form of mindful movement since 2000 and… it's been a really big part of my healing journey. And so since moving to Hamilton and starting this community, my aim is to have as many people as possible benefit and have access to the transformative effects of mindful movement.
Why does the movement community need to even address race and representation? Well, because it's incredibly beneficial to mental health and well-being and everybody deserves access to it,” Lamarr said.
At the end of the day, the most important part of Movement Melanin Expression was the formation of community through movement. Starr and Lamarr intend to continue the class so that people of colour can continue to take up space in the movement industry and discuss more ways to break down the barriers.
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By: Rya Buckley
Mia Sandhu’s paper cut outs depict images of women partially or entirely nude, amidst backgrounds of leaves or behind curtains. She began working on these figures four years ago as a way of working through her own ideas about women’s sexuality.
Sandhu is a multidisciplinary artist currently based in Toronto. Her work has been exhibited in Toronto, Kingston, Halifax and Hamilton. She is a member of The Assembly gallery here in Hamilton, has done an artist residency at the Cotton Factory and also exhibited her work at Hamilton Artists Inc.
Last November, Sandhu exhibited her collection Soft Kaur at The Assembly, which featured playful figures who are comfortable with their sexuality. The name of the exhibition, which alludes to both to the softness and fierceness of women, incorporates the half Punjabi artist’s cultural background into her work.
“It's the idea [of] a female warrior spirit and the idea of equality that exists… Singh and Kaur are these given names and it was designed to eliminate status and… [create] men and women as equal. And I liked the play on this idea of soft female spirit slash warrior spirit [and] also the sexual undertone,” Sandhu explained.
There are other motifs in Sandhu’s work that suggest a dialogue between Sandhu’s culture and her evolving ideas on sexuality. A lover of Indian fabrics, silks and tapestries, Sandhu includes these aesthetic features in her work through the exotic plants in the environment her figures reside in. With the evolution of her work, she now references more domesticated plants that humans have formed a relationship with.
The silhouettes that are seen in Soft Kaur are also the result of Sandhu’s art’s progression. Her earlier work featured brown-bodied figures because Sandhu felt it more appropriate to use brown bodies in a work related to her upbringing and culture. Over time Sandhu employed more silhouettes in order to represent any woman, regardless of race.
The silhouettes do not broadcast as a uniform but as a canvas onto which women can project their own sexuality and ideas about sexuality. Sandhu is a believer in the fact that no one should decide for a woman how she should be represented sexually in society.
“I want women to be safe and I want them to feel safe and feel free and strong and empowered… [W]e're autonomous [and] each of us should choose for ourselves how we want to be represented sexually or in any other way because we're individuals. Hopefully we're not represented with any sort of attachment to shame. We should just be proud of who we are,” Sandhu said.
Facilitating space for women to speak about their ideas on sexuality was one of Sandhu’s aims behind this body of work. She finds it interesting to observe how her audiences connect with and interpret her art. By enabling dialogue, she finds that women can begin to realize the experiences that they share.
Exhibiting at The Assembly also gave Sandhu a location to speak with others about her work and to receive feedback. One thing that she appreciates about the Hamilton art scene is the sincerity of the participants who she feels are open to talking about important issues and are creating art that is driven by content.
While there is no linear narrative to Sandhu’s work, the content is obviously evolving as Sandhu’s own views develop. One of the motifs whose symbolism has changed over the years is the cloak that Sandhu’s figures have covering and revealing their bodies.
“[The cloak] represents shame, it represents personal space and it represents a number of other things as well… But it's like they're choosing how much of themselves that they're revealing and then as the work evolves, it's like the… cloak… stops being on them directly and starts being like in their space around them and they're allowing you in, or not letting you in,” explained Sandhu.
Through her work, Sandhu is also choosing to what extent she decides to let her audiences in. She is working on a new set of drawings and will continue to explore women’s sexuality and empowerment in the future. Her artwork is her diary, the paper cut outs and pencils replacing the thousands of elusive words that would be required to speak on the complicated ideas that she depicts.
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