The new course is the first phase of the McMaster Indigenous Research Institute’s Prison Education Project
The Silhouette sat down with Savage Bear, Director of the McMaster Indigenous Research Institute, to discuss her new course set to start in January 2023 taught at the Grand Valley Institution for Women in Kitchener.
The new course is part of the Walls to Bridges National Program where Bear sits as co-director. The program aims to implement post-secondary education in prisons and jails nationwide, offering classes that both incarcerated and non-incarcerated students can attend. The program values dismantling stigmas and creating collaborative spaces for incarcerated students.
“There are a lot of stereotypes, and we carry misconceptions about what happens in a prison and what incarcerated folks are like. At the same time, incarcerated folks also have ideas about university and the students who attend. So we bring these two groups together to break down those boundaries,” said Bear.
“There are a lot of stereotypes, and we carry misconceptions
Savage Bear, Director of the McMaster Indigenous Research Instituteabout what happens in a prison and what incarcerated folks are like. At the same time, incarcerated folks also have ideas about university and the students who attend. So we bring these two groups together to break down those boundaries,”
Working with the Edmonton Institution for Women, Bear and her team implemented the Walls to Bridges program during her time as an assistant professor at the Faculty of Native Studies and Department of Women and Gender Studies at the University of Alberta. She made continuing her work of implementing post-secondary education in prisons a priority when appointed as the director of McMaster’s Indigenous Research Institute in July 2021.
“You have 10 students from the university and 10 students in the [prison]. We hold a classroom in the prison, it’s a three-credit course like a regular semester. It's a normal university course in every other way, except it's in a prison and half your classmates are incarcerated folks,” said Bear.
“You have 10 students from the university and 10 students in the [prison]. We hold a classroom in the prison, it’s a three-credit course like a regular semester. It's a normal university course in every other way, except it's in a prison and half your classmates are incarcerated folks,”
Savage Bear, Director of the McMaster Indigenous Research Institute
Bear described the course as covering historical Indigenous tragedies and how communities preserved their cultures and traditions.
“We are looking at Indigenous peoples who have resisted and subverted colonial policies, and legislation like the Indian Act — all those types of oppressive structures that pushed back against them historically... We have to recognize that Indigenous people were never passive participants in these colonial structures. They fought back in brilliant and courageous ways,” said Bear.
Bear and co-facilitator, Sara Howdle will facilitate the course with group discussions and group projects between incarcerated and non-incarcerated students. She characterized incarcerated students that register for courses as eager with an appetite to learn.
“I've rarely come across a university class where all the students do all the readings all the time. My incarcerated students have an incredible thirst for knowledge. They make notes of what they liked and didn't like about the articles. Hands down they're some of the most critical thinkers I've ever come across in my entire teaching career. It is such a pleasure to have such engaged and thoughtful minds in the class,” said Bear.
The Walls to Bridges Program is the first of a three-tier plan for the McMaster Indigenous Research Institute’s Prison Education Project. The second tier involves support for post-incarceration students living in transition houses to attend courses on campus for either a credit or an audit. Tier three is a mentorship program that provides supports to formerly incarcerated people to apply for university. Bear described the project as a pipeline for incarcerated people, from prison to transition housing to post-secondary education.
Bear highlighted the value of this unique course setting and structure as life-changing for university students.
“It is a life-changing course. It is something you rarely come across in your life. Walls to Bridges has been like that for students since its inception 11 years ago. If you want a dynamic course that's going to challenge you, make you uncomfortable, but be incredibly rewarding, then this is the course for you,” said Bear.
Applications for McMaster students to register for the class are due Nov 15th.
C/O Safer Spaces
The Safer Spaces Project, a joint initiative by Industry and Hamilton Fringe, seeks to create safer theatre and art spaces
Theatres and other art spaces are often perceived as safe spaces — spaces upheld by mutual respect, trust and kindness where folks can comfortably express themselves and feel supported.
However, this view fails to completely capture the real definition of a safe space: an environment free from harassment, racism, sexism and other forms of discrimination, oppression and emotional or physical harm. In reality, the view that artistic spaces are fundamentally designed to be a safe space could not be further from the truth.
The Safer Spaces Project is a research project led by two arts organizations at the forefront of change in performance and art spaces, Industry and the Hamilton Fringe. The aim of the project is to collect data on harm that exist in theatre and art culture through a survey and use the information obtained to develop an internal cultural guide on mitigating harm and setting expectations of behaviour and accountability at Industry and Hamilton Fringe.
The survey launched in July 2021 and the hope is to collect 250 responses from all folks who engage with theatre and art spaces — performers, musicians, directors, producers and patrons just to name a few. A select number of survey participants will be interviewed to expand on their lived experiences. It is open to folks from any location; participants don’t need to be from Hamilton nor have an experience in an art space in Hamilton.
Robin Lacambra, also the Founder of GOODBODYFEEL, a pilates, yoga and mindfulness studio in Hamilton, is the director of the Safer Spaces Project. She was brought onto the project because of her previous work in creating safer spaces and collective liberation. Her online courses such as Sharing Privilege focus on how folks can implement more inclusive and anti-oppressive daily practices and be more aware of their individual privilege.
Laura Welch, the project coordinator, joined the Safer Spaces team to address and open the conversation on toxic norms of creative spaces that are too often swept under the rug. As an actress, she witnessed first-hand the abuses of power and discrimination in theatre. Outside of this project, she is the Safe Spaces Coordinator for Industry and Artistic Director of Light Echo Theatre.
“This project is really near and dear to my heart because throughout my experiences of working in the professional-level theatre, there’s just been so many abuses of power, harms and a lack of care in many of the spaces and it has deeply affected the quality of my artistry and my ability to seek employment in a field I have wanted to do my whole life. This project is a way to start addressing that,” explained Welch.
Everyone on the Safer Spaces Project team contributes unique perspectives and diverse, lived experiences to the conversation about issues in theatre and art spaces.
Researchers on the team include Maddie Krusto, an artist, educator and community outreach coordinator at the Hamilton Fringe, and Kitoko Mai, a Black, non-binary, multidisciplinary performance, media and community artist.
The project’s steering committee is composed of Karen Ancheta, a Filipina theatre storyteller and theatre performer; Adrienne Crossman, queer and non-binary curator and artist; Juan Jaramillo, a Latinx, deaf performance artist; Josh Taylor, Black dancer and owner of Defining Movement Dance studio; Talli Osborne, a performance artist born missing her arms; and Cher Obediah, an Indigenous storyteller, writer and artist.
“It’s a very colourful steering committee and that’s very rare. It’s really rare to have steering committees that aren’t predominately White . . . Even though all the experiences are individual, because we have such an intersectional team, we are getting way more data from our steering committee meetings than just a boardroom of White men talking about what they think will be best,” explained Lacambra.
So far, the response to the project has been affirming. Many people have shared their appreciation about the conversations the team is promoting online, through the survey and at panels. On Nov. 25, Safer Spaces Project will have a booth at the Garden Project Party for folks to complete the survey at the event and ask questions.
Once 250 survey responses have been collected, the team is planning on hosting a public panel to share the findings. When the internal culture guide is complete, it will be available on the Industry and Hamilton Fringe websites for feedback and re-evaluated annually. On a broader scale, the team hopes the guide can serve as a blueprint for other arts organizations and places to cultivate a safe space in their own practices.
“The hope is to create this takeaway: we did all this research, we spoke to a lot of people, we have such a diverse steering committee, so many experiences are being considered in this document we are presenting, [so] take it and run with it and make your space safer for more folks,” said Lacambra.
In addition to the development of the internal cultural guide, the Safer Spaces Project facilitates discussions about oppressive and harmful practices in the entertainment and art industries through its interview series called Midday Musings. The series is conducted by the core team of Lacambra, Welch, Krusto and Mai featuring guest speakers to share their experiences and the changes they would like to see.
The series re-emphasizes the importance of the Safer Spaces Project and amplifies voices of those that have gone through challenges and are surviving and thriving. In doing so, the team also hopes it will increase engagement and encourage others to take part in the survey.
“[Collecting enough survey responses] has been a little tricky so far. I think partially because to actually name there’s an issue in an industry where you are so replaceable can feel really scary. We are trying to continue a conversation that has been happening underground for a while and spark something in artists to do the survey so we can get data and make change,” said Welch.
In an industry in which success is heavily reliant on fame, power and influence, it can be difficult to speak up. Silence is demanded. Complaints are shut down. And the squeaky wheel doesn’t get the role. However, it is more the reason why the project requires support and action.
“It’s important for all folks to recognize we are all required to intentionally contribute to creating equitable futures and just futures and liberated futures. If we aren’t intentionally contributing to such a cause, then we are unintentionally holding that reality back from manifesting. We are all required in the revolution of collective liberation,” said Lacambra.
By participating in the survey, folks can enact their leadership and power to drive tangible change in fostering safer, braver theatre and art spaces.
“And wouldn’t that be an amazing thing to do?” said Lacambra.
C/O Austin Distel, Unsplash
McMaster’s new podcast, Bounce, releases its first episode to share community stories of overcoming struggles
Post-secondary education is often accompanied by many stressors and the ongoing pandemic has only added to the struggles that university students face.
As a new mental health initiative, Bounce is a McMaster-based podcast that was announced at the beginning of September. The podcast aims to help students combat their stress by making them feel less alone.
According to Catherine Munn, the project lead, the idea for Bounce originated from a similar project at the University of Victoria wherein faculty and alumni feature in videos about overcoming difficult experiences that they have had.
After hearing about this project from McMaster professor David Clarke, Munn reached out to Rebecca Gagan, the professor who developed Bounce at the University of Victoria. With Gagan’s permission, Munn developed McMaster’s version of Bounce; the name Bounce signifies the importance of bouncing back from difficult situations.
The name Bounce signifies the importance of bouncing back from difficult situations
While Bounce at McMaster was originally intended to exist in a video format, COVID-19 challenges led to its creation as a podcast instead. Munn remarked that, although Bounce was originally intended to be a series of videos, the podcast format has unique advantages.
“[There are] lots of great things about the podcast, just having a longer period of time to talk to people and, in a way, a more intimate, more personal kind of chance to connect,” said Munn.
“[There are] lots of great things about the podcast, just having a longer period of time to talk to people and, in a way, a more intimate, more personal kind of chance to connect.”
Catherine Munn, Bounce Podcast Project Lead
Munn emphasized the importance of sharing stories to create community and help people through their individual struggles.
“[Sharing stories] can offer hope to people that are in a bad place and also connect us to one another as a community of people that sometimes can seem pretty far apart,” explained Munn.
Munn noted that students can often feel disconnected from faculty and even from each other; however, she hopes that with Bounce, students can feel a greater connection to others in the McMaster community.
“Our committee believes that we can help people to become more resilient by sharing stories. [W]hen we share our experiences and our stories with one another, we actually help give each other ideas about how [to] get through [difficult situations]. It helps [people] understand that [they] may not be alone in struggling with what [they are] struggling with,” explained Munn. “I think we're hoping that this helps people feel a little less alone.”
“I think we're hoping that this helps people feel a little less alone.”
Catherine Munn, Bounce Podcast Project Lead
On Oct. 1, Bounce released its first episode with Zeinab Khawaja as the special guest. Khawaja is a McMaster alum from the class of 2017 and currently a health promoter at the Student Wellness Centre. In this episode, Khawaja talks about her previous experiences as an undergraduate student and how she navigated that along with being a wife in an arranged marriage.
Students can listen to Bounce on the McMaster Okanagan website or on any major podcast platforms such as Spotify, Apple and Google.
By: Jenna Tziatis, Marketing Assistant, McMaster University Continuing Education
In today’s tough job market a degree alone may not be enough to get you the job or promotion that you’re looking for. Employer expectations are higher and are expecting more than the knowledge that comes with a degree. They are also scrutinizing candidates based on their enhanced skill-sets and experience to ensure they are hiring someone who will fit and integrate into their business and culture with the least disruption.
Savvy students are realizing this trend and responding by upskilling themselves to ensure that they stand out in the employment crowd and that their resume rises to the top of the pile. If you’re thinking about getting ahead, McMaster Continuing Education offers a variety of learning options from diplomas and certificates to micro learning options. Whether your focus is in the field of business, health or professional development, there are many to choose from:
To make it easier for Mac students, McMaster Continuing Education offers a faster route to get you ahead with Degree + Diploma. This opportunity allows you to earn a diploma or certificate while you work toward your degree. You can use your elective credits in your current program of study toward a diploma or certificate with Continuing Education, allowing you to gain your qualifications faster. This opportunity is gaining popularity among Mac students and can be easily set up by contacting your Academic Advisor.
If you’re not ready to jump straight into getting a diploma or certificate you can always try one of McMaster Continuing Education professional development courses or attend our upcoming free Business Entrepreneur Series micro learning session that is running in spring. It’s a great way to gain valuable and recognized skills in a condensed learning format. To attend this series you can sign up at mcmastercce.ca/events/free-business-entrepreneurship-series
Regardless of what you decide, by recognizing the demands of today’s job market and being proactive to acquire the skills that businesses are looking for will make you more visible and appealing to employers. Continuing Education will give you that competitive edge to get ahead and land that job you’re looking for.
To learn more about these valuable learning options visit www.mcmastercce.ca
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By: Andrew Mrozowski
Stop. Take a second and look up from this article. You’ll most likely see everyone around you on some form of technology, be it on their phones, tablets or computers. We now live in a world where we are so heavily dependent on technology. According to Yvonne Lu, people should be more conscious about how technology affects their identity.
Originally starting off her undergraduate career in commerce, Lu realized her passion laid in a different faculty. Lu began working in marketing and communications but felt like something was missing. She decided to take on a double major between multimedia and theatre and film.
Now in her final year at McMaster, Lu decided to combine her two disciplines into one overall thesis, taking the form of an interactive multimedia installation and a physical performance called interFACE, as part of the School of the Arts Honours Performance Series.
The concept for interFACE came to Lu over this past summer when she was employed by a music video company to be their social media coordinator. Although typically not very active on social media in her own life, Lu found herself getting jealous from the various platforms that she managed as there was an overall feeling that everyone was doing better than her.
“Although there definitely were positive and negative experiences, always being on social media and seeing that people younger than me were doing cooler things than I was, working with huge producers, big companies and getting more responsibility than I was… a lot of the times I felt jealous. It’s why I felt I was a step back, I understood why others were successful and a lot of it was trying to catch up with people,” explained Lu.
interFACE examines how young women interact with technology and how this oversaturation impacts their identity as they grow up. Stemming from a vignette of experiences, the multi-disciplinary art experience allows attendees to delve into the development of identity to look at similarities and differences between how we portray ourselves online versus in person.
[Best_Wordpress_Gallery id="264" gal_title="interFACE"]
“The question to consider is whether or not social media and digital technology enables us to do more things, or if it consumes us and we are at the whim of the mass media,” explained Lu.
This form of installation is experimental as it features two parts. Viewers will first embark through an audio-visual capsule, which is an audio-sensory experience that saturates the audience in a world that Lu and her team have designed to convey the importance of why we should pay more attention to our own identities. Next viewers will be seated to enjoy the physical portion which expands on what they have observed in the audio-visual capsule.
“This is not something that you would see in traditional theatre. It’s not a narrative or linear piece. We are creating a visceral experience for both our collaborators and audience. We want them to feel that they are in the belly of the beast,” said Lu.
For the thesis student, what the audience takes away from the experience is the primary objective of this piece.
“There isn’t a specific message I want people to walk away with. It’s live theatre and it’s all about interpretation. For us, that’s kind of what I want audiences to walk away with. Questions of what they felt. It’s an emotional journey rather than a narrative,” said Lu.
Show times for interFACE will run on March 28 at 12:30 and 8 p.m. and on March 29 and March 30 at 12:30 and 7 p.m. at the Black Box Theatre in L.R. Wilson Hall. Admission is free.
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Hamilton is a city of stark inequalities. As the city’s economy booms, many Hamiltonians are swept to the sidelines as a result of a housing crisis and employment insecurity. Compared to other cities in Ontario, Hamilton also has a high proportion of working class people, disabled people and refugees, who are often the first to feel the brunt of these changes.
Health outcomes over the past decade have been bleak, and according to many disability justice and healthcare advocates, show no signs of changing unless bold steps are taken to support Hamilton’s marginalized populations.
In 2010, the Hamilton Spectator released Code Red, a project that mapped the connections between income and health across Hamilton to explore the social determinants of health. Using census and hospital data from 2006 and 2007, the report showed strong disparities in health outcomes between the Hamilton’s wealthiest and poorest neighbourhoods.
The Code Red project shows that social and economic inequalities lead to health inequalities. The lower city, which experiences disproportionately higher rates of poverty, also has significantly poorer health outcomes.
In February 2019, an updated Code Red project was released using data from 2016 and 2017. The updated Code Red project found that in general, health outcomes in Hamilton have declined and inequalities have grown.
Since the first Code Red project in 2010, the average lifespan in parts of the lower city has declined by 1.5 years. Furthermore, the gap in lifespan between Hamilton neighbourhoods has grown from 21 to 23 years.
These results come as no surprise to Sarah Jama, an organizer with the disability justice network of Ontario. According to Jama, given the lack of political change coupled with changes in the city of Hamilton, it was inevitable that poverty would worsen and inequalities would deepen.
Jama notes that health care and social services tend to be compacted into the downtown core, which has tended to have a higher concentration of people who rely on these services.
However, rising costs of living within the downtown core has meant that the people who access these services are being priced out. According to a report by the Hamilton Social Planning and Research Council, eviction rates have skyrocketed in the past decade. As a result, the people who rely on these services have to make compromises about whether to live in a place with supports available close by, or a place that is affordable.
“The more compromises you have to meet with regard to your ability to live freely and safely in the city the harder it is to survive,” said Jama.
Denise Brooks, the executive director for Hamilton Urban Core, works directly with people at the margins of Hamilton’s healthcare system. Brooks noted that the 2010 Code Red project was a wake up call for many.
“For me one of the biggest takeaways [from the first Code Red project] was even greater resolve that this really is a political issue and that it hasn't been looked at and is not being looked at as a crisis,” stated Brooks.
The 2010 Code Red project sparked projects including the Hamilton neighbourhood action strategy and pathways to education program. According to Brooks, while these initiatives were beneficial, more robust policy is needed to substantially address poverty.
“... [C]an we see any change in policy orientation? Did we see a reallocation of resources? Did we see a redistribution of priorities in any way? I would have to say no,” said Brooks.
The updated Code Red project calls for a restructuring of the traditional health care system to include social and economic programs that contribute to people’s overall health.
However, recent political changes have led many health advocates to worry that the coming years will see change for the worse. Matthew Ing, a member of the DJNO research committee, notes that provincial cuts to a slew social assistance programs threaten to further exacerbate the existing inequalities in Hamilton.
In November 2018, the provincial government announced reforms to Ontario Works and the Ontario Disability Support Program that aimed to streamline social assistance and incentivize people to return to work. Among many changes, this includes aligning the definition of disability to align with the more narrow definition used the federal government.
According to Jama, narrowing the eligibility requirements for disability support makes it likely that people will slip through the cracks. They will put the responsibility on the municipality to provide services, meaning that care is likely to differ between providers.
“The onus is going to be on individual service providers on all these people to really decide who really fits this idea of being disabled enough to be on the service versus it being like sort of supervised by the province,” stated Jama.
Additionally, in February 2019 the provincial government announced plans to streamline and centralize the health care process. Under the proposed model, Ontario Health teams led by a central provincial agency will replace the existing 14 local health integration networks across the province.
Brooks noted that this has not been the first time that the province sought out to reform healthcare. Having worked in community health for years, Brooks remarks that the changes that are made to healthcare frequently exclude people on the margins.
“It's always the people who are the most marginalized, the most vulnerable, the socially isolated and historically excluded that remain on those margins all the time regardless of the change that go through,” said Brooks.
Currently, patient and family advisory committees work to inform the work of LHINs. The government has not announced whether PFACs will be retained under the new model, but Ing worries that a centralized model would leave patients and families out of the decision making process.
However, Ing recognizes that the current system is far from perfect, noting that disabled communities were not adequately represented on PFACs. According to Ing, this speaks to the much larger problem of political erasure of people with disabilities.
“Disability justice means that we must organize across movements, and we must be led by the people who are most impacted,” writes Ing.
The DJNO was created in order to mobilize disabled communities and demand a holistic approach to healthcare reform. According to Jama, this includes seeing race, income, and disability as fundamentally interconnected.
However as social assistance measures are cut at the provincial level, the future for disability justice is murky. The results of the updated Code Red project paint a sobering picture of the state of health inequality in Hamilton. Given the direction that healthcare reform is taking on the provincial level, health and poverty advocates worry about the future of healthcare equality in Hamilton.
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On Jan. 30, 2017, the McMaster Students Union announced plans to eliminate single-use plastic water bottles from Union Market as part of a strategy to work towards a more sustainable campus.
However in the fall of 2017, the newly elected board of directors decided to return single use bottled water to Union Market. Soon afterwards, boxed water was pulled from shelves.
Proponents of the boxed water project say that it was the first step of a plan to work towards sustainability on campus. According to others, the project was doomed from the beginning.
Former MSU president Justin Monaco-Barnes introduced boxed water as a more environmentally friendly alternative to bottled water. Monaco-Barnes was elected on a platform of sustainability, and had included the implementation of boxed water in his campaign.
Boxed water cartons are recyclable and made from well-managed forests. Furthermore, less energy is required to ship, produce and package boxed water bottles.
Prior to making the decision to phase out single use plastic water bottles, the MSU Advocacy team, led by Blake Oliver, had compiled a research report considering the sustainability, marketability, and financial considerations of implementing boxed water.
According to Monaco-Barnes, boxed water was meant to be the first step in a long-term plan to push the university to eliminate single use plastic water bottles altogether. By taking a moral stance against single use plastic water bottles, the board of directors hoped to encourage the rest of the university to follow suit.
Monaco-Barnes stated the next step in the project would have been to implement a water bottle filling station at Union Market complete with options for adding flavour and carbonation.
“By selling plastic water bottles again and undoing this ban, the MSU has effectively undone not only the work that was put into this effort, but has also undone the planned multi-staged process by removing the underlying principle,” stated Monaco-Barnes in a letter responding to the decision.
According to Jeffrey Campana, the current Union Market manager, the main issue with boxed water was the financial losses. Bottled water had been one of Union Market’s top selling items, and the switch to boxed water led to revenue losses resulting from both a lack of student interest and a lower profit margin on boxed water.
Campana was a cashier at the time that boxed water was introduced. He stated that the lack of interest in boxed water was a result of a higher cost, reluctance to purchase an unfamiliar product and an ineffective advertising campaign.
Boxed water was more expensive than the least expensive bottled water. For example, Eska was sold for $1.13 for a 500 mL bottle, while a box of water the same size cost $2.49.
Additionally, Campana noted that students were hesitant to purchase boxed water due to its unusual design. Since there were other places on campus that continued to sell bottled water, consumers were not forced to make the switch to boxed water.
Campana also stated that students were not effectively incentivized to purchase boxed water. In early January the MSU produced posters and infographics giving information about the environmental impact of bottled water. The graphics were displayed in Union Market.
However, according to both Campana and the 2016-2017 Union Market manager, a more robust and long term marketing campaign might have made boxed water sell more successfully.
The previous Union Market manager stated that she had not been properly consulted when deciding to phase out bottled water and market boxed water. The decision to transition to boxed water came as a directive from the board of directors instead of being a result of collaboration with Union Market Management.
Generally, the part time manager of Union Market is responsible for deciding what items to stock. However, since Union Market is owned and operated by the MSU, the students union president and board of directors can make decisions about what is sold.
If she had been consulted, the previous Union Market manager stated that she would have worked towards a long term advertising plan in preparation for the introduction of boxed water.
“I don't think it would have had the same results had I been a part of it like effectively,” she stated.
In addition to being more expensive for consumers, boxed was also more expensive to produce. This meant that Union Market made less money off of each unit of boxed water sold than what they made off of bottled water.
“I think it's a great product, I just would never sell it. Simply because I don't make money off of it, the MSU doesn't make money off it,” said Campana.
For Monaco-Barnes however, the overall purpose of the campaign was not to sell more boxed water. Ideally, students would switch to reusable water bottles and would therefore stop buying water from Union Market altogether.
Monaco-Barnes had anticipated that a revenue loss was likely to occur. However from his perspective, the environmental considerations outweighed the financial losses.
“Because it's such an important cause, becoming more sustainable and reducing carbon footprint, I think it's okay if it's going to take a bit of a financial hit,” said Monaco-Barnes. “That's the crux with sustainability […] if it was an easy, cheap, simple solution, everyone would be doing it," he added.
To help offset some of the financial losses from the removal of bottled water, the board of directors decided to raise the costs of other best-selling items at Union Market such as chocolate milk. In 2017, the price of chocolate milk increased from $1.86 to $2.25.
According to MSU General Manager John McGowan, prices were raised so that Union Market could continue to financially support its cost centres. However, they not raised to the point of recoupling the lost revenue from bottled water, as this would have made prices unaffordable.
According to the Union Market manager at the time, however, this price increase was not enough to make up the losses from bottled water sales.
Bottled water has since been reintroduced, meaning that Union Market is no longer facing revenue losses resulting from its absence. However, the price of chocolate milk has not been brought back down, despite being raised to help compensate the loss of bottled water.
Campana noted that the price of chocolate milk may still have increased due to inflation.
“$1.86 is miles away from being financially sound in 2019,” stated Campana.
Monaco-Barnes noted that the structure of the MSU makes continuity difficult. Due to the high rate of turnover in student government, long-term projects often do not get seen to completion.
While the overall project was ambitious, the implementation gap and lack of year to year continuity meant that the boxed water plan was short-lived.
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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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It has been said that life is a dance. No one knows that better than celebrated Canadian dance artist Peggy Baker whose dance installation Move captures the duality of caregiving. The free installation will be performed on Feb. 2 at the Art Gallery of Hamilton as part of McMaster University’s Socrates Project.
The dance installation takes place in a 28 by 28-foot square surrounded by a frame. It is 70-minutes long and is organized into four cycles. The cyclic nature of the piece and the fact that it rotates throughout means audience members can take it in from multiple angles.
The performers are not necessarily dancers by trade but members of the community who love dance. There are 16 of them dancing in pairs that reverse roles with each cycle. They were selected in November 2018 during a two-hour workshop and audition.
The story of Move began 10 years ago when Baker first presented the dance as part of Toronto contemporary art event Nuit Blanche. At that time, the dance was 20 minutes long and done on the hour every hour for 12 hours with 12 pairs of professional dancers. When Baker put on Move for the second time at the Art Gallery of Ontario a couple years later, she decided to extend the length of the piece and do it with fewer dancers.
It was while doing the dance at the Art Gallery of Ontario that Baker thought about using community members as the dancers. She has since put on several performances of Move with non-professional dancers, staging the entire performance in five three-hour rehearsals.
Baker’s own experience with caregiving formed a part of the inspiration for the installation. She was the primary caregiver to her late husband, who had primary progressive multiple sclerosis. She found that caregiving involves a beautiful rapport between the one receiving and the one giving care.
Baker was also inspired by art and dance itself. While teaching in Philadelphia, she was struck by the beauty of partnership when she had dancers pair up and help another during some difficult movement sequences. Also while in Philadelphia, she saw an exhibition of paintings by American painter George Tooker and was inspired by the images of people embracing one another.
The dancers changing roles throughout the piece represents the inevitability of being on both sides of caregiving. The choreography for the piece overall is formal and highly organized, mimicking the ritualized elements of human lives. The choice to have four cycles mimics the cyclic structure of the seasons and the fact that there are four cardinal directions.
“[I]t’s something universal. We all receive that kind of intimate physical care and physical nurturing as infants and children. We may all find ourselves in a position where we where we are called upon to give care to a parent or a partner or a child. And we may all eventually need to receive care,” explained Baker.
KITCHENER, Ont. (09/04/18) - Victoria Park
The electro-acoustic soundtrack, composed by musician and composer Debashis Sinha, is also organized into four cycles. It is subtle and atmospheric, not quite music but a sonic landscape for the audience and dancers to reside in.
Baker encourages audience members to walk around the square performance space, close their eyes or turn their back to view the art in the gallery. The space allows viewers to feel comfortable arriving after it begins or even leaving before it ends.
“I like it to be in a public place. I like it to be in a place that already is claimed by the community as being a place in their town or city like this is… an art gallery, a foyer of a theater, a market… [I]t needs to locate itself in the heart of the community… [I]t's about community building basically,” Baker said.
At the end of the piece, the dancers pour water for one another and drink it. One of the dancers in the group, a ceramic artist, suggested that the group each makes the vessel that they drink out of. At the end of one of their rehearsals, she guided her fellow dancers through making their own bowl.
The creativity and passion brought on by these community dancers give this installation of Move a unique tint. However, the beauty of Move is the universality of the theme and the way in which it can move anyone.
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By: Hannah Marcus
Most McMaster University students have listened to a guest speaker at the beginning of class offering an exciting summer opportunity or seen a table in the student centre displaying images of “exotic” places where students can volunteer. The combination of travelling while contributing to a humanitarian cause is certainly enticing.
If volunteering abroad is something you might be interested in, the following considerations can serve as a guide for making informed and ethical decisions. A good place to start when assessing an organization’s merit is through viewing how it advertises its projects.
How does the organization frame the volunteer experience? While dolphin rides, rainforest excursions and local village tours may seem attractive, if such components comprise the organization’s central advertisement strategy, the project’s goal is likely to provide a fun experience rather than helping the local community in any meaningful way.
The depiction of local communities through exoticized imagery — a tactic implicitly disparaging of those represented — is another aspect of the organization’s promotional strategy to be wary of.
Besides advertisements, it is important to question who is running it. Is it run by the same company facilitating the trip, a locally-based non-governmental organization, community workers or locals?
Generally, if the project is planned and implemented by the company rather than a local organization within the community, it is justified to question if the project is targeting community needs over volunteer interests.
Another necessary consideration is the length and cost of the project. Given the time restraints for volunteering overseas as a student, you may wonder then if it is possible to contribute anything meaningful.
The answer lies not necessarily in the length of your trip but in the duration of the project itself. Will your few weeks spent abroad contribute towards a long-term project that will endure for several years after your departure? Or has the organization constructed an artificial project catered to your short timeline of service?
In regards to cost, be wary of organizations charging astronomical amounts. It is not uncommon for the majority of your money going towards the volunteer company rather than the local community itself.
Finally, of greatest importance, is the question of exactly what you will be doing overseas. As a general rule of thumb, if you are not qualified to do such things in your home country, you should not be doing them abroad.
More flexible labour laws and a so-called “local skills deficit” do little to address your lack of qualification and risk of exploiting local people for your own gain. There is no reason to believe a 20-year-old westerner is better equipped to build a local school, plant trees or implement a new educational program than the very individuals who know their community best, and would likely appreciate the employment themselves.
In contrast, things like teaching English at the request of the local community, completing small tasks under the direction of local leaders or simply being a passive observer of locally-led community initiatives for your own educational exposure are common volunteer responsibilities characteristic of projects grounded in a more ethically-oriented, community-centric approach to international development.
So next time a guest speaker comes to your class to talk about a summer volunteering opportunity or you come across an international volunteer poster on campus, you can take out your mental toolbox to critically assess the merits of the organization.
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