McMaster's competitive co-ed Bhangra team wins first place win at the Ontario Punjabi Association annual formal
The Ontario Punjabi Association annual formal occurred this year on Jan. 19 at the Pearson Convention Centre. At the formal, the McMaster Punjabi Association's competitive co-ed Bhangra dance team competed against teams from York University, University of Toronto, University of Guelph, University of Waterloo, Western University, Brock University and the Toronto Metropolitan University. MPA finished in first place and received a cash prize of $1,500.
Bhangra is a popular type of folk dance originating from the Punjab region of South Asia. In its original form, Bhangra was performed around the spring harvest season. Today, the folk dance is popular throughout South Asia and the diaspora. It is frequently performed at weddings, birthday parties and festivals.
The OPA formal has been running for over 20 years and this year was their first back in-person since the start of the COVID-19 pandemic. The yearly convention consists of a dance competition, performances from influential Punjabi artists and typically has over 2,500 attendees. This year, Sukha, Chani Nattan and Inderpal Moga performed at the formal.
The winner of the dance competition is typically determined by the crowd favourite, and the MC picks which group they think is the most deserving. To have a good chance at winning, the competitors need to create choreography that actively engages the audience.
“The whole point of it is to get the crowd going and get them hyped up. So it took a lot for us to bring out our creative side because, of course, we can put together a routine that sticks to the basics, but [it also needs to] get everyone hyped up,” said Mehar Kaur, the events coordinator for MPA.
The whole point of it is to get the crowd going and get them hyped up. So it took a lot for us to bring out our creative side because, of course, we can put together a routine that sticks to the basics, but [it also needs to] get everyone hyped up
Mehar Kaur, events coordinator, McMaster Punjabi Association
The MPA team started practising in October, and, according to Kaur, their practices were not always smooth-sailing. They had to overcome many obstacles, such as the limited dance practice spaces at McMaster University.
“But we learned a lot about hard work and perseverance, especially because, in the week leading up to the formal, almost our entire team ended up getting sick and we actually had to replace someone the day before. So it was really tough on us,” said Kaur.
However, this did not discourage them and Kaur noted that this experience instead made them more resilient while representing McMaster at the formal.
“We came out of it stronger and we didn't think that we would win, but we really put Mac on the map,” said Kaur.
Despite the smaller size of the Punjabi community at McMaster, the MPA's win has helped inspire a greater sense of community and helped them connect with the larger Punjabi community.
“[McMaster] doesn't have as big of a Punjabi community, I'd say, compared to other universities. This year we went to show that even though we're smaller compared to other universities, we're still here and still doing our best to share the love for this dance with our community,” said Muskaan Natt, one of the co-presidents of MPA.
Mac doesn't have as big of a Punjabi community, I'd say compared to other universities. This year went to show that even though we're smaller compared to other universities, we're still here, and still doing our best to share the love for this dance with our community
Muskaan Natt, co-president, McMaster Punjabi Association
They attribute their win to the amazing choreography from their captains, but added that they were also encouraged by the unified chants of “MPA” from the crowd. MPA’s win not only solidified their place in the OPA but has also strengthened the connections between McMaster's Punjabi community and the larger diaspora community in Ontario.
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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