The theme of the event was ‘Threads: Weaving Black Joy & Experiences at Queen’s’
Aya Alhasany
Assistant News Editor
The opening ceremony for Black Histories and Futures Month (BHFM) brought to light the past, present, and future of Black experiences at Queen’s.
Hosted jointly by the Queen’s Black Clubs Caucus (QBCC) and the Human Rights & Equity Office (HREO), the ceremony kicked off BHFM on Feb. 3 in the Rose Innovation Hub at Mitchell Hall. The two-hour long ceremony’s theme was “Threads: Weaving Black Joy & Experiences at Queen’s.”
In a statement to The Journal, QBCC detailed the significance of the ceremony in highlighting the resilience, creativity, and brilliance of Black students, faculty, staff, and community members.
“The QBCC is proud to stand as a coalition of Black studentled organizations, united in our commitment to fostering a more inclusive and supportive environment for Black students at Queen’s University,” QBACC wrote.
In the same statement, QBCC emphasized their commitment to fostering a more inclusive and supportive environment for Black students, a commitment rooted in the Scarborough
Opening ceremony for Black Histories and Futures Month showcases importance of community
Charter, fighting anti-Black racism, and advocating for inclusion of Black students in Canadian higher education.
The Scarborough Charter was created following the 2020 National Dialogues and Action for Inclusive Higher Education and Communities, which established a key framework for institutional accountability and community-led progress. Queen’s became a signatory in 2021.
After a land acknowledgment, the event began with a live performance from the African & Caribbean Students’ Association (ACSA) dance team detailing the story of Oshun—according to the dance
According to QBCC, the dance showcased the richness of Black artistic expression.
A panel discussion called “The Method to the Magic of Black Joy at Queen’s” followed, incorporating voices across an array of students, staff, and faculty to discuss methods of fostering joy and community for Black students.
The five members of thepanel included Equity, Diversity, and Inclusion Coordinator at the Yellow House Student Centre for Equity and Inclusion, Tiana Edwards, team lead for Queen’s Black Youth in STEM Cressana Williams Massey,BlacUndergraduatCoalition conference chair Samuel
team’s description, Oshun is the most powerful river Orisha, or goddess in the Yoruba religion.
HealthSci ’25.
Discussing their favourite initiatives and events they’ve been part of at Queen’s and beyond, panelists detailed the workof initiatives like this year’s first ever Black Orientation, spearheaded by QBCC. Speakers highlighted the importance of people and collaborationbetweenvarious studentc communities as key elements in creating these initiatives.
Panelists were asked by HREO’s Inclusion and Anti-Racism Advisor Jermaine Marshall about what Black experiences at Queen’s they thought went unspoken.
This prompted discussion on student experiences of being the only Black individual in classes, the feeling of needing to minimize and prove oneself for respect, and the importance of fostering connections with community members, staff, and faculty
In their statement to The Journal, QBCC expressed how the panel brought together a range of voices to explore the intentionality behind cultivating Black joy in academic and social spaces.
As QBCC remains dedicated to recognizing and uplifting Black student leadership, culture, and experiences year-round, they encourage all students, staff, and faculty to engage with BHFM programming and support their efforts in advancing the mission of the Scarborough Charter.
First ever Black Orientation aims to foster a lasting sense of community
AMS Vice-President (University Affairs) speaks to importance of its establishment
Jonathan Reilly Assistant News Editor
When AMS Vice-President (University Affairs) Ruth Osunde thinks about her first experience at Queen’s, the memory of a less-than-enjoyable Orientation Week immediately comes to mind.
Osunde, also a co-lead for the Queen’s Black Clubs Caucus (QBCC), having not enjoyed her own orientation experience is a sentiment she later realized was shared among many Black students. This realization inspired her to address the root causes of their lack of enjoyment, advocating for the University’s very first Black Orientation.
Designed to foster a strong sense of community for Black first-year students, Black Orientation made its debut in September 2024 under the
umbrella of first-year orientation activities. This new initiative, tailored specifically for Black students, offers a month of events organized by various Black student clubs to ease the transition into life at Queen’s and create a lasting feeling of belonging. QBCC, founded in 2023, spearheaded the first-ever Black Orientation at Queen’s. In addition to organizing events, QBCC holds monthly meetings where members of Black student clubs can collaborate, share event plans, and discuss challenges their respective clubs are facing.
According to Osunde, the creation of Black Orientation was inspired by how other universities, like McMaster, support Black students, -Notably, McMaster’s Black Student Success Centre (BSSC) provides a dedicated physical space on campus for Black students. After conversations with a BSSC representative, Osunde and her fellow co-lead Rabeca Mengesha, ArtSci ’25, decided to spearhead Black Orientation at Queen’s.
“We’re not making large enough strides to ensure
Black students stay at universities, and Black Orientation’s goal is to ensure that we have a better retention rate [of Black Students staying at Queen’s],” Osunde saidin an interview with The Journal.
She highlighted the importance of Black Orientation, noting for many Black students, adjustingto a predominantly white institution can be challenging. Differences in food, culture, and everyday experiences can make it difficult to feel a sense of belonging on campus.
“The reason why Black Orientation is so important is because it targets Black students at this specific time where they’re struggling to find themselves within the fabric that is the Queen’s community, and it hopefully gives them a platform to find other Black students, to introduce themselves to Black clubs, to meet Black upper-years, to talk to people who have been here for four years who’ve stayed,” Osunde said.
One of the events for this year’s inaugural Black Orientation was an organized potluck style hangout, provided in the Black Liberation Commons room in Robert Sutherland
enrolment report reveals
Queen’s
received just under 60,000 first-year applications this academic year
Lauren Nicol Assistant News Editor
The University’s 2024-25 Enrolment Report highlights a strong decrease in international students over the last two years.
Queen’s released the annual report at the beginning of February, a month earlier than the previous year. The report provides detailed information on the total enrolment numbers as of Nov. 1, 2024, including details of the incoming first-year undergraduate class and incoming graduate students.
According to the report, the University has 28,715 full-time students, with over 20,000 in an undergraduate first-degree program. In the previous admissions cycle, 5,000 students were admitted from a pool of more than 58,000 applicants. The number of incoming students has increased by approximately 50 students compared to the prior year, approaching the admission levels last seen in 2022.
The report indicates a slight decrease in the average incoming class average, dropping from 90.5 per cent last year to 90.3 per cent this year.
Hall. The event provided first-year students a chance to speak with each other to build a sense of community in their new home.
Black Orientation shirts were distributed to students for a tie-dye event, with the theme, “colour your experience as you want it.” Osunde explained the event was more than just creating tie-dye designs but carried a deeper message about belonging and identity.
“The theme [of the event] was ‘colour your experience as you want it’ because there’s no monolith way to be Black at Queen’s, it’s what you want it to be, and we wanted the shirts to showcase that,” Osunde said.
Osunde hopes Black Orientation will encourage Black students there’s a community waiting to accept them.
“You go to the clubs, the music’s not for you. You go to the restaurants, it’s not for you. You go to the grocery stores, the food’s not for you. Nothing around here is tailored to us and so I really hope that Black Orientation makes our [Queen’s] students stick around,” Osunde said.
While the University currently hosts 3,381 international students from 118 countries, this number has decreased by nearly 14 per cent over the past two years.
In a statement to The Journal, the University attributed the decrease in international students to the international student cap implemented by the federal government to limit the number of international students coming to Canada over the next two years.
“[The impact of the international student cap] has limited the University’s ability to enrich our campus community with the diversity of perspectives that international students bring,” the University said.
The international student cap, introduced in January 2024, restricts the number of student visas granted for Canadian universities in an effort to ease the pressure on the country’s healthcare and housing systems.
According to the report, 2.3 per cent of first-year students identified as Indigenous compared to 2.2 per cent last year, reflecting a slight increase from the previous academic year.
Lowe, QBCC co-lead Ruth Osunde, and ACSA dance team captain Sephora Djomo,
The event was held on Feb. 3.
PHOTO BY MEGHRIG MILKON
Professor Kesha Fevrier to speak at Student of Colour Collective panel
‘Am I hired as evidence that the University is committed to diversifying its faculty?’
Meghrig Milkon & Lauren Nicol Journal Staff
From dreaming of wearing the “hat” to inspiring and uplifting those around her, Professor Kesha Fevrier now balances multiple roles across campus, each one a new feather in her cap.
The Queen’s Student of Colour Collective, a student group that advocates for racialized students on campus, is hosting “Pathways to Success:
A Panel with Professionals of Colour,” featuring Fevrier, an assistant professor in the Department of Geography and Planning and a Queen’s National Scholar.
On Feb. 13, the panel will highlight professionals of colour and provide students with insights into their career journeys.
In an interview with The Journal, Fevrier reflected on her journey as a former student and an academic scholar, sharing the challenges she faced and the importance of intentionality when seeking mentorship.
“My path here would have been more complicated and a lot more difficult without having good mentors,” Fevrier said. “When I started my master’s, none of my mentors were Black. Both of them were white, and in some ways, that was also a great learning experience,”
Fevrier said.
Coming from York University, which she describes as a more diverse institution than Queen’s, she found strong mentorship to be instrumental in navigating academia. That support system helped her manage the imposter syndrome that often accompanies both academic and professional journeys.
“A lot of racialized students were coming through York and [...] that made the PhD journey a lot easier for me, because of [the] level of mentorship that I got,” Fevrier said. “I would also say that sort of mentorship [helps] you deal with your imposter syndrome.”
With a PhD in environmental studies, Fevrier described the imposter syndrome she felt when she was first hired at Queen’s in 2021, particularly given her hiring coincided with the aftermath of George Floyd’s murder and the global rise of the Black Lives Matter movement.
“You had companies and institutions, all of them coming out, making statements in support of Black Lives.
Universities were doing cluster hires,” Fevrier said. “The optimist among us would have thought, ‘this is great, the tide is turning.’
The pessimists among us [said], ‘I don’t think so.’”
She explained being hired under these circumstances led to an internal struggle about representation and expectations.
“Sometimes it’s very hard to not connect George Floyd with your hire,” Fevrier said. “Am I hired as evidence that the University is committed to diversifying its faculty? Am I hired because of this pressure so many institutions faced after the murder of George
Floyd and the rise of Black Lives Matter?”
Beyond her academic responsibilities, Fevrier acknowledges the additional emotional labour often expected of Black faculty members.
“If there’s an equity committee, if there’s Black History Month, if there’s support needed for Black students—who are they going to ask? The Black professors,” Fevrier said. “As if you represent Blackness. But I don’t represent global Blackness—I can only speak for my experiences.”
Considering her own academic journey, Fevrier shared a personal anecdote about what first inspired her to pursue a PhD, and it all had to do with the feeling that came with being represented and feeling represented.
“I remember sitting at my master’s graduation in 2011, and I remember one of the first doctoral candidates walked up [the stage], she had a Shakespearean hat, she had dreads, or she had her head braided and, in my head, all I said is, ‘I’m going to wear that hat,’” Fevrier said.
Years later, in 2022, Fevrier walked across the stage herself, finally wearing the hat she had envisioned for so long.
She encourages students of colour at Queen’s to take an active role in finding community and resources.
“It’s about figuring out what resources are available to you, and not just assuming that there is nothing,” Fevrier said. “There are groups, whether it’s student-led groups, whether it’s other university initiatives. It’s about finding networks and connecting with faculty and community groups.”
Meet Lynnette Purda, interim dean for the Smith School of Business
Purda touches on goals going into new role
Jonathan Reilly Assistant News Editor
The Smith School of Business kicked off the New Year with a leadership change, welcoming a new Dean with nearly 23 years of experience across the University.
Lynnette Purda was appointed as interim dean for the Smith School of Business for an 18-month term, starting this past January. This appointment follows a steady rise through the School
of Business, from Assistant Professor to Professor, then Associate Dean of Graduate Programs, and now, Interim Dean. The role opened after former Dean, Wanda Costen, stepped down to pursue a role as the provost and vice-president (academic) at Dalhousie University. Purda obtained a Bachelor of Commerce from the Asper School of Business at the University of Manitoba and received a PhD in finance from the Rotman School of Management at the University of Toronto. Her research focuses on the intersection of finance and other fields like accounting and law. In an interview with The Journal, she shared how her
news in Brief: Black History montH kicks off across campus and kingston
Events occur both on and off-campus to celebrate Black existence and stories
Jonathan Reilly & Lauren Nicol Assistant News Editors
With February marking Black History Month, the University and Kingston are supporting Black students and faculty through various events.
The University affirmed their support for Black History Month in a Gazette article, explaining Black History Month offers an opportunity to “celebrate the contributions of the Black community, and to promote a more equitable future.”
“As we celebrate Black Histories and Futures Month, we remember that the Black experience is deeply woven into the fabric of Canada and Queen’s University,” Vice-Principal (Culture, Equity, and Inclusion) Stephanie Simpson told the Gazette. “In acknowledging this history, we invite everyone to reflect on the diverse contributions made to Queen’s and society, and we signal to Black communities that they are seen, valued, and welcome.”
Yellow House takeover
The University is hosting the HYVE & Afia Beauty takeover of the Yellow House taking place from noon to 7 p.m. on Feb. 7.
HYVE is a student run organization focused on connecting students with local small businesses, services, and events, focusing on empowering students from minority communities in order to grow their businesses.
The Chop Shop and Trims by Teni, local hairstylists at Queen’s, will be offering fades and lineups. Afia Beauty, a Toronto based makeup artist, will offer an oil making workshop and EECLAWS will be doing nails.
Kingston City Hall
Kingston City Hall and Springer Market Square will be illuminated on both Feb. 1 and 28 in red, yellow, and green—red representing the blood of Black people who have been killed in the fight for liberation, yellow to represents equality, and green representing the greenery of Africa. The PanAfrican flag will also be raised throughout the month.
“During Black History and Futures Month, we celebrate the enduring legacy and leadership of Black Canadians in our community and beyond,” Vanessa Mensah, Equity, Diversity, and Inclusion manger with the City of Kingston wrote in a news release. “From trailblazers who shaped our past to the leaders of tomorrow, we honour their contributions and commit to uplifting future generations, ensuring their stories continue to inspire and guide us all.”
Tracing a Black presence in Kingston and Beyond
The Museum of Lennox and Addington is hosting a Tracing a Black Presence in Kingston and Beyond event, highlighting Black history in Kingston and the surrounding area on Feb. 18. In honour of Black History Month, the event will highlight Black history, culture, and liberation, featuring items from the Kingston archives, including a 1864 portrait of George Mink, a Black business owner and nephew of a wealthy Kingston hotelier. Mink later secured the contract for the stagecoach and mail routes between Kingston and Toronto.
Qanita Lilla, associate curator for Arts of Africa at the Agnes Etherington Art Centre, will speak at the event about hidden histories and representations of racial minorities. She oversees the Justin and Elisabeth Lang Collection of African Art and works to bring its history into the present.
interdisciplinary approach to research provides a unique lens for examining issues like corporate fraud.
“[I’ve] had lots of really great past collaborations with people in the law school, or economics, or even computing sciences, when we’re thinking about how we can actually do a better job of detecting some of the potential frauds that we see,” Purda said.
Highlighting Smith’s strengths, she emphasized the Business School’s extensive graduate offerings and diverse programs. She highlighted the Master of Finance Toronto-based program—also offered in Beijing—which is designed for working
Participants will also be able to contribute to a group mural designed by Yellow House staff, have a bite to eat from the supplied food and refreshments, and take a look at some framed photos from photographer King-David Olajuwan.
professionals. Still considered a full-time program, classes are onlyheld once weekly and on one additional day on alternating weekends.
“Our undergrad program is four years and they’re here in Kingston, but we have students that are working and doing our professional programs part-time, some are more virtual, some are more on-site, so there’s a huge range of differentways that we look to engage with different student audiences,” Purda said.
Purda outlined room for improvement, citing, at times, the business curriculum
These event comes alongside a list of events compiled by the Queen’s Human Rights and Equity Office for Black History Month such as the LDSB Black History Month Opening Ceremony, SLC Basketball’s Black History Month Themed Night, among others.
can lag behind the current state of the world. She added that programs like their Master of Financial Innovation & Technology, which looks at various ways technology and finance intersect through things like cryptocurrency, can make it hard for content to keep up with the changing times.
Continued online at www.queensjournal.ca
From doing time to making dimes—old prison looks to solve housing woes
Kingston Penitentiary has been listed as potential housing property
Aya Alhasany & Jonathan Reilly Assistant News Editors
Kingston’s infamous former maximum-security prison may soon be used for housing.
First opened in 1835, Kingston Penitentiary had a 178-year-long history in the city as a federal prison housing inmates until its eventual closure in 2013. While the institution was turned into the Canada Penitentiary Museum, which began operations in 1985, the land may soon be up for sale for the purpose of improving housing shortages in Kingston.
The Penitentiary Museum currently offers self-guided tours in addition to guided tours for visitors from April to September through Kingston Pen Tours, while also hosting concerts and other events like movie screenings.
In a federal announcement on Jan. 30, Minister of Public Services and Procurement, Jean-Yves Duclos, announced the addition of six new
properties to the Canada Public Land Bank including Kingston Penitentiary. Consisting of federal properties that can potentially be used to build housing units, the bank now lists the former prison as “open for feedback.”
Launched in August 2024, the Canada Public Land Bank is a key part of the federal Public Lands for
government will turn these properties into housing through a long-term lease, to support affordable housing and ensure public land stays public,” a press release from the Government of Canada that same day specified.
In an interview with The Journal, Kingston Mayor Bryan Paterson explained how other
problematic, federal properties we would have for housing just because it’s fulfilling so many other important roles,” Paterson said.
Paterson also expanded specifically on why the proposal could be problematic and which economic areas this sale could disrupt.
“The biggest concern is
Homes Plan, designed to transform surplus and underutilized public lands into affordable housing solutions. Since its launch, 90 federal properties spanning 473 hectares of land have been identified across Canada.
“Wherever possible, the
federal properties could better serve Kingston’s housing needs, but didn’t expand on which specific properties could be looked at instead.
“I think Kingston Penitentiary is probably one of the most difficult, complex, [and] potentially
that Kingston Penitentiary plays a critical role for our tourism and film industries here in the city, and so we want to make sure that any plans they have for housing wouldn’t interfere with what we figure are really big economic
engines for the community,” Paterson said.
It’s currently unclear if the property will be leased by the private or public sector. Despite the uncertainties, residents of Kingston are opposed to it being owned by a private company.
Kingstonian and Queen’s student Logan B., MD ’25, spoke with The Journal in an interview about his perspective on the changes, citing his concerns if the project is adopted by a private company.
“I think housing is a really critical issue here but giving it to corporations that don’t have a tie to the community worries me. I think I’d have to hear some sort of assurance fromwhoever’spurchasing this land that they’re going to be tied to what the community wants and make it affordable for people who live here and the students that study just down the road,” Logan said.
Echoing the same sentiment, Kingston local and assistant French Studies professor Julien Lefort-Favreau explained the importance of creating more public housing with the property.
While the future of the prison remains uncertain, Kingstonians remain steadfast in their view that it can’t be sold to a private company.
PHOTO BY JULIA LUDDEN
The property was added to the bank on Jan. 30
Aaniqa Karmali Features Editor
From a young age, Victoria Okwudi, Nurs ’25, was drawn to the art of braiding and styling Black hair. She grew up in admiration of her aunt, who owned her very own salon, and revered all the “grown folks” getting their hair done while chatting about their grown-up lives.
She quickly realized her aunt’s salon wasn’t only a place for primping and preening, but also an essential hub for connection in her local Black community.
“When you go [to the salon], it’s more than just hair—it’s a community,” Okwudi said in an interview with The Journal. “It’s where people come to talk about things that are bothering them in the midst of people they trust
and know they can relate to.”
The sense of community fostered by hair is what fueled Okwudi’s passion for hair later in life, inspiring her to start her own braiding and hairstyling business, Nhayar Styles. Now, Okwudi finds herself providing the same emotional support she saw in her aunt’s salon to the clients in her chair.
“When you come into the store and have something bothering you, you’re making your hair and talking to your hairstylist, and you guys are putting hairs together to figure out your problems,” Okwudi said. “By the time you leave, you’re not just leaving with a new hairstyle, you’re also leaving 10 pounds lighter because you’ve let out everything in your chest.”
A person’s hair can be closely tied to their mental health, according to Okwudi. When your mental health is struggling, it can be difficult to keep up with personal grooming. Likewise, a new hairstyle can be a source of rejuvenation.
“Hair isn’t only a source of empowerment, it’s almost an outward depiction of how you’re feeling on the inside,” Okwudi said. “Once you take care of your personal needs, you start to find this newfound motivation.”
In predominantly white areas like Kingston, hairstyling businesses like Nhayar Styles help Black people find a sense of belonging and community. However, when Okwudi first moved to Kingston four years ago, she found there was a glaring lack of these spaces.
“I realized when I came to Queen’s that there was this gap, and we [didn’t] really have people who worked with African American hair,” Okwudi said.
It was typical for Black students to drive hours outside Kingston to get their hair done in more culturally diverse cities like Montreal, Ottawa, and Toronto. Since Okwudi was familiar with braiding and styling Black hair from her childhood, she started
doing her friends’ hair to provide a local option for Black students.
“In a way, I could rationalize how in the whole Kingston area, you might not have hair braiders to cater to the small Black population,”
Okwudi said. “But you have to take into consideration that [Queen’s] is a federal university, and people from all walks of life come here.”
Okwudi realized there was a significant demand for her services among the Black student population, so she decided to start her business in her second year at Queen’s.
Starting a business and marketing herself to potential
we have more barbers, and it’s just so refreshing to see that,” Okwudi said. “When I came [to Queen’s] in 2021, there was just one person […] it’s so much more diverse than I met it.”
For Theresa Ibonye, HealthSci ’25, hair serves as a means of artistic expression and empowerment. Ibonye is the co-owner of T&R Crown Care, alongside her friend Rabeca Mengesha, ArtSci ’25, and is also a hairstylist for Queen’s Black Fashion Association (QBFA).
As a child, Ibonye never truly knew her natural hair. She admired curls from afar, yet her own strands were always straightened—tamed by chemical relaxers that made textured hair a mystery to her. For
skill—a craft she would carry with her, woven into every curl she touched.
Once she came to Queen’s, Ibonye realized she could apply her skills in a creative manner as a hairstylist for QBFA.
“Hair has always been something that I love, so I decided to join QBFA and just provide help wherever I could,” Ibonye said in an interview with The Journal. “Their projects are so creative, and they work with so many creative people, and I just wanted to continually be part of that and enhance my creative ability through working with them.”
For many Black students, QBFA provides a space to explore fashion trends, many of which have origins in Black culture, and properly pay homage to their history. Some modern trends with Black origins include nail
History, identity, & community: The significance of Black hair
Each braid, curl, and strand of hair carries a rich history of empowerment, resistance, and connection
clients was somewhat daunting to Okwudi, who considers herself an introvert. However, she was able to overcome this feeling upon making a core realization about her clients.
“If you think of them as a customer but also as a friend, then it’s not as daunting,” Okwudi said.
Befriending her clients became a reality for Okwudi as her hairstyling business brought her closer to the Black community at Queen’s and in Kingston.
“Most of [my clients] have turned into friends,” Okwudi said. “It’s definitely made me feel more connected in the Black community, and it feels like I’m giving something to the community, and it’s being appreciated.”
When Okwudi started Nhayar Styles, she was one of the only hairstylists at Queen’s who specialized in Black hair. As Okwudi approaches graduation, she notices a drastic improvement in the number of personal care businesses that work with textured hair in Kingston.
“We have more Black braiders,
most of her childhood, silky-straight hair was all she had ever known.
That changed the day she decided to put the relaxer down. Letting her natural hair grow in was like meeting a new version of herself—one she had never been properly introduced to. Her curls, once hidden, began to take shape, each coil and wave telling a story she was just beginning to understand.
But learning to work with her own texture wasn’t easy. There were tangles, trials and errors, and
moments of frustration. Yet with every twist and braid, she grew more confident, not just in her hair but in herself. She practiced on her sister, on friends in high school, on anyone who would let her experiment. What started as self-discovery soon became a
extensions, hoop earrings, sneakers, and much of streetwear style.
“The fact these trends have Black origins, but the people who created them aren’t able to get their foot in the door and showcase their work is disheartening and such an insane thing to think about,” Ibonye said.
Ibonye also noted the struggles Black models experience in the fashion industry, often lacking the same quality of hair and makeup as their white counterparts since many stylists don’t know how to work with textured hair and darker complexions.
“It’s really important to me to pay homage to the people and the culture that these trends have originated from,” Ibonye said. “[We need to] make sure there’s inclusivity in these spaces so that these models who have different textured hair can still have the ability to look as good as the people they’re walking with and not face barriers because someone didn’t know how to do their hair or makeup.”
As hairstylists in QBFA, Ibonye
and Mengesha have created a number of looks that highlight the beauty and versatility of Black hair. As part of QBFA’s Colour Theory series, they have styled models’ hair adjacent to sculptures, capturing themes like metamorphosis using hair as their primary medium.
Learning to style textured hair has also helped Ibonye embrace her own natural hair.
“Being the primary caretaker of my hair, I’ve learned to love it, figure out what works and what doesn’t work, what looks good on my face, and what works with different hair lengths that I’ve had throughout the years,” Ibonye said. “Through that, I’ve been able to learn to accept my hair and find the beauty in it.”
Black hair has been a core aspect of personal and cultural identity throughout history.
In pre-colonial African societies, hair indicated various facets of one’s identity. As far back as 3,000 B.C., unique cornrow styles were used to symbolize a person’s tribe, family, socioeconomic status, marital status, and rank. Hairstyles were also customized for each occasion, from weddings to pregnancies to soldiers going off to war. In this way, hair served as a vessel for communication in African societies that transcended spoken language.
This rich tradition was lost when the transatlantic slave trade began. Individuals forced into slavery were stripped of their dignity and identity by slave traders, who shaved their heads for “sanitary reasons.” In reality, this practice was the first step in erasing any connection slaves had to their African roots. Lacking the nonverbal indicators of identity that unique cornrow patterns conveyed, slaves entered North America alone, unable to find those with whom they shared identities.
“The hair of people of African descent has, historically, been a site for the expression of a violent and violating curiosity on the part of those who colonized, conquered, and trafficked people of African descent,” Dr. Jennifer Leath, associate professor of Black religion and undergraduate chair of the Black Studies program told The Journal.
During the slavery era, negative stereotypes surrounding Black hair were perpetuated to maintain the power dynamic that existed between slave owners and slaves. Black hair was seen as inferior and even animalic, which was used to justify the gross racial inequality at the time. As Eurocentric beauty standards were continually reinforced, the idea that white features were the ideal began to leach into Black communities.
“Difference is a perennial tool of those who are dominant to reassert and reconfirm their dominance,” Leath said.
Story continued online at www.queensjournal.ca
Hairstyling businesses provide a hub for connection within the Black community.
ILLUSTRATION BY KELLYANN MARIE
Beyoncé winning Album of the Year for Cowboy Carter has little to do with the album itself, but everything to do with music industry politics.
Last Sunday’s 67th Grammy Awards saw Beyoncé on-stage, accepting her Album of the Year award—a surprising, yet frustrating first for one of the most successful artists of our age. With 99 Grammy nominations and now 35 wins, Beyoncé stands as the most-awarded artist in Grammy history. Yet, despite this record-breaking success, she’d never won the industry’s most prestigious honour until now. With Cowboy Carter, she also became the first Black woman to win Best Country Album.
used as a tool of exclusion: “I think sometimes ‘genre’ is a code word to keep us in our place as artists.” Her words speak to a deeper truth: Country music has long been framed as a white-dominated genre, even though it was forged by the Black community and its very foundations were built on Black musical traditions.
The Grammys only recognize Black artists when it’s convenient
For most artists, no matter the discipline, winning “best” in any category is a peak career accomplishment—a recognition of their work’s undeniable value. But for Beyoncé, and other artists from historically marginalized communities, the impact of an award hits much deeper—it’s a win for their community and a token of acceptance from those who decide on the winners.
Beyoncé is the fourth Black woman in history to win Best Album—following Natalie Cole, Whitney Houston, and Lauryn Hill—and the first to win in 16 years. After four previous nominations without a win, she finally secured the award this year.
Despite the Recording Academy touting its vast voting body of 13,000 members—a fact host Trevor Noah repeatedly mentioned that night—the
music industry still struggles with systemic racism and misogyny.
The Grammys, like many institutions, are quick to claim fairness and progress whenever possible, but their history tells a different story. Despite their efforts to project an image of impartiality, the truth remains: the awards are deeply entrenched in the same systemic biases that have long plagued the music industry.
That’s why Cowboy Carter’s recognition raises an important question: Why now? It’s no coincidence the Academy embraced Cowboy Carter while overlooking Beyoncé’s past albums, like Lemonade or Renaissance, which served culture-bending representation for both the Black and queer Black communities.
In her acceptance speech, Beyoncé herself acknowledged the way genre is often
Letter from the Illustrator
I’ve been connected to The Journal for a long time, and it’s in part because of the Black History Month issue. It all started in Vol. 148 when the then Editors in Chief sent out an e-mail call-out looking for Black writers and artists to contribute to a Black History Month special issue of The Journal
While Matt and Raechel couldn’t craft a Black History Month issue at the time, their efforts to include more BIPOC creatives in The Journal are what got me started at the paper. Then, Vol. 149 Editors in Chief Aysha and Shelby hired me as the Editorials Illustrator. Ultimately, working with The Journal helped me succeed during my time at Queen’s.
For the next three years, my undergraduate career was shaped and enhanced by my connection to The Journal, and I’ve been lucky enough to illustrate a cover for the Black History Month issue every year it’s been a part of the paper. When I struggled to find my place here at Queen’s, The Journal brought me community, and though I don’t work at The Journal anymore, it will always have a piece of my heart. This is my last year at Queen’s and my last opportunity to draw the Black History Month cover, so I put my all into it.
When drawing this illustration, I pulled inspiration from Gustav Klimt’s painting structure and Kehinde Wiley’s integration of complex patterns and depictions of proud contemporary Black culture. I tried to remain inclusive. I added hints of African textile patterns throughout the illustration and patterns I’ve seen on
Caribbean cultural clothing. Otherwise, I focused on just portraying the beauty and power of Black people and showing abstract creativity.
Since this is my last cover, I chose to indulge, making sure yellow and gold are prominent in the piece. Yellow has always been my favourite colour, and gold has always symbolized wealth, prosperity, and beauty—something colonialism has always tried to take away from Black people. Many thanks to all the staff who’ve been with me throughout my journey at The Journal. I’m so excited to see what comes next for this publication.
ChatGPT wrote this headline, and melted an ice cap to do it
Uyanda Mntambo QTBIPOC Advisory Board Member
Consider the consequences of asking ChatGPT to write your next essay.
We’re constantly told Artificial Intelligence (AI) is the future. It’s all Elon Musk talks about lately, at least. That is, if there’s a future to look forward to. But AI could slowly be eating away at our chance of a bright future—one where there are no snowy winters, or long summers, and no
Before spreading to white audiences and getting a complete rebrand to its popularized image of tractors, dirt roads, white men in flannels, and cold beer in the hot sun, country music was deeply embedded in African American culture. Yet, as the genre evolved for mainstream audiences, Black artists were pushed out of the narrative.
With this win, artists of diverse backgrounds can and should follow in Beyoncé’s footsteps and occupy more space in genres that have denied their acceptance time and time again.
Finally earning recognition for the cultural impact you’ve worked for isn’t easy, which makes Beyoncé’s win for Best Album so bittersweet.
This moment is less about Beyoncé or even the tracks on Cowboy Carter, and more about the doors she’s opening for Black artists and people of colour in a space that has long denied their entry. That’s the real win.
Journal Editorial Board
polar bears.
Behind technological advancements like AI, there’s an environmental cost that few people are rushing to talk about. The data centres powering AI consume enormous amounts of energy, leaving behind a massive carbon footprint. Every time you ask ChatGPT for help with meal prep—something that can easily be Googled—you’re utilizing a large network of servers that require huge amounts of electricity and water resources to keep it cool.
For example, Google revealed its gas emissions shot up by 48 per cent over the past five years because of data centres. We talk about how AI is the future and so innovative, yet we don’t acknowledge the fact it’s hurting our environment.
I too have been sucked into the world of ChatGPT like everyone else. I’m disturbed yet intrigued by the AI videos on my explore page showing pints of ice cream turning into puppies. No one can resist having software explaining why we can’t print more money, or having an awkward sentence reworded for us. There’s no denying it’s a useful tool. But we must start asking, if AI is worth it—if it’s worth risking our future just for us to use a little less brain power.
I’m not saying AI is evil, nor falling into a Science Fiction conspiracy about how killer robots will take over the world while we’re sleeping (though, with some of the Silicon Valley robots I’ve seen, that idea isn’t much of a reach).
I’m for technological progress. But with every tech advancement we make, we need to ask if this technology is sustainable and what impact it’ll have on the planet and the people who are most vulnerable.
Continued online at www.queensjournal.ca
Uwineza Mugabe
ILLUSTRATION BY ELLA THOMAS
Contributor
PHOTO BY NELSON CHEN
OPINIONS
Students of colour shouldn’t bear the burden of creating spaces that should already exist
Equity in higher education starts with institutional responsibility
Denize D’Souza & Yoskan Haile Contributors
When we arrived at Queen’s University, we knew the statistics. We knew we were stepping into a space where students of colour were the minority, and where the institution had a long-standing reputation of being predominantly white. But knowing the numbers couldn't have fully prepared us for the reality of what that meant.
For many students of colour, university isn’t just about academics, extracurriculars, and social life—it’s also about navigating spaces that weren’t designed with us in mind. It’s about pauses before speaking in class, wondering if your perspective will be dismissed. It’s about the quiet exhaustion of code-switching, encountering microaggressions that others dismiss as misunderstandings. It’s about walking into a lecture hall and realizing no one else looks like you. We can’t even count how many times we’ve been the only people of colour in a class or group project.
The burden of creating belonging shouldn’t fall on students, but it often does.
Queen’s University has made efforts to acknowledge its history and improve diversity, equity, and inclusion on campus. Statements have been made and commitments have been outlined. Notably, beginning with the 2020-21 application cycle, Queen’s sought to reduce systemic barriers in medical education by reserving 10 of its 100 seats in each MD program cohort for Black and Indigenous students, a retribution for their history of
refusing admissions to Black students.
Despite Queen’s efforts to promote diversity, equity, and inclusion, students of colour continue to face systemic barriers that hinder their sense of belonging and academic success. Representation alone isn’t enough if students aren’t provided with the resources, support, and institutional commitment needed to thrive.
Racism may not be as prominent or outright as it used to be, but many students still experience microaggressions, a lack of culturally competent support services, and the burden of navigating spaces where they feel like outsiders. It can be as subtle as being excluded from hangouts, feeling overlooked in group settings, or hearing comments that downplay our achievements.
As students of colour at Queen’s, our experiences have shaped the way we view community, identity, and belonging. Despite our different backgrounds of South Asian and Eritrean, we have both experienced the challenges of navigating spaces where our presence wasn’t always expected or acknowledged.
Coming to Queen’s meant facing a different kind of cultural disconnect, not just in offhanded comments but in the subtle, persistent moments that made it clear we were different. Arriving on campus was met with the excitement of discovering strong cultural communities but also the struggle of finding a space that truly felt like home. That process took time and effort, and at times, it felt isolating.
Everything changed when we found the right spaces—ones where we were validated, where our experiences weren’t dismissed but shared and understood. These communities became a foundation, reinforcing the notion that representation isn’t just important;
it’s necessary. But the reality is, these spaces often exist because students have fought to create them. This shouldn’t be the case.
Even within these communities, challenges remain. Microaggressions, assumptions, and the fear of retaliation when advocating for change can be exhausting. But those very experiences create an urgency to push back, to make space, and to ensure students of colour aren’t just included, but empowered. Community, for us, isn’t just about social comfort. It’s about survival. It’s what keeps us engaged when the institution itself feels unwelcoming. It’s what gives us the strength to challenge systemic barriers. Most importantly, it’s what reminds us we’re never alone in our experiences.
Creating a truly inclusive and supportive campus environment requires intentional and sustained efforts. One approach is the implementation of comprehensive mentorship programs that connect incoming students of colour with upper-year students who have navigated similar challenges. These programs can provide guidance, foster a sense of belonging, and empower students to embrace their identities while thriving in an academic setting.
Beyond student support, institutional change is essential. Hiring more faculty of colour across various disciplines is a crucial step toward meaningful representation as only 16 per cent of the faculty belong to a visible minority as of 2023. It’s not enough to have diversity solely in roles related to equity and inclusion, faculty members of different backgrounds should be visible in all fields, allowing students to see themselves reflected in academia and in positions of power.
While planning a panel event featuring professors of colour to share their experiences and
challenges, we were faced with a harsh reality. Within our Health Sciences program, we struggled to find speakers, not because there weren’t accomplished faculty members, but because there were so few professors of colour to begin with. This stark disparity is more than just a number, it highlights the ongoing lack of representation in academia and the urgent need for systemic change.
Representation at this level not only enriches the learning experience but also fosters an environment where diverse perspectives are valued and normalized.
Additionally, integrating diverse viewpoints into curricula is fundamental to providing a well-rounded education for all students, regardless of their backgrounds. A curriculum that acknowledges and respects different cultures and lived experiences fosters critical thinking, challenges biases, and prepares students to engage meaningfully in an increasingly interconnected world.
At its core, institutional support must recognize that the work of fostering belonging shouldn’t be the responsibility of the students who are already marginalized. True inclusion isn’t about students of colour finding ways to fit into existing structures, it’s about transforming existing structures so they reflect and support the diverse identities of the students they serve.
Despite our challenges, we’ve found strength in each other. We’ve built friendships, organizations, and movements that affirm our worth and uplift our voices. The existence of these spaces is a testament to our resilience, but they shouldn’t have to be born out of necessity. True belonging shouldn’t be a privilege reserved for a select few—it should be a fundamental part of the university experience for everyone.
Our journeys have taught us fostering inclusivity requires both resilience and initiative, and we’re committed to contributing to a campus environment where every student, regardless of their background, feels seen, valued, and supported. This is what encouraged us to join the Students of Colour Collective, one of the programs under the Arts and Science Undergraduate Society Equity Commission, as co-chairs. We decided to create a space for all students of colour to have a space where their voices can not only be heard, but also celebrated.
Diversity and inclusion cannot be passive ideals or reactive measures. They require tangible actions, sustained investment, institutional commitment and a willingness to listen to the voices of those most affected by systemic barriers. The responsibility to create an equitable environment doesn’t rest on students of colour alone; the University has an institutional obligation. They must go beyond statements and symbolic gestures and take concrete steps to ensure students and faculty of colour aren’t only present, but supported and valued.
To the students of colour: You belong here. Your presence isn’t conditional, and your success isn’t in spite of your identity but because of the strength, resilience, and perspective you bring. Seek out community, take up space, and know you’re not alone. If the structures in place don’t support you, know that there are those of us willing to build something new alongside you. Together, we’re not just finding space—we're creating it.
Denize D’Souza is a fourth-year Health Sciences student and Yoskan Haile is a third-year Health Sciences student. They’re the 2024-25 Co-Chairs of Students of Colour Collective.
Yoskan and Denize share what it’s like to be a POC at a predominantly white university.
PHOTO BY NELSON CHEN
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Breaking barriers: A new era of medical education
Initiatives at Queen’s School of Medicine are forging a path to inclusion
Over 171 years after its inauguration, Queen’s School of Medicine is now emerging at the forefront of diversity initiatives in Canadian medical education.
Acknowledgement of the deep history of discrimination and recent progress at the School of Medicine is emphasized through events like the annual School of Medicine Black History Month Opening Ceremony—an event celebrating Black history in medicine and emphasizing the vitality of advocacy. The ceremony was held on Feb. 4 in the School of Medicine building.
“Queen’s hasn’t always been a welcoming place, for Black students and faculty […] but I do feel like we’ve come a long way, but we c ertainly have [work to do],”
Dr. Eugenia Piliotis, a professor in the Department of Oncology with cross-appointment to the Department of Medicine, said during the ceremony.
The event focused on the past, present, and future of the School of Medicine with a focus in empowering Black students to advocate for change.
At the ceremony, Dr. Wiley Chung, professor of surgery and attending
staff at Kingston Health Science Centre, left the audience with words to inspire.
“Black history isn’t just something we recognize one month a year. It’s something we should be building on every day.
To Black students, residents, and faculty here. You belong in medicine. You are shaping the future of our profession. And your voices matter,” Dr. Chung said.
The intersectionality between healthcare and race is a deep and complex issue evident through disparities in health outcomes for Black or marginalized communities.
Scientific racism—a systematic system of misusing science that propagates erroneous scientific theories to justify racial hierarchies—is a prominent issue that’s deeply woven into the fabric of medical education and healthcare. Though largely discredited, the theory persists in ongoing science and research. Major Canadian universities are now pledging to fight against it.
An example of systemic discrimination at the School of Medicine is its past ban of Black students between 1918 and 1965, though it remained informally in effect for 100 years. Reconciliation of the universities dark past has been slow, but in recent years, Queen’s has demonstrated an increased commitment to address past injustices and fostering growth for future generations.
Inequalities in medicine persist across the globe, sometimes eliciting catastrophic
Black excellence in business shines through NailzByDream
‘Running a beauty business is more than just a skill—it’s about connection’ Oluwamisimi OluwOle Business, Science, & Technology Editor
For many students, university is about juggling coursework, extracurriculars, and social life. For Dream Tuitt-Barnes, MD ’28, it’s also about running a successful nail business while pursuing a career in medicine.
NailzByDream is a student-run nail business founded in January 2023. Currently based in Kingston and Mississauga, the business offers services such as biogel, gel-X, and nail overlays. The idea for the business started in high school when Tuitt-Barnes took part in a course that had a mandatory innovation project.
“In Grade 10, right before COVID-19, for this project, I decided to learn how to do nails. It wasn’t with the intention of starting a business, but just to develop a skill so I could do my own nails,” Tuitt-Barnes said in an interview with The Journal
The pandemic put her progress on hold, but in December of 2022, which was her first year at Queen’s, her mom encouraged her to take a certification course, investing in her potential.
“That’s when NailzByDream started to take shape. For me, doing nails is therapeutic. I’ve loved art and drawing since I was a kid, and this just becomes a new canvas for me,” Tuitt-Barnes said.
Since then, NailzByDream has become known for its intricate and creative designs.
patient outcomes. While the roots of scientific racism are deeply engrained in a flawed society, medical education—with its immense influence on future healthcare professionals—has the power to either perpetuate or dismantle these issues.
With hard work and dedication, progress within initiatives such QuARMS—Queen’s Accelerated Route to Medical School— and the new medical admission process are propelling the institution forward.
The introduction of the selective QuARMS program in 2013 was among the first programs of its kind in Canada. QuARMS was designed to allow students to complete their medical degree within just six years after high school. Above all, the program intended to attract Black and Indigenous students in order to help minimize the unjust nature of the medical school admissions process.
Last year, the final cohort of QuARMS students began the program, with its dismantlement providing the foundation for Queen’s new Doctor of Medicine admissions process which targets a broader scale of inequity.
This fall, the first phase of the new
like something, speak up. Your satisfaction is my priority, not my pride,” she said.
process has been put into effect and aims to overcome disparities and high applications volumes in a unique way: Should prospective students reach certain thresholds of GPA, MCAT, and Casper scores, they’ll be entered in a lottery system.
Together, these steps works to establish parity and give any qualified candidate the opportunity to reach the interview stage regardless of socioeconomic status—a determinant which exacerbates inequalities and a lack of representation in the medical field.
According to the University, a second phase of the admissions change will support the recruitment of Black students specifically. In an interview with The Journal, Dr. Ryan Brooks, assistant professor and internist in the Division of General Internal Medicine, expressed his anticipation of the long-term success of these programs diversifying the student body.
“It may not be immediate, but it will start to open doors,” Dr. Brooks said.
“Lived experiences [of Black students and faculty] will help to inform us and […] understand the perspectives of others using the system,” Dr. Brooks said.
Tuitt-Barne’s work ranges from Christmas -themed Snoopy nails to KAWS-inspired sets and Valentine’s Day card deck designs.
“My clients love to challenge me. They’ll send me the most detailed designs with a simple, ‘Can you do this?’ And honestly, I love it. I draw inspiration from other nail techs I see on Instagram, but a lot of times, it’s my clients who push me to try new things,” TuittBarnes said.
The business, which marked it’s secondyear anniversary this January, started out of a dorm room in Chown Hall and has grown significantly since its inception.
“When I first started, I was lucky if I had one booking a week. I remember praying to God for at least one client. By September 2023, I had 28 appointments in a single month,” Tuitt-Barnes said.
The student entrepreneur credits social media marketing and networking for her success, explaining she wasn’t afraid to put herself out there.
“I’d be on campus, see someone with nice nails, compliment them, and casually mention that I’m a nail technician as well. I’d give them my Instagram and let my work speak for itself,” Tuitt-Barnes said.
Building connections across campus, Tuitt-Barnes is running more than just a beauty business—she’s fostering connection.
“When a new client walks in, I make an effort to engage in conversation and make them feel heard. A nail appointment is selfcare, and I want my clients to feel like they can relax, open up, and be themselves,” Tuitt -Barnes said.
Tuitt-Barnes recognizes the importance of customer comfort, noting many people feel hesitant to speak up in traditional beauty salons.
“I tell my clients from the start, if you don’t
According to Tuitt-Barnes, running a business hasn’t been without its challenges. She acknowledges there was a lot of uncertainty and doubts when she started but she didn’t let that deter her.
“I’d rather say I tried and learnt something than live with the regret of never trying at all. I don’t view my business as just a job. It’s something I genuinely enjoy,” Tuitt-Barnes said.
Beyond the business, Tuitt-Barnes sees her work as a celebration of Black creativity and representation.
“Art has always been a way for Black people to tell our stories, and that history lives in everything I do. The fact that I can express myself through my work is a privilege that generations before me didn’t always have,” she said.
As she continues to grow her business and pursue medicine simultaneously, Tuitt-Barnes hopes to inspire others to follow their passions without fear.
“I want other Black students to know it’s possible to turn your creativity into something real. You don’t have to give up the things you love to follow your dreams.”
School of Medicine works to increase diversity GRAPHIC BY NATALIE VIEBROCK
Queen’s goaltender shares how to make hockey more inclusive for the next generation
Aidan Michaelov Senior Sports Editor
Growing up in Oakville, Ont., Christian Purboo, ArtSci ’25, never thought much about race when playing hockey. As a young goaltender, he was more focused on stopping pucks, not the fact he was often the only Black player on the ice. It wasn’t until high school he began to understand the barriers that made hockey inaccessible to so many kids who looked like him.
As of 2019, less than five per cent of the National Hockey League (NHL) is comprised of Black athletes. In Purboo’s 2016 Ontario Hockey League (OHL) draft class,
Breaking Barriers in sports SPORTS
only one Black player, Akim Aliu, was selected in the first round. Despite this, Purboo wasn’t actively looking for representation when he was younger—he was just a kid who wanted to play the game his friends loved.
“We started with soccer and basketball, and then once I got to school, all my friends played hockey, so I asked my parents to try that out,” Purboo said in an interview with The Journal
“Summer was kind of a decision, ‘are we gonna keep going with this?’ and my dad was travelling a lot through the year, so we decided no summer sports, and he actually kind of liked that we played hockey, cause my family’s never really done it before,” he added.
At first, hockey was simply about fun. His parents encouraged him to enjoy the sport without worrying about anything else. Conversations about race weren’t part of their early discussions.
“My parents didn’t really talk
AIDAN’S ANGLE
Gaels’ Christian Purboo speaks on Blackness and hockey
about that stuff [race] until high school. They just wanted me to enjoy the sport. Obviously, I did recognize I was the only Black kid, but I don’t think it’s really all about that, I think I was just having a lot of fun like they wanted me to have,” Purboo shared.
Once high school hit, Purboo became aware of many of the barriers that have traditionally kept Black children away from the sport.
“Once I got to high school, they [his parents] wanted me to realize just how blessed I am,” Purboo said. “It’s all about disposable income, and a lot of Black families don’t have that disposable income to put their kids into all these sports like hockey or basketball, they’re only focused on the vital things, like putting food on the table, housing, and all that stuff.”
Beyond cost, geography presents another challenge, which Purboo noted.
“A lot of areas where Black families live, there aren’t those
Although professional leagues like the NHL, NFL, NBA, and MLB make efforts to provide children with the resources needed participate in organized sports at a young age, semi- or non-professional organizations need to be making just as much, if not more, of an effort to include marginalized identities.
Historically, Black athletes were systemically banned from hockey leagues in Canada, leading to the establishment of the Coloured Hockey League (CHL) in the Maritimes in 1895.
facilities where you can play hockey. If you want to go to these facilities, they’ll have to travel like an hour or two hours away, and that’s gonna be like five-six times a week. Not only is it expensive, but it’s gonna be really tiring.”
As it stands, Purboo and Sam Marburg, ArtSci ’27, are the only Black men on the Queen’s Hockey team. Accessibility and inclusivity aren’t something that can change overnight, and Purboo recognizes that. However, the sport is taking steps in the right direction.
“It’s definitely changing. I think there are three or four Black kids projected to go in the first round, which I don’t think has ever really happened before, so I think it’s great. I really hope in the future, people will see more visual representations of their people on the big stage, like in the NHL,” Purboo said.
For hockey’s next generation, Purboo has one message, “Justhave fun; don’t focus on the race aspect
Carnegie was lowballed by the New York Rangers, leading him to decline the offer. Foul play at an executive level was something many Black hockey players were subjected to, and being offered significantly less money than white players regardless of their skill wasn’t a rare occurance.
Willie O’Ree was the first Black hockey player to break through the colour barrier in 1958 when he signed a contract with the Boston Bruins.
as much. Obviously, realize who you are and what you are, but definitely just focus on having fun and putting in the work and then, like, make sure that once you get to that next level, you help other kids and other people grow around you.”
An example of a Queen’s athlete who is currently making strides to help make hockey more accessible is alumnus Jaden Lindo, ArtSci ’21.
A 2014 NHL draft pick, Lindo helped lead the Gaels to an OUA championship in 2019. Now, he’s the manager of various community hockey programs for the Pittsburgh Penguins, running initiatives like the Willie O’Ree Academy, which offers resources to Black children who are looking to get into hockey.
Although there’s still a long way to go, athletes like Purboo and Lindo prove that change is happening. The next generation will have more role models, more opportunities, and hopefully, fewer barriers to overcome.
positions more accessible to them.
U SPORTS also partners with the BlackNorth Connect Program, an initiative designed to connect Black students with mentorships, bursaries, and scholarships.
At Queen’s, alumni like ex-rugby star Amelia Stapley, ArtSci ’23, have already begun driving muchneeded change to make the university more diverse, inclusive and accessible.
We’re on a long road towards diversity. JOURNAL FILE PHOTO There’s much to be done across the nation to uplift marginalized youth athletes
Aidan Michaelov
Senior Sports Editor
In honour of Black History Month, I thought it was a good time to
assess the policies and initiatives present at Queen’s and nationwide that aim to promote inclusivity and diversity in sports.
Traditionally, a lack of representation, along with economic barriers, has kept Black children from participating in organized sports. Inclusivity and diversity, I believe, are products of accessibility can only be achieved by reducing the barriers surrounding sports in Canada.
Although the CHL became home to over 400 Black athletes from Nova Scotia, New Brunswick, and Prince Edward Island, the CHL faced immense backlash and fell victim to the same stereotypes that were born in the slave era, labelling players as violent and unskilled.
Because of these stereotypes, Black hockey players were essentially barred from participating in major leagues across North America.
Herb Carnegie, for example, is perhaps the best Black hockey player to have never played in the NHL. After overcoming significant obstacles in the 40s and 50s,
However, this was not met with immediate change. Only recently, the NHL designed the Black History Month mobile museum in 2019 to commemorate Black hockey players. As of 2019, less than five per cent of NHL players identified as Black, a testament to the socioeconomic obstacles that still limit the sport’s accessibility today.
In 2022, U SPORTS created the Athletes on Track program, providing Black athletes and students with employment, internships, and mentorship opportunities.
Athletes on Track aims to improve the diversity and inclusion of Black athletes in Canadian U SPORTS by making managerial
Stapley did a lot of work during her tenure on Queens’ Athletics & Recreation’s Equity, Diversity, Inclusivity and Indigenization Task Force, where she campaigned for the establishment of a mentorship program here at Queen’s.
While these programs are a testament to Queen’s commitment to making a change in the lives of our student-athletes and creating a truly diverse and inclusive landscape here on campus, much more can must be done at a grassroots level.
Queen’s does a great job connecting with youth sports programs—many of our teams like Queen’s Women’s Basketball, host summer camps where children can learn from their Gaels idols.
Continued online at www.queensjournal.ca
PHOTO BY HERBERT WANG
Purboo is hoping to pave the way for the next generation of Black hockey players.
Queen’s beats RMC in scrappy 37th annual Carr-Harris Cup
Men’s Hockey notched their 20th win of the season with a 5-2 win against the Paladins
Herbert Wang
Assistant Sports Editor
The Carr-Harris Cup was created to celebrate the oldest sport rivalry in Canada between the Queen’s Gaels and the RMC Paladins.
This year celebrated the 37th iteration of the game with a 5-2 Gaels win over the Paladins on Feb. 6.For a rivalry dating all the way back to 1886, there may be some questions about how passionate players could be, however this game put all doubt to rest.
Entering the game, Queen’s ranked seventh in the country and sat second in the OUA. Their opponent, RMC had won just one game this season, sitting dead-last in the OUA and the nation.
Despite sitting on opposite ends of the ledger, the energy in the stadium was still palpable as fans from both sides cheered for the puck drop.
The first period was relatively
tame, both teams getting shots on goal but not finding a way through either end. A tripping penalty on Nolan Hutcheson, ArtSci ’25, put the Paladins on the power play first, but they were unable to convert.
Hutcheson remedied his mistake with the first goal of the game halfway through the first, assisted by Cameron Tolnai, Comm ’27.
Queen’s would find themselves on the power play just 11 seconds later, Daniel Michaud, ArtSci ’27, taking full advantage, converting a minute in, assisted by Michael Renwick, ArtSci ’27, and Derek Hamilton, ArtSci ’27.
In the second, a Sam Marburg, ArtSci ’27, goal in the eighth minute assisted by Hutcheson and Owen Lalonde, ArtSci ’25, put the Gaels comfortably ahead. The goal also seemed to be a spark for RMC who began to attempt to get under the team’s skin.
A roughing penalty from RMC in the 11th minute would provoke a roughing and tripping penalty from Queen’s. Followed only a minute after their expiration with goaltender interference call provoking two additional majors for fighting.
Another goal from Tolnai would be the catalyst the teams needed to begin a scrum that would
see two players from both sides receiving game misconduct penalties with an additional penalty on Queen’s for cross-checking.
On the ensuing power-play, RMC would score, but a tripping call would allow Hutcheson to score a power play goal of own, his 19th goal, and 27th point of the season.
Seven seconds before time expired in the second, RMC would slot one past the Gaels, the last goal of the game.
Despite no scoring in the third, the aggression would continue, both teams continuing to trade penalties, including a game misconduct against RMC with six minutes left in the game. Cumulatively contributing to 21 penalties and five game misconducts for both teams.
“Every time we play those guys, it’s always pretty physical, and the crowd was pretty, pretty awesome tonight, so we wanted to put on a little bit of show for them,” Lalonde said in an interview with The Journal.
A huge part of the team’s dominate performance was their effectiveness on the powerplay, a strength for the team this season.
Continued online at www.queensjournal.ca
Nine Gaels recieve CFL Combine invite
Queen’s develops defense like no other
Aidan Michaelov
Senior Sports Editor
As a testament to the strength of the Queen’s Men’s Football program, nine Gaels recieved invites to the Canadian Football League (CFL) Combine.
Ashton Miller-Melancon, ArtSci ’25, Silas Hubert, ArtSci ’25, and Darien Newell, ArtSci ’25, received invites to the National Combine. Keegan Vanek, ArtSci ’25, Eric Johnson, ArtSci ’25, Liam Sutherland, ArtSci ’25, Jas Khaira, Comm ’25, Nathan Falconi, ArtSci ’25, and Nico Kwemo, Kin ’25 received invitations to the Invitational Combine.
Although an invitation to either
combine is a huge achievement, the Invitational Combine precedes the National Combine, so should Vanek, Johnson, Sutherland, Khaira, Falconi, or Kwemo perform well at the Invitational Combine, they should then receive invites to join Miller-Melancon, Newell, and Hubert at the National Combine, the premier U SPORTS and Canadian NCAA student-athlete scouting event.
Defensive players Newell, Miller-Melancon, and Hubert played pivotal roles for the Gaels this season, driving fear into the hearts of opposing offensive schemes.
Newell ranked 11th in the OUA in both sacks and tackles for loss, with 3.5 sacks and 5.5 tackles for loss, earning him First Team All-Star honours.
Newell also traveled to Dallas, Texas, to compete in the College Gridiron Showcase. This event,
Men’s BasketBall
unfazed as losing streak grows to three
The Gaels travelled back from Ottawa last weekend doubling their losses on the season
Herbert Wang Assistant Sports Editor
Queen’s Men’s Basketball travelled to Ottawa last weekend to take on the Ottawa Gee-Gees and Carleton Ravens on Feb. 5 and 6.
Both teams sat comfortably as two of the nation’s top 10 teams, Ottawa ranking fifth and Carleton ranking eight entering the weekend.
Fresh off a two-point loss in an offensive battle against the number 10 ranked Brock Badgers, this past weekend served as a test of the team’s mettle. Facing the top three teams in the OUA in three games, each team served as a probable matchup in the closely approaching playoffs.
On Friday, the Gaels found a seven-point lead earlier in the first quarter, but the Gee-Gees whittled the lead down to one by the beginning of the second. Struggles for Queen’s continued into the second and third, outscored 33-18 and 28-17 respectively.
Despite a final quarter surge, scoring 24 to the Gee-Gees’ 12, it wouldn’t be enough as Queen’s would lose their first game of the weekend 95-82.
which featured American and Canadian talent, allows Canadian players to test themselves against American talent, and Newell shined brightly.
Miller-Melancon also had a solid season for the Gaels, recording 31 tackles and three interceptions.
Hubert, a terror for opposing quarterbacks, was named an OUA Second Team All-Star for his four sacks and 20.5 tackles, which placed him sixth in the OUA.
Not only does this emphasize how dominant the Gaels’ defensive scheme was this past season, but it also serves as a testament to Queen’s ability to develop their student-athletes into football players fit to play in the pro leagues.
Just recently, defensive back Stephane East, Comm ’23, inked a pro deal with the Toronto Argonauts of the CFL, and based on the performance of the Gaels, who have already made the
First-year Ollie Engen, Kin ’28, was the sole bright spot with 23 points, shooting 10-15 from the field. The team had a 38 per cent field goal percentage, converting only 21.7 percent attempts from beyond the arc.
It was a tough break for a team that had been competitive in all matchups up to this point. Their weekend continued to get worse with a 92-72 loss the next day against the Carleton Ravens.
Right off the bat, the Gaels went down thirteen in the first quarter, never holding a lead. A closely contested second and third quarter would be rendered moot, as the
National Combine roster, you can expect to see a few more Gaels make their way onto professional rosters in Canada. On a broader scale, the high level of talent U SPORTS has been producing has gone much further than the CFL, with Laurier quarterback and reigning HEC Crighton Award winner
Ravens would hold Queen’s to only nine points in the final quarter.
The team had a better percentage from deep, shooting 34.5 per cent, but only converting a third of their shots, plus allowing 21 second chance points was a recipe for disaster.
In an interview with The Journal, Men’s Basketball head coach, Stephan Barrie pointed to numerous factors for the team’s poor performance. The team found themselves with large deficits early, lacked rebounded, and had many costly turnovers.
Barrie also pointed out the team’s resilience in the face of adversity, and the work they’ve put into moving onto next week despite the losses.
“We’re in a tough conference— you’ve got to be able to move past both your wins and your losses quickly. So certainly, [I] feel our guys have handled that well this week to get themselves on track and ready for our weekend road trip,” Barrie said.
Looking ahead, the team will play two formidable teams in the Nipissing Lakers and Laurentian Voyageurs before hosting a rematch at home against the Gee-Gees and Ravens.
It’s a learning opportunity for a young team, playing four freshmen with significant minutes. The team benefits from the energy that the new class brings to the program but also lacks in the veteran from previous iterations of the program.
“It’s much easier when the burden is shared between six or seven guys in terms of that experience factor, than when it’s just two or three,” Barrie added.
When it comes to the team’s upcoming matchups in the regular season, and playoffs Barrie isn’t scared of the challenges the team faces.
“We just have to fight harder, to play better basketball, to make better decisions in moments, both sides of the ball,” Barrie said.
The Gaels will travel to Nipissing and Laurentian this weekend, with the OUA playoffs starting Feb. 19.
Taylor Elgersma being invited to the Senior Bowl. The first Canadian quarterback ever to do so.
The landscape of Canadian football is rapidly evolving, and sooner rather than later, more U SPORTS players will inevitably break through to the National Football League.
Gaels drop three straight.
PHOTO BY HERBERT WANG
Gaels beat the Paladins 5-2, securing another Carr-Harris victory.
PHOTO BY HERBERT WANG
Horoscopes: Rose are red, violets are blue, here’s what Valentine’s Day has in store for you
The Psychic scholar Staff Writer
Love it or hate it, Valentine’s Day is fast approaching, bringing with it overpriced flowers, awkward dinner dates, and the annual debate over whether a situationship deserves a gift—the answer is a big fat NO. Buckle up, because the star signs are in for a wild ride.
Sagittarius (Nov. 22 – Dec. 21)
Embrace your passionate and fiery side, Sagittarius, and ask the person you’ve been talking to on a date. A real date! No, “wanna come over and watch a movie?” doesn’t count. And if your idea of planning is “let’s just see where the night takes us,” don’t be surprised if you end up alone. A little effort won’t kill you, I promise.
Capricorn (Dec. 22 – Jan. 19)
Just because your beau’s love language isn’t gift giving, Capricorn, doesn’t mean they don’t love you. Stop being so materialistic and get over it. Not everyone expresses their love with overpriced jewelry and a picture-perfect dinner at Heist. Maybe instead of secretly getting upset about their handwritten card, try appreciating the fact that someone willingly puts up with your emotionality unavailable self.
Aquarius (Jan. 20 – Feb. 18)
Don’t let your partner get away with the joint ValentinesBirthday celebration, Aquarius. You deserve better, and honestly, if they really cared, they wouldn’t have even suggested that nonsense in the first place. This is your reminder that “minimal effort” isn’t a personality trait, and bare minimum romance isn’t something you should tolerate.
Pisces (Feb. 19 – March 20)
Valentine’s Day isn’t stupid, Pisces. You don’t have to pretend to be above it because nobody’s sent you flowers yet. Embrace your soft side and let yourself be loved. But also, if you’re planning to cry into your pillow while listening to All Too Well (Taylor’s Version), at least put on something comfy first—you might be there for a while.
Aries (March 21 – April 19)
You’re not playing hard to get, Aries. You’re just being slightly mean to the person you’re talking to. And by “slightly mean,” I mean they’re genuinely confused about whether you like them or want to fight them. A little mystery is sexy, but at this point, they might just think you hate them. Maybe throw in a compliment between insults—just for balance.
Taurus (April 20 – May 20)
Don’t be upset, Taurus, when your situationship doesn’t ask you to be their Valentine. After all, this is the same person who has told you multiple times they’re not looking for a relationship… yet, somehow, you still believe they’ll change for you. Spoiler alert: they won’t.
Gemini (May 21 – June 20)
Your RomCom dreams are about to come true, Gemini, just you wait. Maybe somewhere unexpected, like a chaotic meet-cute at Metro when you both reach for the last overpriced Valentine’s chocolate. Or
perhaps when you “accidentally” bump into your crush at Balzac’s after strategically stalking their usual schedule. Either way, your love story is unfolding—soak it all in.
Cancer (June 21 – July 22)
Cancer, it’s time to stop yearning for love and instead, appreciate the people you have in your life. Galentine’s day isn’t so bad—especially when you realize that at least your friends won’t text “you up?” at 11:47 p.m. Sure, you could spend the night longing for a romantic gesture, or you could embrace the fact that a bottle of wine (or a couple) and zero relationship drama is a pretty solid deal.
Leo (July 23 – Aug. 22)
Leo, for once, try to focus on one person. Just one. I know, I know—commitment is terrifying, but you don’t need three different
Valentine’s Day plans in case one gets boring. If you keep hedging your bets like this, you’re gonna end up alone with a bunch of undelivered “Happy Valentine’s” texts and a serious case of decision paralysis.
Virgo (Aug. 23 – Sept. 22)
Stop trying to play Cupid, Virgo. It didn’t work the first time and it won’t work the second. While it’s nice you care about your friends, they’re this close to banning you from interfering in their love lives ever again. Maybe, just maybe you should put a little more effort into your own love life before messing with theirs.
Libra (Sept. 23 – Oct. 22) Be more decisive, Libra. You don’t need to re-write that text 45 times. Don’t overanalyze. What’s meant to be, will be. But let’s be real, we both know you’re still going to send it to three different group chats for proofreading, then end up deleting it altogether because “it just doesn’t sound right.” At this rate, Valentine’s Day will be over before you even hit send.
Scorpio (Oct. 23 – Nov. 21) Don’t be afraid to shine this Valentine’s Day, Scorpio. Put yourself out there and you might just find the one. Your date with a pint of ice cream won’t cut it this year—no matter how emotionally supportive that Ben & Jerry’s tub has been. You’re a catch but love isn’t going to hunt you down in your dimly lit student house living room while you scroll through your ex’s Instagram.
Need a place to write down your thoughts? journal_ac@ams.queensu.ca
ARTS & CULTURE
Queen’s Professor honours the inspiring efforts of Canadian abolitionist
Kristin Moriah keeps Mary Ann Shadd Cary’s legacy alive
Cloey Aconley
Assistant Arts & Culture Editor
A prominent anti-slavery educator and publicist, Mary Ann Shadd Cary, wasn’t afraid to critique established institutions, and neither is Kristin Moriah, striving to uplift 19th-century abolitionist thinkers.
Associate Professor of African American Literary Studies, Moriah strives to carry on the legacy of an important figure in Canadian history. Shadd Cary was a prominent Black female educator, publisher, lawyer, and abolitionist, and the first female newspaper editor in North America. In 1853, she established The Provincial Freeman, an abolitionist newspaper dedicated to the
emancipation of Black folks across North America.
The first volume of scholarly essays on Shadd Cary Insensible of Boundaries: Studies in Mary Anne Shadd Cary (2025), came out this January, edited by Moriah. As a Black scholar herself, Moriah expressed her excitement about being able to contribute to the literature on Shadd Cary.
“It’s unique in that way and it feels very special that I was able to help to usher it through to publication,” Moriah said in an interview with The Journal.
Moriah earned her PhD in English Literature at the CUNY Graduate Centre and was the most recent recipient of the Melvin Dixon Prize for the best dissertation in African American Studies.
Before coming to Queen’s, she was a visiting fellow at the Pennsylvania State University Centre for Black Digital Research, and the co-director
of the Black Studies Summer Institute.
Moriah expressed gratitude to the Black feminist scholars who came before her and mentored her in her work on Shadd Cary. Mentioning the help of Gabrielle Foreman, leader at the Centre for Black Digital Research.
As she continued studying 19th-century Black feminist thought, Moriah was increasingly impressed by the work of Shadd Cary.
“I’ve become aware of how special she is in terms of her position as someone who straddled the Canada and US border and her identity as a Black feminist intellectual in the 19th Century,” Moriah shared.
Originally from Delaware, Shadd Cary moved to Canada in 1851, established a school for refugees and later founded and edited The Provincial Freeman.
A vocal advocate for Black
immigration to Canada, Shadd Cary made a pragmatic argument for the emigration of Black people familiar with agricultural labour, to move to Canada for the soil quality, as well as to escape the threat of slavery.
Criticisms of Shadd Cary were not usually well-founded.
As a Black woman in the 19th century, Shadd Cary’s ideas weren’t often taken seriously, some newspapers in England based their criticism on the tone of her voice alone.
“People didn’t like the fact that she was trying to advocate out loud for abolition or emigration because she was a woman. When she spoke about politics in a public forum it was incredibly controversial,” Moriah said.
This pushback was what drove Shadd Cary to Canada in the first place—she was surprised and excited she was able to speak publicly about abolition in Canada. Even still, Shadd Cary anticipated descent about The Provincial Freeman choosing not to publish her name on the masthead, but when her co-editors left Windsor, Shadd Cary was forced to travel Southern Ontario promoting the newspaper as her own. Regardless of being forced to anonymize some of her work, Shadd Cary remains an important figure in abolitionist history.
Moriah spoke about the impact of Shadd Cary on Canadian print culture, mentioning that though we don’t have evidence of her interacting with Canadian figures such as John A. Macdonald, it doesn’t mean she wasn’t a figure in her own right.
Shadd Cary’s impact on the world as we know it was inevitable, due to her commentary on Canada’s role in the events of the mid-19th century.
Shadd Cary isn’t amongst the most recognizable Canadian historical figures, but she should be said Moriah.
“We don’t think about her in that way, but she was right there at the center of it all,” Moriah said. It remains critically important to continue studying Black history
to understand the effects people like Shadd Cary continue to have on the world today. We’re only at the tip of the iceberg to understand the lasting impact of Shadd Cary’s advocacy.
‘Desolation Row’
Does a lot in little time
Bader Lane Productions tells a tragic tale of ferocious
indecisiveness
Eva Sheahan Assistant Arts & Culture Editor
She’s an undercover cop, he’s the head of an underground drug ring. The unlikely pairing promises many twists and turns.
Released on Feb. 7, Desolation Row is a crime-romance, packed with action and intrigue offering philosophical commentary about the student body of today. The 24 minute film came to life through Bader Lane Productions, a student run club that produces and creates short films.
A character driven story that’s written and directed by Executive Producer of Bader Lane Productions Patrick Mitchell, ArtSci ’25, Desolation Row stars Kataryna Dawiskiba, ArtSci ’26, playing Cassandra Trask, and Ryan Killorn, ArtSci ’27, playing Lucius Ferrera or “Duke”.
The film centres around the romance between Lucius, the kingpin of Kingston’s criminal narcotics enterprise, and Cassandra, a Catholic police officer. They’re both in very different societal positions, yet both are struggling with feeling stuck, unsure of what to do next. .
Continued online at www.queensjournal.ca
‘Insensible of Boundaries’ was published in January.
GRAPHIC BY NATALIE VIEBROCK
JOURNAL
Sound Check: Black artists to listen to, all year round
From De
La
Soul to FKA twigs, Black excellence exists across all genres
Madison Taylor Senior Arts & Culture Editor
February marks Black History Month—a reminder that Black musicians and their talent are a key pillar of music history, and the industry, all year round.
As a mixed-race Black woman myself, I think it’s crucial to recognize the influence of Black artists in every corner of the music world, across a wide variety of genres and styles. So, here’s some of February’s top picks—keep them playing all year.
Song: “Bigger (feat. Choklate),” De La Soul, Choklate
Hip-hop legends De La Soul are back, and boy am I glad. As a long-time fan of the group, with their iconic record 3 Feet High and Rising —in my humble opinion—enduring as one of the best hip-hop albums to date, I knew I had to give this single a listen, especially considering the group’s recent appearance on streaming services for the first time in 2023.
“Bigger (feat. Choklate)” is a laid-back groove that feels old school—because it is. As part of their rollout for the 20th anniversary of iconic album The Grind Date in March, this previously unreleased single sees the light of day for the first time.
One of two unheard songs from the same session as The Grind Date, originally released in 2004, “Bigger” is in good company with familiar favourites like “Rock Co.Kane Flow” feat. MF DOOM,” and “Shopping Bags (She Got from You).”
With mellow beats, punchy lyrics and smooth vocals from Choklate—an R&B heavyweight in her own right—the song is a blast from the past that still feels relevant in 2025.
Album: EUSEXUA, FKA twigs
EUSEXUA has a strange beauty that makes it all the more memorable. It’s a little
Black Studies professor Otoniya Juliane Okot Bitek publishes debut novel
‘We, the Kindling’ brings Ancholi stories to life through memory and myth
Eva Sheahan
Assistant Arts & Culture Editor
weird, but that’s why I like it so much.
To me, it sounds like a welcome return to the subversive and strange for FKA twigs, more similar to her early works LP1 and MAGDALENE . It’s difficult to pin the album down to one genre, with haunting electronica on “Wanderlust,” an erratic, erotic sense of release in “Room Of Fools,” and the more pop-house sound in “Childlike Things,” featuring 11 year old North West.
It’s a mature record that isn’t afraid of the real, with songs like “Sticky” and “Keep It, Hold It,” intensely confessional in tone. The record feels industrial, confronting, and raw, seemingly the closest the audience has been allowed to FKA twigs’ soul.
It’s a departure from her most recent album CAPRISONGS. Though the 2022 record was full of songs I loved, its pop and R&B infusion was familiar and palatable—not straying far from the line.
EUSEXUA remains experimental yet having widespread appeal, reaching mindboggling streaming numbers after just weeks of its release. “Perfect Stranger” is my favourite, but it’s a difficult choice to make. Ask me again in a week.
Artist: Aqyila
Toronto-based R&B artist
Aqyila is making waves in the music world, and she’s played right here on Queen’s campus.
The JUNO award winning artist first reached my radar with her 2023 EP For the Better, and you might know her from her viral tracks “Vibe for Me (Bob for Me),” and “Bloom” which made the rounds on TikTok last year.
If you thought the singer’s impressive vocals sound good on the recordings, they’re even better live.
Aqyila performed at this year’s Orientation Roundtable mystery concert, with an impressive cover of Rihanna’s “Love on the Brain,” that was a testament to her vocal skills, as well as the creative talent seen in her originals.
Currently on tour and playing at Toronto’s Massey Hall on Feb. 19, it’s a show worth making the journey for if R&B
group who reside primarily in Northern Uganda. With most narratives about the tragic war between the Lord’s Resistance Army and the Ugandan government being told by foreign voices, Okot Bitek saw an opportunity, as an Acholi writer, to shape how these stories are told, preserved, and remembered.
Thirteen years ago, Otoniya Juliane Okot Bitek submitted the first draft of her debut novel for publication. Now, the highly anticipated We, the Kindling is finally here.
Assistant Professor in the Black Studies program at Queen’s, Okot Bitek is a writer at her core. An esteemed Acholi poet, known for her poetry collection 100 Days (2016) that reflects on the 1994 Rwandan genocide, Okot Bitek is shaking up the literary sphere once again with her debut novel, We, the Kindling. To commemorate the launch of her powerful novel, released Feb. 4, Queen’s Black Studies is hosting a free celebratory book launch at The Isabel Bader Centre on Feb. 12.
In We, the Kindling, readers are introduced to Miriam, Helen, and Maggie, fictional women, based on real women’s stories, who survived capture by the Lord’s Resistance Army in Northern Uganda and are leading ordinary lives while balancing the weight of memory and trauma.
The book was originally submitted to publication in 2011 as a work of creative nonfiction. However, over the years, Okot Bitek’s ideas evolved and flourished into a rich fictionalized story, published through Penguin Random House.
We, the Kindling, creates space for compassion and uses folktales to weave together a story that doesn’t lock the reader in a history of violence and trauma. Instead of focusing on statistics and facts, We, the Kindling is infused with real stories characterized by humanity, relatability, and aspiration.
Okot Bitek is very connected to the rich storytelling traditions of her people—the Acholi, an ethnolinguistic
is up your alley.
From the Vault: The Sugarhill Gang, Sugarhill Gang
On this day in 1980 in music history, the Sugarhill Gang released their self-titled debut record, Sugarhill Gang.
The group, made up of Master Gee, Wonder Mike and Big Bank Hank, were brought together by producer and founder of Sugar Hill Records Sylvia Robinson.
Even if you’re unfamiliar
“People know this story and have used it to their own agenda, but I, as a creative writer, felt I should contribute to how we can remember and tell this history
works for how [the people of Uganda] were used by both warring sides […] The word kindling because these were people who were used to set the fire, but they came out of it. ‘We, the Kindling’ means you’re the kindling who survived the fire,” Okot Bitek said, offering a profound and powerful explanation to the book title and its metaphor.
During the writing process, Okot Bitek spoke with women who were survivors of the war. It was with their open collaboration of storytelling and insight
of our time,” Okot Bitek said in an interview with The Journal.
Okot Bitek’s academic background in English and creative writing alongside her experience in the Black Studies, English, and Gender Studies program at Queen’s, has helped nurture a strong understanding of writing as a practice.
Okot Bitek’s knowledge of literary criticism heavily contributed to her writing style in We, The Kindling, as she knew what doesn’t work for her—heavy descriptions. The author’s training helped her to narrow in and focus on the actual story she wanted to tell without wasting words, meaning We, the Kindling is concise and driven to the point.
Okot Bitek commented on the difficulty of choosing titles. We, the Kindling, came from fellow respected academic and writer, Dionne Brand, who gave her title suggestions and advice—to look within the story.
“It’s the perfect title [for the book]. The word ‘kindling’
with the record, there’s no doubt you know the now-iconic track “Rapper’s Delight,” persevering as one of the group’s most enduring hits to date. Capturing the essence of ‘70s hip-hop block parties into what’s considered one of the first recorded hip-hop albums, the record has elements of blues, funk, soul, and disco.
At the time, many thought rap would be a short-lived
that helped We, the Kindling come about.
“I wouldn’t claim [the book] as an individual. The ‘we’ in the title is part of a community of people who tell stories. I come from a storytelling tradition. This is our version of this war that only we could’ve told and the ‘we’ is me in collaboration with the women who shared their stories, the editors, and more,” Okot Bitek said.
With We, the Kindling, Okot Bitek has created a mosaic of stories, crafted through collaboration and power from other Acholi people. For example, the novel features many popular Acholi folk-tales that are passed from generation to generation.
“We are storytelling people and people who tell stories can impact how we see the world. My hope is that those who read [her book] come to know Acholi people specifically and survivors of that war as people with agency to tell their stories,” Okot Bitek said.
novelty item, a laughable thought in 2025, but a very real concern at the time.
The record stands the test of time, with “Rappers Reprise (Jam-Jam)” featuring The Sequence, and “Passion Play” lurking in groovy obscurity in the shadow of “Rapper’s Delight.”
Interested in writing for The Journal? E-mail journal_editors@ams.queensu.ca for more information. No experience necessary.
Madison shares her February selections.
FILE PHOTO
PHOTO SUPPLIED BY OKOT BITEK
This is Okot Bitek’s first novel.
Hollywood’s token Black characters are a lazy attempt at diversity
Representation
shouldn’t come in the form of a wise sidekick or supportive co-worker
Cloey Aconley Assistant Arts & Culture Editor
Hollywood’s idea of diversity often means a single Black character with no depth, no story, and no purpose.
In an effort to appear diverse and culturally aware, TV and movie directors will occasionally throw in a single Black character with no substantial personality traits, relationships, or narrative of their own.
Typically, these characters embody racial stereotypes and enforce the harmful image of the Black sidekick only being there to support the white lead. These characters have little to no personal details but are always there to support the hero or main character’s journey, enforcing the harmful narrative that Black characters should take a backseat to their white counterparts.
Unfortunately, this “effort” is just not good enough. Firstly, failing to provide these characters with a narrative backstory equal to those they share the screen with is just bad writing. But more consequentially, Black children grow up with their primary cultural representation as a halfbaked attempt at inclusion.
An example of this blatant tokenization is Gabrielle Union in Ten Things I Hate About You (1999) and She’s All That (1999). Her characters, Chastity and Katie respectively, are both there as best friends to a white lead, but the audience is unaware of their interests, hobbies, other friends, or family members.
have been infected by this lazy attempt of diversity. High School Musical (2006) features the love story between Gabriella and Troy, accompanied by their respective Black best friends Chad and Taylor. Chad and Taylor add very little to the plot but are always there to assist their white friends in times of need.
complex life, with only morsels of personal details thrown in.
In my Vancouver suburb, and again at a primarily white university, I listen as Black friends express the struggles of oftentimes being the only member of their race in the room. Forcing Black characters onto the screen with only white people to accompany them pushes
Not only present in the rom-com genre, Scream 2 (1997) features the surprise addition of Sydney Prescott’s supposed best friend, Hallie, though she was mysteriously absent in part one. Hallie—you guessed it, is Black—joins the entirely white cast for no apparent reason, exhibiting no interests or unique personality traits.
Tokenization isn’t just a phenomena of times past, many Gen Z childhood favourites
QBFA’s ‘Swimming
Madison Taylor Senior Arts & Culture Editor
Perhaps the most glaringly obvious example of a Black character only serving the white lead is in the film edition of Sex and the City (2008). Despite having little to no people of colour present in the entire six seasons of the show, Carrie hires a Black personal assistant for the movie. Louise, played by Jennifer Hudson, offers sage wisdom during critical junctures in Carrie’s
in Circles’ is set to make waves
Intentionality, adaptability and motivation are at the heart of the team behind Swimming in Circles.
Queen’s Black Fashion Association (QBFA) is set to host their annual fashion show on Feb. 8 at Grant Hall. This year’s show, Swimming in Circles, is inspired by the Mac Miller album of the same name. Showcasing clothes sourced from local businesses, Black-owned designers and businesses, and with guest speakers and performers, the night is one the club has worked hard to prepare for.
The Journal spoke with Co-Presidents Binyat Akrem, ArtSci ’25, and Willo Thomas, ArtSci ’26, about the upcoming event, and what attendees can expect to see.
The pair expressed their excitement for the upcoming show and seeing months of hard work finally pay off.
“We’ve been building up to this for so, so long. Seeing everything come together—the designs, the models, the overall vision of
the show [...] I’m so proud of what everybody’s accomplished, but I’m also just so excited to share the experience with everybody that’s going to be attending,” Akrem said in an interview with The Journal.
“Being so close to actually seeing it come to life is always so satisfying, and just immensely gratifying as well,” Thomas added.
The show’s title and theme, Swimming in Circles, originated as an idea put forth by QBFA’s Creative Director, King-David Olajuwon, Nurs ’25. Built and expanded upon by the rest of the team, the theme encapsulates the process of self-discovery and personal growth, which aren’t always linear.
“It’s a process of growth and development that I think we often think about in a linear perspective, but really when you zoom out and look at the big picture, it’s almost like a continuous loop that we go through,” Thomas said.
Teamwork and trust in each other have been key in QBFA’s preparation for Saturday’s show. Each role contributes in different ways, with a shared motivation and vision enabling the team to adapt to
bumps in the road. Communication among team members is key in this process.
“It definitely takes so much teamwork. Our show would not be possible without the dedication of every single person on our team,” Akrem said. “We really struck gold this year with the people that we were able to put in those roles who really took it and ran with in the spirit of excellence,” Thomas added.
Though the annual QBFA fashion show takes place during February, Black History and Futures Month, it’s a celebration of community and creativity that exists on campus among Black students all year round.
“Our fashion show opens Black History Month every single year, and so we always try and have it fall onto that first week of February. But I think despite it being such a meaningful time to show our creativity, it’s more so just about the representation that we have, and the spaces that we create on campus where Black students feel valued, seen and empowered,” Akrem shared.
was charming and funny, an instant fan favourite. However, without a proper storyline outside of minor plot developments with her boyfriend and being an everpresent wingwoman to the lead, the audience is robbed of what could’ve been.
Looking past poor representation, tokenization does a disservice to incredible Black actors forced into terribly written roles as their only foothold in the industry. Black characters need to be written better, and that comes from thoughtfulness and precision, as well as encouraging diversity in the predominately white field of screenwriting.
the harmful idea that these singular characters, founded on stereotypes alone, embody an entire race of complex, diverse people.
Token Black characters are often the embodiment of a racial stereotype, forcing that image on an entire community, does far more harm than good.
One of the most frustrating aspects of the trope is the narrative potential these token characters have. Dionne in Clueless (1995)
Akrem discussed the way QBFA helped foster community for her during her own time at Queen’s. Historically fashion has been an industry that has underrepresented and overlooked Black individuals, something QBFA helps to combat.
“The show is really a reminder of the Black artistry and culture that deserve to be at the forefront in February, and all year round,” Akrem said.
“Having spaces for Black students to just be Black students to do fun stuff, and express themselves, and be in a space where you can really just exist is so important,” Thomas added.
The co-presidents emphasized the importance of having spaces on campus for Black students to come together that aren’t strictly academic,
Thankfully, the ability to write compelling characters does exist, and it’s time directors and screenwriters applied it to all cast members equally. Eric, from Sex Education (2019), for example, is a well-rounded character who happens to be Black, not the other way around. This is likely because Sex Education has a more diverse writing room than your typical Netflix original. Mary Lamb, in The Holdovers (2023), is another incredible example of a complex and interesting Black character who thoughtfully contributes to the narrative.
Tokenization isn’t only poor representation but also harmful and degrading to an entire race. Directors and screenwriters need to provide the same care and attention to detail to Black characters as they do to white ones. Shows, and movies, will be better for it.
allowing for creativity and joy to shine. This creative element is what makes QBFA stand out among other equity-deserving clubs on campus.
“QBFA has made such a big difference in so many people’s experiences here at Queen’s, along with all of the Black clubs here on campus. The community that these spaces have provided are irreplaceable,” Akrem shared.
Saturday’s show is one the co-presidents hope will leave a lasting impression on its attendees, with Akrem hoping that people can “walk away feeling like you’re a part of something meaningful.”
The token ‘Black best friend’ has invaded Western media for too long.
GRAPHIC BY NATALIE VIEBROCK
GRAPHIC BY NATALIE VIEBROCK
‘How do you feel?’: To be one of few Black Queen’s students
I will never be able to answer the question I get asked most often with a single word
Mayah Ricketts Contributor
“How do you feel?” This is the question I get asked the most by my non-Black peers.
“How do you feel being one of a few Black students at Queen’s?”
Though they always ask, I’ve found no one ever really wants to know the answer. Nor are they interested in listening.
They start off strong with very intentional nods and vague sounds of understanding, but the shift in conversation is inevitable. As soon as I finish my final sentence—if I even get to finish it—they’re quickly trying to find a way to make the topic of my isolation about themselves.
Soon enough, I find myself nodding along while a white person tells me about the shameful lack of diversity in their small town in Northern Ontario. Or I get to hear about the one Black girl they were friends with in high school and how her and I would probably get along, if we ever got the chance to meet.
“How do you feel?” To answer the question honestly, there are too many feelings to say.
Whenever the topic of race is brought up, I feel a pit in my
stomach, especially when I’m the only Black person in the room—and I often am. I usually find myself minimizing my feelings, keeping my voice light and my sentences brief so I don’t accidentally make someone uncomfortable by discussing my own discomfort.
“A lump forms in my throat when I see that word on a slide and I have to wonder if today is the day I’ll hear a professor make an excuse for saying a racial slur. I find myself overcome with joy when they don’t
That pit in my stomach, the feeling of overwhelming dread, stays with me most days at Queen’s, especially when I’m in class. As a history major, it’s impossible to avoid the topic of anti-Black racism. I know it’s rooted in most of modern history, and I know I have to learn about it—but that doesn’t stop that horrible feeling rising whenever I open my syllabus and see an entire lecture dedicated to the slave trade or Jim Crow America.
The feeling only worsens when I walk into a lecture and discover I’m the only Black person in the room. A lump forms in my throat when I see that word on a slide and I have to wonder if today is the day I’ll hear a professor make an excuse for saying a
racial slur. I find myself overcome with joy when they don’t.
“How do you feel?” Sometimes, I feel annoyed.
If I see a group of strangers taking up the entire sidewalk, refusing to move, I’m annoyed because I now have to step onto the road to skirt around them. I then become angry at myself because I should stand my ground and walk right through them if they refuse to share the public infrastructure. But I’ve never been brave enough. So, I always step onto the street.
I also feel annoyed when I’m talking to a group of white people, and they completely ignore me. I think about all the times I’ve been told to put myself out there and make new friends.
I wonder how that’s possible if nobody is interested in hearing what I have to say.
“How do you feel?” Other times, it can be funny, and I feel like laughing.
Once, in a gender studies tutorial, we were discussing what it’s like to be “othered” because of your race. We broke off into small groups to discuss and a girl turned to me and said, “not to pick on you, but…”, making a face like I should be able to fill in the rest of her sentence. At that moment, I laughed.
I wasn’t upset with the girl—of course, in a group of white people, I’d be the best one to talk about experiencing racial othering.
It’s funny when nobody wants to sit next to me on the bus or share a lane with me
at the pool; that’s fine by me. Feel free to stand—now I have a seat for my bag.
“How do you feel?” But more than anything, I feel scared.
“Being the only Black person at a party is a lot more terrifying than being the only Black person in a classroom
Being the only Black person at a party is a lot more terrifying than being the only Black person in a classroom. I’m scared to go too far from campus. The looks from the Kingston locals are somehow more withering than the looks from Queen’s students.
I’m scared to put my hands in my pockets when I walk through the drugstore. I don’t want to get in trouble for something I didn’t do and instead of trying to defend myself to a security guard, I avoid my pockets entirely.
These feelings of fear and dread are easily washed away when I get to be with my friends—friends who look like me.
They showed up right when I needed it the most, at the start of a cold and dreary winter semester. All it took was one introduction and it grew from there. It wasn’t easy; until then I hadn’t had many positive experiences with Queen’s students. But it didn’t take long for me to realize that I’d found the most amazing group of people who I never have to
be shy around—people who actually listen when I speak and never make me feel excluded. I’m lucky enough to have friends like this at home, but in Kingston, these were my first friends who looked like me and understood me. Spending even two minutes with them can make even the most horrible days a million times better.
“Finding a community of Black women I’m lucky enough to call my friends was one of the best things to happen to me at Queen’s
Finding a community of Black women I’m lucky enough to call my friends was one of the best things to happen to me at Queen’s. It showed me that it isn’t always bad. It can get better—if not, bearable. Soon enough, the looks didn’t matter as much and the pit in my stomach went away.
In no time, I felt safe, and I felt seen.
“How do you feel?
So, to answer the question: most of the time, I feel too many negative things to explain with just one word. But the rest of the time, I feel loved.
Want to write a postscript? E-mail journal_postscript@ams.queensu.ca for more details.
Mayah reflects on the community she has built at Queen’s.
