The Concordian - March 14th, 2017

Concordia University’s weekly, independent student newspaper

theconcordian

VOLUME 34, ISSUE 23 | TUESDAY, MARCH 14, 2017

theconcordian.com  /theconcordian  @theconcordian

theconcordian

The legacy of Maple Spring

Five years ago, 200 000 Quebec students marched against tuition hikes. Has anything changed?

News p. 2

also in this issue

life

arts

music

Jazzing up the O The feminist fight Mused by music against cancer p.6 and religion p.8 Patro Vys p. 13

sports

Aiming for a thirdstraight title p.15

opinions

Students need help adulting p. 17

news

NEWS EDITORS /// news@theconcordian.com SAVANNA CRAIG & NELLY SERANDOUR-AMAR ( @savannacraig @nellsamar03)

COVER STORY

Looking back on Maple Spring, looking forward to free education

Protests plagued by months of police brutality, mass arrests succeed in ending tuition hikes

SAVANNA CRAIG CO-NEWS EDITOR On March 22, 2012, roughly 200,000 students poured onto the streets of downtown Montreal in what was one of the most iconic moments of the 2012 Maple Spring movement against provincial tuition hikes. In support, students pinned red squares of fabric to their clothes to denounce austerity measures imposed by the government.

One month prior, 36,000 students had voted to go on strike.

This large-scale mobilization was in response to former Quebec Premier Jean Charest announcing gradual tuition hikes in March 2011.

The Charest Liberal government proposed a province-wide tuition increase of $1,625 for university students, intended to be put into effect over a five-year period. Based on this plan, annual tuition fees would increase by $325 every year, rising from $2,168 to $3,793 by 2017.

Various occupations and mobilizations continued during that spring and throughout the summer, leading up to a protest on November 8, 2011, when 30,000 people took to the streets of Montreal to oppose these hikes—this culminated with a sit-in held at the administration building of McGill University.

While the protest in March 2012,

which marked the peak of the movement, saw no arrests, in the months that followed, thousands of protesters were detained, along with bystanders and journalists caught up in kettling, a crowd-control tactic that corrals groups of people into a confined space.

As the summer of 2012 approached and the strike persisted, the municipal government of Montreal sought to curtail demonstrations by passing laws such as P6—a bylaw which banned protests not authorized by the city’s police and prohibited participants from wearing masks. This resulted in mass arrests—students endured police brutality, hefty fines and even harsh weather as the protests persevered into the winter months of early 2013.

The Parti Québécois (PQ) was elected into office on September 4, 2012—the planned tuition hike was revoked one day after they took power. However, by December, the new government had laid out plans to slash the provincial budget.

Among other affected institutions, Concordia University announced it was facing $13.2-million in cuts—cuts which caused the university to declare a deficit.

In Februar y 2013, the PQ announced a three per cent tuition fee increase, amounting to $70 annually. This would increase tuition by $254 per year over a

seven-year period, according to Maclean’s, which would be slightly less than the $325 hike proposed by the Liberal government. This was an act students condemned, and it led to renewed demonstrations, resulting in mass arrests during the following weeks.

After a long period of dwindling mobilization, a resurgence nicknamed Printemps 2015 restarted not just for students, but for all who were discouraged by the Quebec government’s budget cuts and the direction the province was headed.

Now, five years later, those who were involved in the Maple Spring movement reflect on the movement’s success, the evolution of the anti-austerity mobilization and the future of access to education for students in Quebec.

Many of Concordia’s current students were in their first year of university when the strike began.

One student among them is Lucinda Marshall-Kiparissis, the general coordinator of the Concordia Student Union (CSU).

“I joined the PSSA [Political Science Students’ Association] strike mob committee to help out with organizing, with picketing,” Marshall-Kiparissis said. The committee was tasked with organizing pickets and other events related to the strike. “At that point, I wasn’t in

a lot of organizing work because I was still getting my feet wet.”

Nonetheless, she described herself as a very enthusiastic participant.

Marshall-Kiparissis said mobilization in the form of strikes and large-scale protests was more common among francophone universities at the time. “So for Concordia to go on strike, this was one of the first major times that an Anglophone student community joined that greater movement,” Marshall-Kiparissis said.

Alex Tyrrell, the leader of the Green Party of Quebec, attended various student protests at the time.

He said he would often record the protests and upload those videos to Youtube to document the movement, particularly focusing on police brutality and other incidents.

While filming, Tyrrell was stopped by law enforcement officials.

“I got arrested one time for P6 on May 22, 2012,” Tyrrell said. “That was immediately after they passed the special law.” The Montreal P6 bylaw had been imposed by then-Mayor of Montreal Gérald Tremblay in 2012 to counter student protesting.

“You had to provide your itinerary before protesting, otherwise it would end in mass arrests,” Tyrrell said.

On the day of Tyrrell’s arrest, each detainee was subjected to an invasive search, one by one, and then put on a bus and were read their

rights. Tyrrell said he and the bus loads of detained protesters were taken to the Centre Opérationnel Est in Saint-Léonard to be processed.

He was released at 5 a.m. the next morning.

“We were let go with tickets for $650 each,” Tyrrell said. “Here we are protesting tuition hikes—people are taking risks on the tuition they paid for that semester by going on strike—and then [the government’s] response is to make us pay more money to the government.”

He described the mass arrests and the laws causing components of student protests to be illegal, as a form of oppression administered by the Liberal government. “Being arrested is frowned upon—a lot of people think it’s a very negative thing,” Tyrrell said. “I’ve only actually recently started talking about it publicly because now it’s actually been proven unconstitutional.” He said before the arrests were deemed unconstitutional, people would warn him that a criminal record could affect his political career. P6 was ruled illegitimate in June 2016 by the Quebec Superior Court Justice Chantal Masse, as two crucial points of the bylaw were unconstitutional, including Article 2.1, which made it illegal to hold a protest without an itinerary registered with police beforehand. Additionally, Article 3.2 was marked wrongful as it

MARCH 14, 2017

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The march against tuition hikes on March 22, 2012, brought together roughly200,000 people.

Archive photos by Navneet Pall and Sophia Loffreda.

prevented the wearing of masks during a protest.

Tyrrell said after acquiring leadership of the Green Party of Quebec, he found himself in situations where could debate with Geoffrey Kelley, a former minister of the Liberal government, about a generation wanting to protest being met with police brutality and mass arrests.

Over the course of the protests, Tyrrell said he lost confidence in the integrity of the police force. During April 2012, protesting peacefully increasingly put the physical safety of participants at risk. He said it was often other protesters who would intervene when some participants began vandalizing. “The protest would try to police itself,” Tyrrell said.

He said he realized the police were not interested in arresting specific unruly protesters or preventing individual acts of vandalism. "They were more interested in using the fact that the window was broken to declare the entire protest illegal, and start taking out the rubber bullets and pepper spray,” Tyrrell said.

“That, I think, for a lot of people, called into question the legitimacy of the police force.”

Over the course of the protests, SPVM law enforcement officials requested more than $7.3 million in overtime income for work between February and June 2012, according to the McGill Daily. For May and June

alone, SPVM police officers were paid $5.6 million for overtime.

La fraternité des policiers et policières de Montréal—the union representing SPVM police officers— estimated that special intervention units were paid between $2.5 to $3 million during the strike, as they were required to assist more than 150 times during an 11-week period, according to the McGill Daily.

protests. He was one of 26 students who were set to face tribunals at the university for actions during strikes in the 2011-2012 academic year.

These students were being charged for conduct prohibited under section 29G of the university’s Code of Rights and Responsibilities, which deals with the “obstruction or disruption of teaching, research, administration, study, student disciplinary procedures

from about 40,000 members before the strike [to] 75,000 after,” said Marion Miller, a member of ASSÉ’s training committee.

After 2012, ASSÉ dropped in membership. According to Miller, ASSÉ had trouble making quorum last congress—in other words, reaching a minimum number of members needed to validate the proceedings of that meeting, which took place

“The strike was against tuition hikes, but the long-term goal was free education and redistribution of wealth,” Tyrrell said.

Tyrrell recounted an instance of police brutality faced by a friend of his during one protest.

He described his friend fleeing riot police officers, but, as they chased him, Tyrrell’s friend stopped to turn himself in. Despite his compliance, police pushed the young man from behind and threw him to the ground, causing him to fracture his wrist.

“Then they put him in handcuffs with a broken wrist and they cut the straps of his backpack off,” Tyrrell said.

Matthew Palynchuk, now a masters student, was a first-year undergraduate philosophy student at Concordia at the time of the

or other university activity.”

Palynchuk said the evidence to be used against him at the trial consisted of security tapes which didn’t contain any recognizable footage of him.

On September 18, 2012, the day before Palynchuk’s tribunal, newly-appointed Concordia President Alan Shepard withdrew all charges administered by the university, as a fresh start between administration and students.

The Association pour une solidarité syndicale étudiante (ASSÉ), a Canadian student union prominent within the anti-austerity movement, obtained a large number of members over the course of the protests. “ASSÉ went

between February 25 and 26. “It’s a quiet period,” Miller said.

In response to rumours made towards ASSÉ disbanding, Miller said she understands the assumption, as ASSÉ has not been as externally active in recent years. However, she denied the claim. “If [ASSÉ] were to be at the end of an era, they could rebuild,” said Miller. However, she said ASSÉ is not at the end of era.

“The strike was against tuition hikes, but the long-term goal was free education and redistribution of wealth,” Tyrrell said.

“It’s just a question of priorities.

The government has more than enough money to pay for people's

tuition, but they choose not to,” Tyrrell said. “They choose instead to give tax breaks to national corporations, the one per cent—that’s a choice.”

“Neoliberals want students to graduate in debt,” said Tyrrell. He said this is because somebody who graduates university debt-free is not necessarily going to go work for a corporation immediately. “That’s the freedom that’s associated with free education.”

Tyrrell said a way the Quebec government could provide free education is by not only removing tax breaks to private corporations, but by generating revenues from a number of sources. Some suggestions include a carbon tax and mining royalties—this is the model proposed by the Green Party of Quebec.

Tyrrell said he believes the government is being infiltrated by private interest. “Who is the government working for?” he asked.

“They defend private interest rather than the well-being and best interest of the general population.”

“The 75 per cent hike was supposed to come into force over five years—the entire hike would be in place by now,” Marshall-Kiparissis said. “Instead of having the 75 per cent, we’ve had about 15 per cent hike over that period of time. That’s the legacy of the student movement.”

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theconcordian

MARCH 14, 2017

EVENT

Israel Apartheid Week event interrupted

Solidarity for Palestinian Human Rights (SPHR) hosted a discussion on Palestine's colonization

AYSHA WHITE STAFF WRITER Solidarity for Palestinian Human Rights (SPHR), a Concordia student group that aims to raise awareness about human right abuses towards Palestinians, hosted a panel discussion on the ethnic cleansing of Palestine on Thursday night in Concordia’s Hall building.

The event was part of the Israel Apartheid Week 2017, a week aimed at creating international awareness of the settler-colonial relationship between Israel and Palestine, and the Palestinian apartheid. SPHR advocates for an end to Palestine’s colonization and aims to promote awareness of Palestinian culture and identity.

Nahla Abdo, a professor in the department of sociology at Carleton University in Ottawa, was the first speaker. The other two panelists were Nuha Dwaikat Shaer, a PhD candidate at McGill’s School of Social Work, and Rula Abisaab, a professor of Islamic history at McGill University.

Approximately one minute into Abdo’s presentation, two young men entered the auditorium wearing Israeli flags tied around their shoulders like capes. Both men, followed by a man filming them, walked up to the table where the panelists were seated and began to chant, “I’m Israel, I’m Israel, we are here to stay,” adding, “there is no Palestine, there was never any Palestine.”

Abisaab attempted to read the poem “With Green We Wrapped Him” by Palestinian poet Izzidin al-Manasrah over their chants.

“We wrapped him in a shroud of green, white and black. A red triangle on rectangular flag,” she recited.

However, this did not deter the protesters, and the other two panelists and some audience

members became involved in a verbal confrontation with them.

At one point, several audience members chanted “shame shame shame” at them.

Both men repeated, “there’s no Palestine,” to the crowd.

CSU internal affairs coordinator and former SPHR president Ramia Yahia, who had been at the event moments before, said he heard yelling coming from the auditorium.

Yahia said he suspected someone was attempting to disrupt the lecture.

Yahia, accompanied by CSU external affairs and mobilization coordinator Aloyse Muller, entered the room, and asked the men to stop.

Yahia said security arrived about five minutes after both executives intervened, and the men stopped yelling. Yahia said both men who were chanting wore badges from the Israeli army on their bag and t-shirts with the Israeli defence emblem on it.

When the two security guards arrived, they escorted the protesters off to the side. A group of people and a handful of CSU members followed them. The group talked for a few minutes, then the protesters were escorted outside by the security guards.

Howie Silbiger, identified as the man who was filming both men at the time, said he was there on behalf of Montreal Jewish News to cover the event. Silbiger said he was not affiliated with the protesters. “I was informed that the event was going to happen,” said Silbiger.

Silbiger, a Concordia Student, said he was followed to class by security and two members of SPHR who were recording, when security asked Silbiger to provide identification.

Security informed Silbiger a complaint was being filed against him did not state why, Silbiger said.

“Our job is to cover news when it happens,” said Silbiger. He said he believes he was racially profiled by Concordia security. “I did nothing to disrupt or disturb the event, stood quietly in the back of the room and cooperated fully with security,” said Silbiger.

“There is an ongoing investigation,” said Yahia, concerning the men who disrupted the panel.

After the protesters left, Abdo resumed the presentation of her theory on the settler-colonial relationship between Israel and Palestine. “In the simplest way,

I define racism as the relations bet ween the sup er ior an d what they turned into inferior,” she said.

A b d o d i scussed the historical events that shaped the Middle East, such as the 1916 Sykes Picot Agreement, the 1917 Balfour Declaration and t he 19 4 8 Indigenous Genocide that led to the creation of Israel.

Shaer presented the subject of her doctoral thesis, which focused on the ethnic cleansing and quiet resistance of Palestinians in Area C—a section of the Gaza Strip.

Area C is a highly-contested piece of land that both the Israelis and Palestinians claim ownership of.

There are over 180 Palestinian communities in Area C that want to stay, despite the Israeli government bulldozing their homes and denying their building permit applications, Shaer said.

According to Shaer, the Israeli court has yet to approve a single Palestinian building permit appli-

cation in Area C. “Palestinians are quietly resisting occupation,” she said.

This resistance includes living in caves, makeshift shelters, sheds and tents, building structures on Saturdays (the Jewish day of rest) and purposely building incomplete structures since complete ones are more likely to be bulldozed, Shaer explained.

Abisaab read a selection of poems and parts of short stories

by Palestinian authors.

She finished by reciting the same poem she had recited at the start of the discussion.

The Concordian reached out to Israel on Campus: Concordia, to which they provided their official statement about what happened.

“Israel on Campus condemns this action done by non-Concordia students which decided to interrupt this event. IOC stands for freedom of expression and the right for everyone to express what they think and feel.”

Israel On Campus is a group geared to educate others on Israel’s commitment to democracy in the Middle East and its humanitarian efforts, history, culture and environmental initiatives The Concordian reached out to the university for comment, however, we did not receive a response before publication time.

With files from Savanna Craig.

The panel disrupted by two men exposing Israeli flags. Photos by Alex Hutchins.

MARCH 14, 2017

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WOMEN

Montreal marches on International Women’s Day

Hundreds of Montrealers marched in solidarity of women’s rights

ThemarchbeganatQueen Mary Square in honour ofthe women who were murdered at École Po l y t e c h n i q u e o n December6,1989.Photos

by Alex Hutchins.

CHLOË RANALDI CO-NEWS ASSISTANT Hundreds of Montrealers took to the streets on March 8 to celebrate International Women’s Day. Protesters met at 5 p.m on the corner of Queen Mary near Côte-Des-Neiges metro station, and at 6 p.m. marched to Nelson Mandela Park.

Women held signs that read, “We demand income equality” and “Where are the missing native indigenous women.”

The march began at Queen Mary Square in honour of the 14 women who were murdered at École Polytechnique on December 6, 1989,

said Marie Boti, the organizer of Montreal’s International Women’s Day march.

Elizabeth Shepard, a protester and mother of t wo toddlers, explained her reasons for taking part in the social movement. “With statistics that show that women are making [less than] of what men are financially, in Canada, I feel like it is important for my daughters to know that, and that in the future that they can surpass this,” said Shepard.

Statistics Canada released new data on International Women’s Day this year, identifying that Canadian women earned 87 cents an hour for every dollar made by men in 2015.

“I am proud to be a woman

these days,” said Sandy Bourdelais, a Montreal university student. “I am here to support women’s rights, and I am proud that our ancestors have fought for our freedom today.”

“I hope that women can be treated equally,” Bourdelais said.

“The women’s march that we’re having right now is an amazing opportunity to celebrate this day because, unfortunately, we live in a patriarchy that still oppresses women,” said Samy Cheallah, a male student and marcher.

“Whether it’s working-class women, trans women, women from all over the world, it is important that we all mobilize and create a community where people can get together and raise their voices,” he

told The Concordian.

“Although I am a man and I don’t experience the kind of oppression women face, if anyone considers themselves as an ally, they should be here at these events in support of women,” said Cheallah.

Since 1909, International Women’s Day has taken place on March 8 to commemorate the women’s rights movement.

The Simone de Beauvoir Institute (SdBI) is one of the oldest women’s studies programs in Canada.

“This year, SdBI will celebrate its 40th year,” said Julia Dyck, the communications and events coordinator at SdBI. “What we are seeing at the institute is that feminism is stronger than it has ever been.”

“It is not just rights for women— SdBI takes an intersectional approach on issues of racism, sexualism, colonialism, transism, ablelism and a generally social justice approach to all of these things,” Dyck said.

“International Women's Day is a day to acknowledge how far we have come and all the important work women have accomplished and to address inequality,” Dyck explained. “Although there is a long way to go and there remains huge gaps in gender inequality and along the lines of race ability and religious social class, the idea that all of these things make up your experience is not as useful as looking at all of these issues together."

ASFA

ASFA passes motion to protect students

ASFA councillors discuss students right to study and pray

NELLY SERANDOUR-AMAR CO-NEWS EDITOR A motion to condemn Islamophobia and officially take part in Sanctuary Campus was passed at the Arts and Science Federations of Associations (ASFA) monthly meeting on March 9.

These motions were passed in response to the fake bomb threat targeting the school’s Muslim community on March 1.

The motion stated that ASFA condemns Islamophobia and any form of religious discrimination, and that ASFA supports current and future campaigns to fight

students. “Taking a position that condemns any forms of religious discrimination is something that we have to work on as an association to make sure that it doesn’t happen again.”

ASFA wants to ensure the protection and safety of Muslim students because they have been seeing a lot of discrimination towards Muslim students in particular. “It doesn’t matter what religion you are. As a ASFA councilors voted on student, you are entitled condemning Islamophobia to have your space to and officially taking part pray and experience your in Sanctuary Campus. religion in any way. Having P h o t o b y N e l l y discrimination against Serandour-Amar. any religion is completely

Islamophobia on campus and any action taken by the CSU to do so in Montreal.

“While we do have an antiracism position, [the councillors] wanted to be sure that we had something very specific to the kind of racism that we experienced at Concordia on March 1,” Julia Sutera Sardo, ASFA’s vice-president of internal affairs and administration, told The Concordian . She said ASFA is be taking this opportunity to show that they are more than a political association and they have the power to protect their

ridiculous,” Sutera Sardo said. Concordia students who practice Islam have a religious space on the seventh f loor of the Hall building, near the Concordia Student Union (CSU) office.

A S FA a l s o

voted to officially take part in Sanctuary Campus with the CSU. A Sanctuary Campus is when a college or university adopts policies to protect students who are undocumented immigrants. This term is modeled after “sanctuary cities” which have been adopted by over 30 municipalities in the U.S., and so far, four cities in Canada.

“The councillors brought this point forward and we really applaud them for doing so,” Sutera Sardo said.

“We wanted to have a motion that allows ASFA to suppor t officially Concordia to become a Sanctuary Campus in Montreal,” Sutera Sardo said. “We want to make sure that all students are

treated equally and that they’re not sent back somewhere else or that their rights to study are denied.”

ASFA is responsible for 25,000 students, and for them, it’s important that these students feel comfortable studying at the university. “We want to make sure they have a space to study and to not be bothered because of something that is on paper. It doesn’t matter what it says—if you’re a student, you should be treated properly and you have a right to an education,” said Sutera Sardo.

She encourages all other student associations to support the Sanctuary Campus movement.

life

LIFE EDITOR /// life@theconcordian.com DANIELLE GASHER

COLUMN

Bartender Banter: The glamorous grape A sommelier shares some tips for getting into wine tasting and pairing DANIELLE GASHER LIFE EDITOR

“Remember, the wine isn’t bad, it’s just not your taste,” he says with a laugh.

There’s something about wine that feels elitist. Intimidating even. People have been making the drink for over 4,000 years. Families have fallen out over its production. The wine industry is a multi-billion dollar industry. In the United States alone, the wine industry contributes over $160 billion to the American economy, according to the research firm MKF Research.

Some are willing to wait 20 years to open a bottle to taste it at its full potential. For a newbie, wine can feel like abstract art— unattainable and overpriced.

But Le Majestique’s sommelier, Benoit Saint-Hilaire, says while there is an element of prestige to wine, no one should be intimidated by it. After all, “people have been drinking it for over 4,000 years to party and have fun,” he says.

I sat down with Saint-Hilaire to discuss the basics of tasting, pairing, and to get the scoop on some budget-friendly wines students should get their hands on.

Saint-Hilaire became interested in wine thanks to his family. His parents would host dinners, and that’s when he started developing his taste. Saint-Hilaire stresses that the wine tasting experience is extremely subjective. He believes it is important to remain humble when discovering different wines, and to respect different tastes.

 Getting into it Saint-Hilaire says the best way to get into wine, and to develop your taste, is to… well… taste! So if the expert says it, drink away, fellow Concordians! By tasting a lot, he explains, you learn to pick up different subtleties, odours, flavours and notes. He recommends taking it by region, focusing on one at a time. By tasting different wines from a specific region, he explains, it enables you to make connections between the subtleties of different grapes and different estates. He also recommends reading up on the producer. “When I buy a wine, I always go on the estate’s website—I see how they work,” Saint-Hilaire says.  Pairing Saint-Hilaire says he is no purist, and believes people should just pair to their taste.

That being said, he likes to implement a balance between the flavours of the meal and his wine.

For example, for a richer, greasier meal, he would recommend a lighter, fresher wine with some acidity to balance the flavours.  Some recommendations When asked to recommend a few wines and regions for students to try, Saint-Hilaire’s eyes shoot open. “There are too many!” he exclaims. But for students and beginners,

Some of Saint-Hilaire’s recommendations: Tetramythos Black of Kalavryta 2015 (left), Ludovic Chanson’s Les Cabotines 2014(centre)andTetramythos Roditis 2016 (right). Photos

by Danielle Gasher.

the sommelier says you can’t go wrong with adventuring into the Côtes du Rhône wines.

He says you can get good ones starting at $25.

Still in France, he also recommends wines from the Alsace region because they’re accessible, balanced and “easy to drink,” as Saint-Hilaire puts it. He also recommends wdrinking wines from Spain and Portugal because they are cheap and flavourful. “Drink Spanish wine my friends!”

Saint-Hilaire exclaims. He assures a good bottle can easily cost under $20.

Surprisingly, Saint-Hilaire also recommends checking out Greek wines. While he admits you have to seek out the good ones, he says

you can find good value for your money.

Saint-Hilaire recommends trying Greek wines from the Tetramythos estate. Their red wine is the Kalavryta, which he says is comparable to a Pinot Noir. For white wine lovers, he recommends the Roditis, which he describes as crisp and fresh. Both the red and white are currently available at the SAQ, as well as on Le Majestique’s wine list.

So if you value your wino education, it’s time to start tasting everything, pairing as you wish, and checking out those wines from Spain and Portugal!

Cheers, folks!

WORKSHOP

Tips on taking the dive into the dumpster A discussion about the food industry through the dos and the don’ts of dumpster diving ELISA BARBIER STAFF WRITER When faced with the idea of diving into a dumpster to collect dinner, some may think ew. In our society, garbage is thought of as filthy. So, naturally, a stigma surrounds the dumpster diving practice. But think again.

On March 10, Concordia students Isabella Donati-Simmons and Aven Fisher organized a workshop to talk about the art of ‘diving.’

The workshop, coordinated by Les Échelles, a collective with a focus on a sharing lifestyle, explored the dos and don’ts of the practice, as well as the larger problem of food waste in Canada. The event gathered about 30 people, half of them already experienced divers.

“We are not experts. We are just avid dumpster divers,” Fisher said to start off the workshop.

The participants and organizers discussed major problems surrounding food waste in Canada and around the world. From consumer standards of food aesthetics to transportation and transnational agreements, to the lack of personal connection with food, participants discussed some of the reasons they felt food waste is such a big problem.

“The food system is an extremely complex web. It is not just a straight line,” Fisher said.

In Canada, $31 billion worth of food is wasted each year, according to a 2014 report from Value Chain Management International, a global company aiming to improve the efficiency of food chains. This marks a 15 per cent increase from 2010. The same study shows that 47 per cent of this waste comes from individuals in their homes. “It makes you wonder why some are still starving or food insecure, especially the First Nations peoples,” Donati-Simmons said.

Fisher and Donati-Simmons went through “the dumpster rules.” According to the organizers, divers shouldn’t necessarily look at the best-before dates on unopened products and packages. They say it is more important to rely on smell and look instead.

Some products contaminated by mold are still edible. The U.S Department of Agriculture established a list of food which can still be eaten if moldy. This includes hard cheese, firm vegetables, and salami.

Donati-Simmons recommends cutting about an inch around and under the mold.

Dumpster divers should equip themselves with a light, preferably a head lamp, gloves and reusable bags. The best places to dive

are around small grocery stores or bakeries.

The organizers also recommended paying attention to garbage day schedules and store owners’ garbage habits. Fisher also pointed out that it is important not to take more than you need, with respect to other divers.

While the practice is not illegal, it is illegal to trespass. “Most tenants are okay with it and will indicate where to look or even give you wastes, but don’t leave it messy,” Fisher said.

“The best thing is to be respectful [as divers],” Donati-Simmons added.

To clean food collected on a diving trip, a bath of water and vinegar or dish soap

does the trick. It must be naturally air-dried before refrigeration to avoid spores during storage. The food can then be prepared or frozen after being dried. The most common uses of recollected food are in soups, jams, smoothies, kimchi or as dried fruit.

The workshop was followed by a diving initiation in the Plateau and a meal at Donati-Simmons’ and Fisher’s house with the recollected food.

“Dumpster diving is sharing, finding new uses, changing the waste culture and realising what our society does,” DonatiSimmons said.

Graphic By Thom Bell.

MARCH 14, 2017

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7

FEMINISM

Battling both disease and oppression Canadian scholar Sharon Batt sheds light on issues within the healthcare system and her experience with health activism

Sharon Batt, author of Patient no more: the Politics of Breast Cancer , is a

l o n g -t i m e f e m i n i s t health activist. Photo

by Ana Hernandez.

“

We need a lot more conversation and communication on the diversity of issues that affect women.

MINA MAZUMDER ASSISTANT LIFE EDITOR Award-winning journalist and women’s studies scholar Sharon Batt discussed feminist health activism and social justice on March 6, as part of the Simone de Beauvoir Institute’s Feminist Café event.

Batt discussed her experience with social activism, the health system, wage disparities and intersectionality. She talked about the importance of understanding the health system—specifically the pharmaceutical industry—and the issues within it.

Batt said neoliberalism hasn’t delivered on its promises of equality. Neoliberalism is an altered version of liberalism that focuses on free-market capitalism. “Instead, we have rising inequality, unsustainable drug prices, and pharma-funded patient advocacy not serving patient interests,” Batt said.

Batt first became an activist in the 1970s. In 1973, she and a friend founded Branching Out, Canada’s first national feminist magazine. The magazine, which was active until 1980, was initially only distributed in Edmonton before becoming available in other provinces. “ That’s when I got involved in the women’s movement and doing grass-roots community work,” Batt told The Concordian.

“We wanted to have a high-quality magazine that focused on feminist contributors and political issues. It got me excited about journalism, feminism and working in a community,” she said.

In 1988, Batt was diagnosed with breast cancer. She was treated for breast cancer from 1988 to 1989. She was also diagnosed with colon cancer in 2005, and was treated successfully.

Batt was a feminist activist through her

”

journalistic work long before her diagnosis and treatments. However, after being diagnosed, she increasingly focused on health activism.

In 1994, she wrote her first book, Patient No More: The Politics of Breast Cancer. In her book, Batt offers a critical look into the cancer treatment “industry.” In 1991, she co-founded Breast Cancer Action Montreal, a group to help women fighting the disease. “I

Concordia. “This is one of the reasons I got the position [at the Simone de Beauvoir Institute] as a scholar,” Batt told The Concordian.

Batt was part of the second wave of feminism through the work of her magazine in the late 1970s. During that period, she learned that women’s health issues were undervalued. “There was a lot of interest in money [during the second-wave

was working in the community with women who were feminists,” she said.

After working at the national level for the breast cancer awareness movement, Batt moved to Halifax to teach women’s studies at Mount Saint Vincent University for two years, where she was the Nancy’s Chair in Women’s Studies. The Chair title was named after Nancy Ruth, a renowned feminist and activist.

Batt said her experience with community work and academia is what brought her to

women’s movement], including cut-backs, and it was a hard period,” Batt said. She emphasized that the government focused more on economic issues, rather than on human rights and equality. “There was a conservative agenda for the last 20 years,” Batt explained.

Batt said she’s interested in getting to the root of cancers that affect women. “We need to understand why so many women get these diseases. A lot of them are environmentally-related. This

is one of the reasons why I co-founded Breast Cancer Action Montreal—to raise awareness on prevention and the need to reduce toxic chemicals that can lead to cancer,” Batt said.

Now, the focus of the organization is on younger women and prevention. “We’ve worked on a project called FemToxic, which looked at chemicals in makeup and how to educate young women. This is new for us, since, when we started out, the focus was more on older women,” Batt said.

“Touching younger women helps to bring more prevention. There are many things that younger women can learn from my generation.”

Batt’s message to Concordia students, especially female students: “Be engaged in the women’s movement. We all come into feminist politics for different reasons, and the passion you have for your own issues is vital,” she said. “Don’t be afraid to bring your issues to the floor, even if they may not be the central issues right now.

Listen to other women who have different issues. We need a lot more conversation and communication on the diversity of issues that affect women.”

As for the future, Batt hopes to see change in the pharmaceutical industry and a reduction in the cost of breast cancer treatments.

Through her upcoming book, Health Advocacy, Inc.: How Pharmaceutical Funding Changed the Breast Cancer Movement, Batt hopes to educate people on health policy and women’s healthcare. “Medications are overpriced. I think community groups that are involved [in activism] need to voice that [issue], even if they are afraid,” she said.

The book will be released on June 1.

Graphic by Thom Bell.

arts

ARTS EDITOR /// arts@theconcordian.com TIFFANY LAFLEUR

EXHIBITION

Chagall: Where colour and music meet Exhibition at the MMFA melds the visual with the auditory

TIFFANY LAFLEUR ARTS EDITOR Music had a deep influence on Marc Chagall. The Russian-French artist was an early modernist in the late 19th to early 20th century. He was versatile both in style and medium, creating paintings, sculptures and even stained glass.

The Montreal Museum of Fine Arts (MMFA) takes an overarching look at Chagall’s illustrious career in Chagall: Colour and Music. Featuring 340 works of art, the MMFA has combined interactive elements with classic exhibition spaces to immerse visitors in Chagall’s art.

According to the museum, the exhibition is the largest ever devoted to Chagall in Canada. And, considering how prolific the artist was, it requires a lot of time to go

through. The exhibition space is massive.

In order to truly understand the different influences in the artist’s life, it’s worth taking the time to read the museum descriptions to really appreciate the artwork on display.

There is quite a variety of artwork to see.

In his lifetime, Chagall produced sculptures, paintings, drawings and costumes for ballets and operas. He even dabbled in stained glass and tapestry making. It seems as if no medium was out of his reach.

No matter which piece you look at, regardless of when in Chagall’s career it was produced, the work is always unmistakably Chagall. The essence of the artist’s style—be it in the integration of geographic shapes, the vivid colours or the appearance of movement—is always present to some degree. Even going from a flat canvas to a three-dimensional sculpture, his works still

bear his signature curves and geometric patterns. Through his versatility there is also familiarity, and it is interesting to chart the changes Chagall went through over the span of his career.

As you go through the exhibition, you learn that Chagall had several muses he drew upon for inspiration. Of his muses, music and colour were consistent. Music had a powerful effect on Chagall, and moved him deeply. Another one of his other influences was religion. His Yiddish and Jewish roots were very important to him, and had a profound impact on his creations, evident in his depictions of traditional Yiddish culture.

Music was such an integral part of Chagall’s artwork that the MMFA took it into account when putting together the exhibition. There is music playing in most of the rooms, the kind Chagall might have been listening to while he

The works presented at the MMFA show the broad scope of Chagall’s work, from his paintings, his costume designs and stained glass work. Above: Birth, 1911-1912, oil on canvas.

painted. Most of the tracks are traditional Yiddish and Jewish scores, or classical music.

The audio adds depth to the pieces. Instead of simply viewing the end results, we are privy to a small part of the artistic process.

In his works, Chagall, like Picasso, explored canvas space, texture and colour. Though Chagall’s style was whimsical and often childlike, his work also communicated deep messages of longing, or fear during the World War II when he sensed Jews were beginning to be hunted and persecuted.

Chagall: Colour and Music is on display at the MMFA until June 11. Tickets are $15 for visitors under the age of 30, and $23 for visitors aged 31 and over. The museum is open Tuesday to Sunday, from 10 a.m. to 5 p.m.

EXHIBITION

The Wild Characters of Alana Barrell ’s art New exhibition gives viewers a peek into the mind of a paranoid schizophrenic JOHN CAIRNS CONTRIBUTOR

This is Barell’s first solo exhibition.

She uses art as a means to express herself.

On a wet and windy night in Montreal, a lively gang of 60 have come to bathe themselves in the effervescence of Alana Barrell’s artistic imagination.

Upon stepping into her vernissage at the Centre d’Apprentissage Parallèle (CAP) gallery, the viewer is greeted by the rolling-eyed stares of Une Girafe, Un Rhino and Leopard, large multi-coloured paintings which are heartening and slightly disturbing. They act as ideal introductions into Barrell’s world of Wild Characters.

Barrell was diagnosed with a severe form of paranoid schizophrenia at the age of 15. Her sense of self is poignantly displayed in a series of self-portraits which evolve in a way that represents her journey through her treatment and therapy.

Each piece focuses on one segment of her life living with schizophrenia.

It begins with her treatment in the Early Psychosis and Schizophrenia

Spectrum Program at the McGill University Health Centre, followed by her experiences at the Atelier D’Artisan du Centre-Ville and the CAP program, which ended in her presenting her first solo exhibition.

In the first piece, Autoportrait, the artist presents her face as half-masked, half-uncovered, with the whole visage rendered in a very raw and indistinct style. The second piece, titled Moi, retains the image of the facial split in terms of colour, but presents a more natural expression with the mouth fixed intently in steely confidence, and the eyebrows arched with a certain wry humour.

An ink composition, beautifully and confidently executed, stares softly at the viewer with a hand supporting an almost symmetrical face, hair cascading unfettered.

In total, there were roughly 50 pieces included in the exhibition. Finally, in Woman, an ink composition, it’s the viewer who becomes unsettled, as their voyeuristic experience is shattered and the self-possessed artist stares intently into their minds.

The artist herself, clad in an indigo dress and sporting bright pink lipstick, seemed effortlessly at home with her vibrant pieces and unselfconsciously posed for photographs with the press and public alike. Barrell described

herself as both “excited” and “proud” to display her first solo exhibition, but was loath to elaborate on more analytical questions regarding her artistic process.

Yvon Lamy, an art therapist at CAP, described such reservation on Barell’s part as typical of an artist who, when her peers were attempting to dissect the underlying significance of her works, would simply say: “I just did it because it was beautiful.”

Barrell was born in South Africa in 1983, and grew up there as well as in Brunei, Ethiopia, Singapore and Canada. The influence of Ethiopian art is particularly apparent in her use of vibrant colours, depictions of religious relics and rendering of large, almond-shaped eyes. The pieces could be described as naïve art, as Barrell received no formal training, relying instead on her raw artistic talent. This makes for a unique style and a powerful artistic identity which remains in the mind long after leaving the exhibition.

Above all else, Wild Characters is a passionate, refreshing and totally unpretentious collection which excites the viewer and leaves the public hungry to see more from this evolving artist. The show runs at CAP gallery, 4865 Saint-Laurent Street, until March 31.

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FILM FESTIVAL

Unique international perspectives in film

The International Ethnographic Film Festival of Quebec aims to give a voice to the voiceless

Les Sucriers is a Quebec-made film about the delicious art of boiling maple syrup.

TYSON BURGER STAFF WRITER It is easy to settle into the rhythm of your life and forget that other ways of life exist. One way to stay open-minded about other people and their ways of life is to learn through books, the news or through an international film festival.

The International Ethnographic Film Festival of Quebec (FIFEQ) aims to give a voice to cultures and communities that may not otherwise have one. The films display unique parts of the human experience, and show the daily lives and struggles from people living around the world.

“It’s an opportunity to learn about other cultures and people that you were unaware of before. FIFEQ shows movies that you likely won’t see anywhere else,” said Alizé Honen-Delmar, a FIFEQ coordinator. This year, FIFEQ received more than 250 film submissions from filmmakers all over the world, of which the team chose over 30 of their favourites and organized them by theme.

The 14th edition of the festival will take place in Montreal between March 12 and 20 at a variety of locations, but mainly at Concordia, Université de Montréal and McGill. Concordia will be hosting a portion of the festival on March 17 and 18, from 2:30 p.m. to 8 p.m. each day.

Concordia will be hosting two blocks on March 17: Ethnography of Objects, which is comprised of films exploring the symbolic

meaning of inanimate objects to various people and cultures and Sink or Swim, which includes films about people living on boats, islands and anything else involving water.

The March 18 blocks at Concordia will be Going Through the Motions and Beyond Borders.

Going Through the Motions tells stories of rituals in different cultures, and Beyond Borders showcases films about the lives of migrants and refugees.

The screenings will be at the J.A de Sève Cinema in the Library building (LB 125), where there will be coffee and tea, as well as catered vegan food available. Entrance and the food at FIFEQ are free, and the festival is open to the entire student body and the general public.

Honen-Delmar’s favourite movie is in the Beyond Borders block. It’s about illegal border crossing in three different places: Mexico and the U.S., Morocco and Spain, and Zimbabwe and South Africa. “It’s interesting to compare the border tensions between different countries, and I think it’s especially relevant today, given current border tensions in America,” she said.

“As a film studies student, I love movies, and I also think being a volunteer is good because you can learn so much from the people you work with, and can share important information with others in the student community,” Honen-Delmar said.

In the past, FIFEQ has shown films on topics such as immigration, war refugees, religion and spirituality, and various other anthropological topics. If you’ve ever been Lots of Monsters, which will s c re e n a t Concordia on March 18, is a short documentary centering around the Loch Ness Monster.

to a Cinema Politica screening on a Monday evening at Concordia, you can expect to see films that are similar in content and subject matter.

According to their website, FIFEQ has been dedicated to “showcasing ethnographic film and visual anthropology” since 2003. They “promote representations of alterity—‘other-

ness’—that are articulated within an anti-colonial framework, [and] celebrate human agency and the diversity of environments we craft for ourselves.”

For more information, including the titles, times and locations of the films being screened, visit FIFEQ’s website at fifeq.ca.

Do you believe in the potential of education?

The Cree School Board is recruiting teachers!

Come meet us!

• March 22, 4pm-8pm • March 23, 9am-5pm Submit your application for interview cscree.qc.ca/en/employment/teach • Interviews onsite • Information Sessions all day Delta Montreal 475 Avenue du Président-Kennedy Montréal, QC H3A 1J7 Available positions include: Generalist, Math, French, and more!

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2017-03-08 12:03 PM

feature

FEATURE

A time to talk about dance

Part-time faculty member Philip Szporer breaks down contemporary dance

Philip Szporer, a dance filmmaker, writer and producer, is a part-time professor at Concordia.

Photo by Ana Hernandez.

“I am totally of the mind that there are a lot of [dancers] who are extraordinarily able to express themselves with words. I believe dancers and choreographers have something to share with people.”

VALERIA CORI-MANOCCHIO COPY EDITOR After a few years of performing with a dance company, Philip Szporer realized he did not want to dance—instead, he wanted to talk about what was going on in the world of contemporary dance.

Over 35 years later, Szporer, now a parttime faculty member at Concordia, hasn’t run out of topics to feed his passion for dance.

He hasn’t even run out of inspiration— he’s excited about his upcoming project—a film collaboration, which took him to India during Concordia’s reading week. The film, with Shantala Shivalingappa, who performs the southern Indian classical dance style of kucpudi, has been in the works for three years. The 10-minute dance film will capture Shivalingappa as she dances in this classical form. Szporer beamed when he said the project will be filmed in Hampi, India, a cherished place for Shivalingappa and a new location for him.

“It ’s going to be f ascinating .

[Shivalingappa]’s a marvelous artist,” Szporer said. One of the first times Szporer worked with her was when he was a scholar in-residence at the Jacob’s Pillow Dance Festival in the U.S. After getting to know her form of dance and witnessing a part of her production, Szporer said to himself: “That could be an amazing film.”

Filming and producing dance films and documentaries is not new to Szporer. In

2001, he and his friend Marlene Millar co-founded the arts film production company Mouvement Perpétuel. The pair’s work ranges from 3D films showing human struggles using contemporary dance in Lost Action: Trace to Leaning On A Horse Asking For Directions, which incorporates BaGuaZhang martial arts and contemporary dance choreography to evoke empathy by watching how performers move and interact with one another.

“We were interested in uncovering the landscape of the body,” Szporer said, regarding the way he and Millar go about filming their work. Their process begins with knowing the choreography to anticipate where the body will be in the space, and further convey a message in the captured movement. Szporer doesn’t describe filming a dance performance as formulaic, but there’s definitely emphasis on the “expressive quality the body can have” in stillness and in motion.

Before Szporer and Millar created Mouvement Perpétuel, they were Pew fellows at University of California in Los Angeles. “This allowed us to go deeply into the area of dance film,” Szporer said.

Working with professionals in L.A. and being mentored by professionals from other countries was a great, immersive experience for Szporer. “It was great to be … in this academic environment,” he said. “It allowed us to question ‘how do we want to make films?’ And ‘what kind of films do we want to make?’”

Once Szporer returned to Montreal in the 90s, the pieces fell into place—he and Millar knew how to convey a story through a dance film, and networks in Canada like Bravo! were supporting short-form arts films. The crucial components—the skillset to make quality productions and the demand for dance films—were put in place for Szporer and Millar to build up their production company to what it is today, taking on international collaborations and local projects alike.

Early in his career as a dance commentator and filmmaker, Szporer never had to look too far from the city for fascinating shows and movements.

The Montreal dance scene in the 80s was flourishing with local homegrown talent and material.

“Many people were starting out [in Montreal]: the Édouard Locks, the Ginette Laurins, the Marie Chouinards, … I was interested in what they were doing,” Szporer said. In addition to witnessing the then up-and-comers of the dance community, Szporer was intrigued by viewing people’s work in a unique, untraditional way. “You could go to performances in people’s lofts, you could see them in galleries,” he said. “It was inspiring to be in the midst of all that.”

Later, the larger, more well-known post-modern artists “migrated north,” to use Szporer’s words, from New York City. The post-modernists brought a different flair to Montreal’s existing arts

scene. Szporer sums up the time perfectly: “You knew you were seeing something key to the development of the form.”

Montreal was evolving into a dance hub, with external influences shaping the larger arts scene and homegrown talent creating an established dance community within the city.

Szporer also ventured into an area many dancers shy away from: talking and writing about dance to the general public.

He never accepted the assumption that dancers and choreographers can only express themselves physically through movement.

“I am totally of the mind that there are a lot of [dancers] who are extraordinarily able to express themselves with words,” Szporer said. “I believe dancers and choreographers have something to share with people.” Words, especially those describing dance, captivated Szporer.

After working a few odd jobs, including as a “singing telegram,” he started working as a dance columnist on CBC radio during the 80s. This gig allowed Szporer to show listeners dance could be articulated in non-visual ways.

“The big thing … you are speaking to many different kinds of people who are not necessarily understanding what you’re talking about, so you have to make it understandable and not sensationalize it,” he said. The radio dance column, alongside writing for other publications like Concordia’s own former newspaper,

MARCH 14, 2017

1.

Thursday Report, plunged Szporer further into Montreal’s dance community.

He still writes for several dance publications, like The Dance Current and Dance Magazine, where he reviews performances and breaks down Montreal’s evolving dance scene by detailing new studio openings, as well as chronicling the city’s dance trends past and present.

These skills, along with his undisputed passion for dance, come in handy as a part-time professor at Concordia.

Unlike other faculty members, Szporer teaches four courses between two different faculties. He teaches Dance Traditions and Dancing Bodies in Popular Culture within the Faculty of Fine Arts, and teaches two classes at the Loyola College for Diversity and Sustainability. “[Teaching] wasn’t something I sought out to do—it came to me,” Szporer said as he remembered being approached in 2002 by Concordia’s contemporary dance department to teach the Dance Traditions course.

Although Szporer jokes about his teaching skills improving over the years, one can’t help but think he’s being modest.

His newest class, Dancing Bodies in Popular Culture, which is available to non-fine

2.

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3.

arts students, is an embodiment of what Szporer has built his career on—talking about dance.

The Culture and Communication course he teaches at the Loyola College for Diversity and Sustainability continues to foster Szporer’s passion of introducing and articulating arts and performances—this time in ways that are “grounded in ideas about the environment and ecology ... and

screen behind him, and turns the class into an active discussion where everyone can comment and reflect on elements of dance. Last week’s contentious question: Is striptease considered dance? “The dialogue that happens within the class is fascinating because it’s … a different kind of conversation that begins [when] people ask different questions from within the [dance] profession and without,” he explained.

“[Teaching] wasn’t something I sought out to do—it came to me.” general notions of diversity.”

Ideas of diversity struck a chord with Szporer. “Diversity is so fundamental,” he said. “We all have to get on board with developing language surrounding these ideas.” He was thrilled when he was offered another course, which he decided to turn into into a film course: The Future in Film: Ecocide and Dystopias.

In class, Szporer stands away from the podium, centred in front of the large

Perhaps that’s the most enjoyable part of teaching at Concordia for Szporer—the notion of putting forth an idea and being met with positivity and encouragement on the other end. It’s liberating and motivating to be at an institution where there’s always room to grow, he said. Szporer especially enjoys being able to teach students from varied disciplines to be “comfortable with knowing that you are in a big world with lots of richness you can learn from.”

1. The installation work Inquiry Into Time and Perception, study #1, features choreographer and dancer Mariko Tanabe. Photo

by Bill Kerrigan.

2. CRU (SoulStep), is an episode of a series on urban dance. Photo byJules de Niverville.

3. The Greater the Weight, a short dancefilm directed by Philip Szporer and Marlene Millar. Photo by Anthony McLean.

Photos courtesy of Philip Szporer.

This article is part of a series of profiles on part-time faculty at Concordia. Our goal is to highlight some of the incredible work these professors do, while also shedding light on the difference in treatment between being part-time versus full-time faculty. Several profiles will have accompanying videos on our website theconcordian.com. This series came to life with the help of Lorraine Oades, VP of the Concordia University Part-Time Faculty Association (CUPFA).

Choreographer Crystal Pite and dancers Jermaine Spivey (front), Peter Chu, Anne Plamondon, Yannick Matthon and Eric Beauchesne (back, from left to right) rehearse on the set of Lost Action: Trace. Photo by Anthony McLean, courtesy of Philip Szporer.

music

Quickspins

MUSIC EDITOR /// music@theconcordian.com SANDRA HERCEGOVÁ

1 PETER SILBERMAN

PROFILE

Montreal’s soulful jazz quartet

Hichem Khalfa Quartet will launch their new album, Réminiscences at O Patro Vys

Impermanence (Anti-Records, 2017) Peter Silberman is the frontman of alternative-rock band The Antlers, and Impermanence is his first solo record.

The album opens with “Karuna,” where Silberman sings straight from his heart and soul: “disassembling, piece by piece, deteriorating, decayed, decreased.” He sings about hope and wanting to heal.

The track has subtle guitar sounds and intriguing pauses of silence, along with Silberman’s delicate voice. In “New York,” Silberman’s voice is beautifully soft-spoken and sad. His vocals and the song style on this album are reminiscent of singer-songwriter Jeff Buckley. “Maya” is a light love song, one that could be sung perfectly under the moon and stars. In “Ahimsa,” you get a sense of peace through the instrumentation, as birds chirp in the background while Silberman sings, “no violence today.” Impermanence is an odyssey that will put you in touch with your emotions. It is sad, genuine, yet comforting to listen to. A great playlist to let your mind wander.

11 Trial Track: “Karuna”

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—Sandra Hercegová, Music Editor

2 MURS

Hichem Khalfa is the leader and trumpet player of Montreal’s modern jazz quartet. Photo

by Alex Leclerc.

EMILY VIDAL ASSISTANT MUSIC EDITOR Hichem Khalfa Quartet just released their new album, Réminiscences, a modern jazz creation that was composed by the group’s trumpet player, Hichem Khalfa. The record was released on March 10, and the quartet’s launch performance will take place at O Patro Vys on March 15.

Joining leader and trumpet player Khalfa on stage are Jérôme Beaulieu on keyboards, Jonathan Arseneau on bass and Dave Croteau on drums.

Réminiscences differs a lot in sound from the band’s previous album, Histoires Sans Mots . Their music has a modern jazz feel in comparison to their previous songs. “I think I’ve found the right way to change the music so it doesn’t sound like the first album, but it still has my own signature,” Khalfa said.

Khalfa has not only changed the instrumentation since the last record, but the line-up of his band as well. Khalfa and Beaulieu are the only two remaining members from the previous album.

Khalfa wanted to change things up to bring a different feel to the music.”The electric bass [and] keyboards really changed the sound of the band,” he said.

Playing alongside these three musicians is exciting for Khalfa. “The most important thing is that the feeling, the connection between us is great,” he said, “We have good times every time we go on tour, so that’s all I really want,” he said.

Following their album release, the band will be touring across Canada and Europe, starting this summer. “We’re going to France in July, then to do a couple shows in New Brunswick, and then Ville Saint-Laurent, and in October we go back to Europe—Belgium, England and maybe France,” said Khalfa. Khalfa is thrilled to tour the world with his friends, doing what they love—playing music.

Music is a vehicle for Khalfa to express his innermost thoughts and emotions.

“What I want is to play my feelings through the trumpet,” he said. “The main goal for me is to be able to communicate these feelings to other people when I’m playing.”

Khalfa picked up his first trumpet when he was seven, and has never wanted to put it down since. “I always wanted to be a musician. I didn’t have any other options,” Khalfa said.

The musician grew up in Val d’Oise, France, but arrived in Montreal six years ago to pursue jazz studies at McGill University. Khalfa is grateful for the move to Montreal, as he sees it as a city with

lots of potential for musicians. “Montreal is really, really good. I moved here six years ago, and I’m starting to feel at home now,” he said. “That’s what I like Montreal too—everyone is trying to help each other and I feel [I’m a part of] a community.”

The Montreal Jazz Festival, for example, is an event the musician is proud to have been a part of. “I’ve played every year at the Jazz Festival,” he said. “It’s a really, really nice time of the year. Everyone is nice, music is everywhere, it’s very beautiful … and we have a lot of tourists coming to Montreal just for that, so it’s a pretty big deal.”

The aspect of performing that Khalfa most loves is witnessing people coming together through his music. “Something magical happens,” he said. “To see all these different people, who wouldn’t talk to each other in everyday life on the street, getting together in this moment and sharing feelings… It’s something intense, I think, to be on stage and being able to see that.”

Hichem Khalfa Quartet’s latest album, Réminiscences, can be heard live at O Patro Vys from 6 p.m. to 9 p.m. on Wednesday, March 15. Entrance is free, and their album can be purchased on-site after the show.

Captain California (Strange Music, 2017) Los Angeles underground rapper Murs, opens his album up with the track “Lemon Juice.” Just when you thought all rappers today were starting to sound the same, this track swoops in to dismiss that generalization.

As refreshing as its name, “Lemon Juice” is a clever and humorous rap dialogue between Murs and featured rapper Curtiss King. In the track, both spit rhymes to see who can win over a woman they both find attractive. In “Shakespeare on the Low,” his flow is quick and sharp as he tells a story of being so madly in love that it ends up killing him. The song fuses beautiful verses with an original hook, one that stands out throughout this album. In GBKW (God Bless Kanye West), he raps about different scenarios and struggles that black men face, such as police brutality. “He’s running for his life, this happens every other night.

Walking out the door, he just wants to make it home. A young black male trying to make it on his own.” If you’re searching for underground raw hip-hop, Murs has got you covered with this record.

11 Trial Track: “Shakespeare on the Low”

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—Sandra Hercegová, Music Editor

MARCH 14, 2017

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RECOMMENDATIONS

3 BL ANCK MASS

World Eater (Sacred Bones Records, 2017)

Blanck Mass is a solo electronic/experiential music project by Benjamin John Power. Power’s recent album, World Eater is at level 100 when it comes to sound experiments. The opening track, “John Doe’s Carnival of Error,” is a short lullabye with a nostalgic sound one might have heard at an amusement park or carnival as a child. It has a spooky, alluring essence as the same hook is repeated continuously, making it a hypnotic electronic tune. “Rhesus Negative” is a storm of electronic sounds coming at you from all directions. If your happy place is being surrounded by constant loud noises, this track will thrill you. “Please” tones it down a bit with slow, vibrant sounds, making it a peaceful electro dance song that is easy to follow compared to the other songs on the album. From industrial noises of all sorts to hardcore electronic bass lines, the album might sound like a cacophony to some, and a masterpiece of originality to others.

11 Trial track: “Rhesus Negative”

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Sandra Hercegová, Music Editor

4 THE FRANKLIN ELECTRIC

Blue Ceilings (Indica Records, 2017)

Montreal-based alternative-rock band The Franklin Electric’s sophomore album is filled with delicate piano-playing and folk drum beats, which are complemented by lead singer Jon Matte’s textured and emotive vocals. “Burning Flame” is a piano-based ballad with a chord progression that is reminiscent of Hozier’s “Take Me To Church.” It is instrumentally simple, but the haunting vocal harmonies bring it to life. “All Along” is a standout track for its quick drum beat, subtle guitar riffs and emotional strings. Blue Ceilings is a good album to play on repeat while studying. The drumming is eclectic enough to put the listener in a productive mood, but the slower tempo of most tunes gives it a relaxing vibe. While the album is instrumentally cohesive overall, when listening to it in its entirety, many songs can sound similar. The record isn’t a jump musically from the band's debut, This is How I Let You Down, aside from the addition of some faint electronic sounds in some tracks, such as in their single “Walk With You."

A beginner’s guide to Kawaii metal An introduction to what may be your next cardio workout playlist ELISA BARBIER STAFF WRITER A fresh wave of metal, known as Kawaii metal, began its musical journey seven years ago in Japan. This new subgenre of metal had no difficulty finding its own spot in the music world. Its style has brought something unseen to the metal scene—a uniqueness that gathers fans of varied metal genres and subgenres to mosh.

Kawaii metal is defined as a combination of Japanese pop, power metal and thrash metal.

The power metal aesthetic in Kawaii metal brings an upbeat melody with clean, soft and usually high-pitched vocals. The trash metal element, on the other hand, adds complex instrumentals and aggressiveness with deep vocals and screams. Both sub-genres fuse double-bass drumming and complex guitar riffs to form Kawaii metal.

The final sound component of Kawaii metal is an energetic and unique melody which combines soft and deep vocals. This sub-genre differs from the male-dominated metal scene as it uniquely introduces feminine voices to the world of heavy rock.

Kawaii metal lyrics tend to differ from the typical, overly-covered topics in metal.

The bands prefer to convey empowering and positive lyrics focusing on love rather than death, on life’s pleasure rather than pain, and on social problems rather than murder.

One aspect specific to this sub-genre is its mandatory Japanese aesthetic. Kawaii metal singers wear cute, girly school or maid uniforms during their performances.

The band’s choice of attire helps the band members develop their stage characters, which makes Kawaii metal performances unique to each band.

One of the most well-known Kawaii metal groups is BABYMETAL. This band is composed of three singers and four musicians who are the centre of attention when it comes to Kawaii metal. When the group was

formed in 2013, the lead singer—nicknamed Su-metal—was just 13 years old, and the two other singers, Moametal and Yuimetal, were only 11, according to news website Inverse.

The group developed a goth Lolita look with a concept centred on the uniqueness of their music. This concept is based on the “entity” invented by the band, the Fox God. The Fox God is a spirit—nor human, nor animal. According to the band, the Fox God selected the girls of BABYMETAL to be part of the group because they had no prior knowledge of metal, making them perfect in the eyes of the Fox God. As a rule held by the Fox God, BABYMETAL is never to reveal their future plans to the media or answer any questions regarding new projects—instead, in interviews, they simply say: “only the Fox God knows.”

During the summer of 2014, BABYMETAL embarked on a world tour. This has helped Kawaii metal pierce through to the international music scene. Since 2014, the band has won 23 music awards.

Not all listeners accept this style of metal as innovative. In fact, some metal fans don’t consider the genre to be representative of the spirit of metal as it appears as a musical

act or pop show. Some Kawaii metal groups, including BABYMETAL, have made it their goal to truly differentiate themselves from the pop music industry and instead represent the metal community as best as they can.

Recently, BABYMETAL has had the honour of opening for Lady Gaga, Metallica, Guns ‘n’ Roses and, currently, Korn and the Red Hot Chili Peppers’ on both of their U.S. tours. BABYMETAL also wrote and played the song “Road of Resistance” with DragonForce, according to BABYMETAL’s website.

BABYMETAL’s Japanese tones and exciting guitar riffs attract many curious listeners and Japanese bands to follow suit. Notable Kawaii metal groups at the moment are Doll $ Boxx, BAND-MAID and LadyBaby.

To stay true to the Japanese-pop aspect of Kawaii metal, all of the abovementioned bands have a specific concept and theme to attract and develop a specific target audience.

Kawaii metal is a great go-to genre to get your body moving if you’re looking for motivation to study, exercise or do chores.

For those who wish to explore Kawaii metal further, Twitter is a good place to start, as you’ll find an active community sharing new groups and songs.

Explore Ka wa i i M etal BABYMETAL:

Megitsune Ijime, Dame, Zettai Headbanger Catch me if you can Karate Road of Resistance Awadama Fever LadyBaby: Nippon Manju Age Age Money C’est si bon Kibun

Doll $ Boxx: from Dolls Apartment: Monopoly Take my Chance

BAND-MAID:

Thrill Don’t let me Down Don’t You Tell ME

11 Trial track: “All Along"

6.5/10

— Cristina Sanza, Editor-in-Chief

Moametal, Su-metal, and Yuimetal of BABYMETAL. Press photo from their first self-titled album.

sports

SPORTS EDITOR /// sports@theconcordian.com ALEXANDER COLE ( @AlexCole_80)

WOMEN’S BASKETBALL

Reflecting on the women’s basketball season

Head coach Tenicha Gittens talks about her team’s ability to push through adversity this year

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JEFFREY MUNTU STAFF WRITER Even though the Concordia Stingers women’s basketball team suffered a crushing loss against the McGill Martlets in the finals of the conference championships this season, the team is on the rise. After finishing with a 7-9 record during the regular season, the Stingers upset the third-ranked team in the country—the Laval Rouge et Or—in the semi-finals of

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the playoffs.

Just to compare, the Stingers were ousted in their first playoff game last season. The team improved on offence and defence this season, but the team was plagued by injuries to key players throughout the season.

“Considering everything that we’ve been through, these girls continued to fight and believe in each other,” Stingers head coach Tenicha Gittens said. “They never gave up.

With all of that, I am definitely pleased with what we’ve been able to accomplish.”

Rookie Ashley Moss went down with an achilles tendon injury at the beginning of the year, and then rookie Marvia Dean

by Ana Hern

andez.

went down with a torn ACL. Veteran Aurelie d’Anjou Drouin also missed significant time due to a high ankle sprain, while guard Jazlin Barker played a few games with a fractured thumb.

It was truly a banged up squad towards the end of the season, and one might question what they could have been had the team not suffered all those injuries.

Nonetheless, the program has seen a few players emerge who are going to contribute in a big way next season. Barker is one of those young players who progressed as the season went on.

“I’m happy with the way she played for us, down the stretch,” Gittens said.

Gittens added Barker’s play got better as

the season went on, since she was adjusting to the pace of U SPORTS basketball at the start of the season.

One of the major contributors this year was rookie guard Caroline Task. She was honoured by U SPORTS with a place on the all-rookie team after averaging 9.1 points per game and finishing fifth in the conference with 1.7 steals per game.

Gittens praised Task, saying she and Barker add versatility to the team.

With the addition of Dean and Moss, the team has a solid foundation going forward.

This is good news for a team that is losing veterans Marilyse Roy-Viau and Richelle Grégoire next season. “[Roy-Viau and Grégoire have] been tremendous for Concordia,” Gittens said.

“I have had the pleasure of coaching them for two years.”

Git tens s aid the focus is now on recruiting a new class of players who will fit in with the group already in place. The team will take a break, but soon enough, will be back in the gym to prepare for the upcoming season.

Gittens is looking for players who “are not afraid of a challenge,” “want to be pushed” and “want to be coached.”

With the team about to embark on an intensive offseason, just as key players return from injuries, Gittens concluded that the team is going to be “alright” moving forward.

OPINION

Looking back at the men’s hockey season

With a plethora of fresh talent, Concordia had one of its best seasons in years ALEXANDER COLE SPORT EDITOR When the Concordia Stingers men’s hockey team defeated the University of Ontario Institute of Technology (UOIT) Ridgebacks in game three of their first-round playoff series, it marked the first time the Stingers had advanced past the first round in 16 years.The Stingers hockey program, which has been plagued with a lack of talent and interest for the last decade, crawled their way out of the darkness and became one of the best teams in the league this year. The team, led by captain Olivier Hinse, finished second in their division and were ranked seventh in the country by U SPORTS. So why the sudden change? How did a team that finished seventh in their division a year ago become such a powerhouse in one of the toughest divisions in the country?

Well, there are a couple of factors, one of them being head coach Marc-André Élement. Élement was an interim head coach last year, but during the off-season he was hired full time.

Since then, Élement has implemented a solid defensive system which has complimented the team’s natural ability to score goals.

Last year, the team’s biggest problem

was defence and goaltending. Starting goaltender Robin Billingham had a goalsagainst average of four goals against per game, while the defence struggled to keep teams at bay. The offence, however, was always strong with Hinse and former player Jessyko Bernard leading the charge. Élement addressed these problems in the off-season, adding goaltender Philippe Cadorette and an array of talented young defencemen, including Anthony Gingras, Alexandre Gosselin, Matthieu Desautels and Michael Beauregard.

With the defensive issues addressed, Élement did not stop there. He also went out and added more goal scorers like forwards Philippe Sanche, Anthony Beauregard and Anthony De Luca, who finished with the second most goals in the country. De Luca was also first place in rookie scoring this season.

All of these pieces meshed perfectly this season, creating the perfect storm which culminated in the best season the team has had in decades. Before the season, few pundits predicted the Stingers would pull off what they did. The team was able to compete against strong teams like McGill, Queen’s and Ryerson, which were all teams they struggled against in the past.

The Concordia Stingers won their first playoff series in 16 years this season. Photo by Brianna Thicke.

The team was fun to watch, and they finished the season with the second most goals in the league, with 118 in 28 games.

Now what’s next for this team?

Well, that’s a good question. Hinse, who has been with the team for five years, is graduating and will not be back next year, which means there will be a leadership void. However, with assistant captains Philippe Hudon and Raphael Lafontaine coming back next year, the team should be in good hands. It will just depend on who Élement decides should dawn the “C” next season.

Fans of the team shouldn’t worry too

much, though. This year’s team was filled with talented rookies, which means these players will be with the Stingers for the next three to four years. That means the next few years of Stingers hockey will be some of the most entertaining hockey in the country.

Not to mention, now that Concordia hockey is back on the map, more and more recruits are going to want to come play here.

There is definitely still some work to be done with this team, but it won’t be long before they are contending for a Queen’s Cup and maybe a U SPORTS championship.

MARCH 14, 2017

S

Concordia wrestler grapples to the top

Vincent De Marinis is making a name for himself with two national titles

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PROFILE

theconcordian

Rant of the Week

BY ALEXANDER COLE

SMARTEN UP U SPORTS It was a rainy Thursday afternoon in October when a bunch of journalists and university athletes packed into the Cage Aux Sports at the Bell Centre to watch the rebranding of university sports in Canada. What was once called the Canadian Interuniversity Sports (CIS) became U SPORTS. According to U SPORTS President Graham Brown, the name change was needed to create more brand recognition, and bring interest to Canadian university sports.

Axe throwing is a lot more difficult than you would think. Photos

by Rafael Figueroa.

Vincent De Marinis is in his fourth year with the wrestling team at Concordia. Photo by Brianna Thicke.

NICHOLAS DI GIOVANNI ASSISTANT SPORTS EDITOR Concordia is home to one of the best young wrestlers in the country, and you probably didn’t even realize it.

Vincent De Marinis is a two-time national champion in the 65-kilogram weight class in wrestling. He recently defended his national title in Edmonton at the University of Alberta. He went 3-0 in the group stage, without being pinned down once, before beating Brock University’s Mizam Tamaradze in the final.

De Marinis said even though he won the national title last year, he did not slack off heading into this season. He trained hard, and did not get over-confident before heading into the 2017 National Championships.

“Coming into this competition, I really felt ready, and I was excited to get that second gold medal,” De Marinis said. “I was really proud of myself.”

The fourth-year finance student hopes to continue making a mark in Canadian wrestling after he leaves Concordia. He said his ultimate goals are to make the Olympics for Team Canada and win a medal at the World Championships.

He already has a foot in the door on an international stage, as he has represented Canada on two occasions. His first time wearing the red-and-white instead of Concordia’s maroon-and-gold was at the 2013 World Junior Championships in Bulgaria. He said his first experience representing Canada was a learning one.

“When I was a junior, I got blown away,” he said. “That was, more than anything, a wake-up call. That was an indicator to what level it takes to compete internationally.” Two years later, at the

Pan-Am Championships in Chile, he won a bronze medal.

His road to representing Canada at an international level would not have been possible without the help of his coaches at his various schools, including the Concordia Stingers. He started wrestling at John Rennie High School, when his friend suggested he join the wrestling team, which was coached by the late Don Kinsella. He said he was unsure about joining the team, but his friend reassured him.

“I was pretty nervous, because I was small, but he told me I would be against people my size,” De Marinis said.

So he joined the team, which was not an official school team, but rather, an after-school activity. Coincidentally enough, his first wrestling match was at Loyola High School. De Marinis started his wrestling career just steps away from where he now practices it.

After graduating from high school, he attended Vanier College, which did not have a wrestling team. However, he continued training at the Montreal Wrestling Club, where he met Victor Zilberman, the head coach of the Concordia Stingers wrestling team. De Marinis said he knew right away that he would be going to Concordia to compete for the Stingers, and he’s grateful for the opportunity Zilberman gave him.

“Coming out of high school, I was a kid with no head on his shoulders, then I met Victor and started training seriously,” he said.

Since then, De Marinis has trained to become one of the most dominant wrestlers in the country. He has won most of the tournaments he’s competed in, and now sits at the top of his weight class for the second year in a row.

He said his bread-and-butter move is

the fireman throw. Like the name suggests, it looks like when a fireman is rescuing someone, carrying them away over his shoulder. Except in wrestling, De Marinis is not attempting to save anybody’s life, but rather, trying to pin his opponent down.

“It’s probably something most wrestlers look out for when they face me,” De Marinis said.

A great athlete does not come without weaknesses. He added that, while his key move is a relatively safe one, when he attempts to do more aggressive moves, he gets beat by his opponent's counter-attack.

“When I do leg attacks, something that leaves me more vulnerable, and I tend to get countered,” he said.

Like any student-athlete, De Marinis also has to grapple between school work, 30 hours of training a week and a social life. For him, the key to his success is pinning down one task at a time. A bit like what he does on the wrestling mat on his way to national titles.

“I try to take it one day at a time,” he said. “You can’t look at what needs to be done in the future, you need to look at what needs to be done now.”

He said wrestling has taught him many valuable lessons that he applies to other areas in his life. He said he has learned work ethic, how to deal with tough situations, time management, discipline and how to make sacrifices.

“If you’re not going to take anything out of wrestling itself, you’re going to take life lessons,” he said.

De Marinis will be back with the wrestling team next year for his fifth and final season, where he said he is looking towards winning a third-straight national title.

While the logo is better, the name left many of us scratching our heads. Personally, I’ve gotten over it. It’s not the best name, but I was willing to give the rebrand a chance to see if the interest from the general public would pick up. Of course, it’s impossible to tell if a rebrand is working after just one year. You have to give these things time. However, for a governing body that claims to have found a new identity, they sure seem like they have no clue what they’re doing when it comes to branding and promoting their sports.

For instance, just last week, the league announced its rosters for the East and West Bowl. The East and West Bowl is a football game containing university all-stars from across Canada. What is baffling about the announcement is that the game is in May, yet the men's and women's hockey and basketball playoffs are in full swing right now.

Instead of promoting these heated playoff match-ups, the league decided to skip ahead to promote a game that’s happening two months from now, and that and that is merely a showcase of talent rather than a competition. . Another misstep happened this past week when the league announced where the next Vanier Cup will take place.

First of all, it’s in Hamilton again, so cool, I guess. But that’s not the point. The point is that the Vanier Cup takes place in November.

Meanwhile, hockey and basketball nationals are in two weeks, and the league doesn’t seem to care all that much.

As a student journalist working for a student publication, I get press releases from U SPORTS. When I got the Vanier Cup one, I was shocked because I hadn’t received anything about the national championships. U SPORTS wants eyeballs on their sports, but if they keep promoting the wrong sports at the wrong time, they are going to become even more obscure than the CIS was.

opinions OPINIONS EDITOR /// opinions@theconcordian.com DAVID EASEY

EDITORIAL

Concordia’s flight against HIV This past week, students and staff were able to get tested for HIV at the Concordia Student Union (CSU) office on the seventh floor of the Hall building. A rapid HIV testing clinic was set up with the help of the CSU, the Concordia University Psychology Association (CUPA), Queer Concordia and Concordia Health Services.

This is the second testing session put together by these organizations.

For this test, a certified nurse takes a prick of blood from your finger and, using a special kit, can tell you whether or not you are HIV positive or negative. The whole process, which takes around 20 minutes, includes going over your risks and sexual history, and the nurses can give you advice on how to improve or continue your safe sex practices. If the result comes back positive, the nurses would be able to put you in contact with various HIV-related resources in the city of Montreal as well as provide psychological support.

While we understand that many students might have been wary about getting tested at school, we think this issue is critical, and we applaud all four organizations that facilitated this testing clinic.

Let's face it, students are sexually active while they're in university and many are not properly educated when it comes to having safe sex and HIV prevention. In Canada, one in five people with HIV are unaware they’re

HIV positive, according to Community AIDS Treatment Information Exchange (CATIE). Over one-quarter of all new HIV diagnoses in 2015 were in youth, according to the same source.

The Globe and Mail reported in 2014 that a person is infected with HIV every three hours in this country. In Saskatchewan the rate is nearly three times higher the national average, with 71.4 per cent of cases happening because of intravenous drug use. These figures are absolutely startling to say the least, and reveal the challenges our society has in addressing the epidemic.

One key role these rapid testing sessions fulfill is to help fight against the taboo of HIV. HIV and those who are HIV-positive face a lot of stigma, even criminalization, for having this virus. According to Sarah Schulman’s book, Conflict is Not Abuse, Canada was the country in the world to charge someone with murder for transmitting the disease.

This country’s harsh criminal pursuit of HIV-positive individuals actually creates a fear around being tested. By making the testing process public and providing students accurate information about HIV, this project at Concordia helps dispel misinformation and allows the community to better understand and face HIV head-on.

Although we’ve come a long way in

terms of scientific research and awareness, we need to press further and forge a discussion. We applaud the CSU, CUPA, Queer Concordia and Concordia Health Services for being progressive and open-minded about this issue and we encourage the school to hold more rapid clinics. We also encourage the student body to get tested for HIV and to properly educate themselves on safer sex practices and harm-reduction strategies like needle exchanges, which help reduce new cases of HIV. If we’re to eliminate HIV/AIDS in the near future, it’s time we start tackling this issue head on and minimize the risk of this virus being transmitted.

Contact Concordia Health Services to get tested for HIV or to speak with a medical specialist.

Sir George Williams campus 514-848-2424 x3565 1550 De Maisonneuve W.

Room GM-200 Monday to Friday 9 a.m. - 5 p.m.

Loyola campus 514-848-2424 x3575 7141 Sherbrooke Street W. Room AD-131 Monday to Friday 9a.m.-11:30 a.m.

Graphic by Florence Yee.

POLITICS

Violence during protests will not get your message across Whether you’re right-wing or left-wing, violence abuses the right to protest KATERINA GANG COPY EDITOR

in several smashed store windows, a lot of graffiti and, ultimately, a rock being thrown at police and shattering a police station window.

I find behaviour like this incredibly disheartening. Whether or not you think there is corruption within the police force, I find it hard to understand why anyone would support this behaviour.

Instead of being able to go out and help people who are actually in need, six or seven cops had to remain by the shattered station window to ensure rioters did not destroy anything else. In other words, local cops were prevented from saving local citizens because people were abusing their right to protest.

During riots, left-wing anarchists and

Recently, many people feel there is a lot to protest. Whether you’re on the left and want to protest Trump’s presidency, or on the right and want to protest the anti-Islamophobia M103 motion, there’s been a lot of activism in the air in Montreal.

And that’s great. The right to protest is a part of free speech—something I strongly support. But recently, I have noticed that this right is being abused by both ends of the political spectrum.

On the evening of Jan. 20, I attended an anti-Trump protest organized by Collectif de résistance antiraciste de Montréal (CRAM).

I had initially intended to counter-protest as a joke with my Make America Great Again hat and an “Art of the Deal With It” sign—a parody on Trump’s bestselling book.

I decided against it, however, after reading reports from the Montreal Gazette about a man who was knocked to the ground for wearing a “Hillary for Prison” shirt during an earlier protest.

Instead, I attended purely to observe.

The evening protest seemed to be going peaceful at the start. It was lawfull for nearly an hour before masked vandals began defacing property. This culminated A recent protest denouncing the actions of Trump in Montreal. Photo by Kirubel Mehari.

right-wing populists alike think they are punishing a “system,” or that the only people being hurt are those in positions of authority.

But who do you think is going to wash the “Fuck Trump” or “Kill Cops” graffiti off the Koodo store or the HMV? The answer isn’t some rich corporate giant. It’s going to be someone making near-minimum wage outside in the dead of winter. They may even be a college student who agrees with your views.

Personally, I’ve never felt that protesting does much serious good because of the violence I’ve seen it bring.

However, I respect that many feel differently.

Protesting, then, must not make anyone feel entitled to be violent, destroy property or attack those with whom they disagree.

Last weekend saw another protest—this one involving both the far left and far right—and it too turned violent, according to an article by CBC News. What could’ve been either an opportunity for two sides to debate and come to an understanding, or simply for each side to promote its beliefs to onlookers, turned into a brawl— completely delegitimizing both sides.

If we want a free and civil society, we must allow people we disagree with to spread their message, or counter-message, without violence. We must not destroy our own communities in order to prevent others from speaking up.

MARCH 14, 2017

theconcordian

17

LIFE

Is it time for a home economics comeback?

Why a mandatory class on basic personal finance and cooking might be a good idea DANIELLE GASHER LIFE EDITOR Tax-free savings account. RRSPs. Writing a cheque. Credit score. Credit debt.

Cooking. Buying. Saving. Being healthy.

Is five dollars for a pint of strawberries pricey or a steal? As students in our 20s, these are things we should know about, but many of us don’t.

While the “live and learn” philosophy is all well and good, I believe there is an underrated beauty in learning before living… for certain situations, that is. I feel that burning a few shepherd’s pies before learning what “broil” means is a live and learn lesson, but I’m sure many young adults would have preferred to learn how to use a credit card before living a life ridden with debt. I think certain passages into adulthood we laugh about should perhaps be taken more seriously.

The title “Home Economics” may transport many to an outdated, sexist concept that no longer has a place in 2017. This is where I disagree. I myself have been quick to snub home ec. A class to learn how to make a grocery list? C’mon.

But it’s only as outdated as we deem it. Do we snub it because of the stigma attached to it? Is it the word “home” in the title that reminds us all too much of the home-maker penchant the class once had?

Eventually, we will all need to take care of ourselves, to “adult,” as it has commonly become known amongst millennials. So, is home economics actually outdated? Or has our country just pushed basic life skills down too many notches on our societal list of priorities?

Burnouts have become normal. People hate Mondays. “Not having it together,” or being “a hot mess” are trends. Sites and blogs like Buzzfeed and Elite Daily curate humoristic, relatable lists to make us feel better about our binge drinking, spending and bad eating habits, cajoling us in our laziness and indulgent habits.

I’m not saying I’m above those lists—I love those lists. Ever seen the meme of The Office’s Kevin Malone spilling a big pot of chili with the caption, “Me trying to get my life together”? Hilarious. Relatable. But isn’t it kind of worrying just how relatable it is?

According to Credit Cards Canada’s website, in 2016, the average credit card debt per Canadian was $3,954. According to the Canadian Federation of Students, the collective student loan debt in Canada is estimated at $15 billion. Credit card companies and banks can start soliciting customers as soon as they turn 18 in all provinces except New Brunswick and Nova Scotia, where the minimum age is 19.

According to a 2016 survey conducted

by Manulife Financial, “31 per cent of

millennial respondents feel it’s not a ‘big deal’ if they carry a balance on their credit cards.” Additionally, the survey found that millennial homeowners are least prepared in terms of emergency funds.

In addition to debts and financial stresses that young adults are increasingly being faced with, studies show that millennials are increasingly stressed and miserable.

According to the 2015 Global News Ipsos Reid poll, which surveyed 2,010 Canadians between April 16 and 20, 2015, more than half of Canadian millennials have a high risk of developing mental health issues.

“Wright pointed to societal issues, such as a low employment rate and rising living costs, as pressures that weigh on millennials,” wrote Global News journalist Carmen Chai, citing senior vice-president of Ipsos, John Wright. Ipsos is a Canadian market research company.

While these findings are worrying, things are changing, and a public conversation is happening in Canada.

Quebec’s education minister, Sébastien Proulx, plans to introduce mandatory economics classes in Quebec high schools as of September 2017, according to CBC News. Additionally, the conversation on the topic is becoming more widespread.

Publications like the Globe and Mail and The Huffington Post have featured opinion pieces on the importance of home eco-

nomics and financial literacy for teenagers and young adults in Canada.

I moved out at 17. I had some money saved up, I was always independent—I felt ready. I grew up in a household where I had to be responsible. I would clean and cook. I knew how to do laundry. But when you actually get your own place, when you become financially independent, you’re alone.

There’s a shift, and it’s hard. Learning to pay rent, finding roommates, being a good neighbour, being a good tenant, writing a cheque, managing my finances, knowing my rights as an employee, feeding myself correctly… all while turning 18 and trying to have fun, go to school and come into my own as an adult—it’s tough. When you’re not prepared, it can bring you down.

Now, at 21, I feel confident in my adulthood, but it took a burnout to get there. While I know I have a lot to learn, I know how to manage my personal finances and I am not scared to stand up for my tenant, student and employee rights. I know what a pint of strawberries on sale should cost. I am not sharing my experience to complain about natural adjustments to adult life, but rather to shed light on the fact that a lot of emotional turmoil I faced in my transition to adulthood could have been prevented had I had some kind of “adulting” training.

Graphic by Florence Yee.

etc

Fe a t u r e d C o n c o r d i a A r t i s t Maryon Bouchardt

Impermanence, 2016, sandstone, porcelane, enamel, plank of wood, 1,06 m x 80 cm x 80 cm

Maryon Bouchardt looks to human relationships to inspire her sculpture and performance art. Addressing the need to be surrounded by others, and at the same time, balancing the desire for social reclusion, she explores manifestations of affection, inter-personal dependence, social manipulation, resilience and alienation. We equally find in her work a strong feminist aspect, influencing the underlying concepts of her pieces.

Her sculptures, largely figurative, in ceramics or bronze, express in their material forms a certain poetic or tactile sensuality.

Watchers, 2016, Grès, terracotta & enamel, 27 cm x 46 cm x 8 cm

Glands de chênes, 2016, Bronze, Indiv about 1, 5 cm x 1, 5 x 1,5 (45 individus)

Doses létales, 2016, Bronze, 14 cm x 15 cm x 1 cm

other detail of

Watchers, 2016.

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ASSISTANT NEWS EDITORS MEGAN HUNT CHLÖE RANALDI

NEWS EDITORS SAVANNA CRAIG NELLY SÉRANDOUR-AMAR news@theconcordian.com

PRODUCTION ASSISTANT PARISA FOROUTAN

PRODUCTION MANAGER PAULINE SOUMET production@theconcordian.com

MANAGING EDITOR GREGORY TODARO managing@theconcordian.com

EDITOR-IN-CHIEF CRISTINA SANZA editor@theconcordian.com

The Concordian’s team

ASSISTANT SPORTS EDITOR NICHOLAS DI GIOVANNI

ADVERTISING MANAGER ORENZO PORPORINO FOR ADVERTISING INQUIRIES advertising@theconcordian.com

HEAD COPY EDITOR KATYA TEAGUE

SPORTS EDITOR ALEXANDER COLE sports@theconcordian.com

GRAPHIC ASSISTANT THOM BELL

ASSISTANT MUSIC EDITOR EMILY VIDAL

BUSINESS MANAGER ORENZO PORPORINO business@theconcordian.com

GRAPHICS EDITOR FLORENCE YEE graphics@theconcordian.com

MUSIC EDITOR SANDRA HERCEGOVÁ music@theconcordian.com

CONTRIBUTORS Elisa Barbier, Qasim Warraich, Romina Florencia Arrieta, Phoebe Fregoli, Nathan Leblanc, Hussain Almahr, Alicia Ardelli, Jeffrey Muntu.

PHOTO ASSISTANT ALEX HUTCHINS

ASSISTANT ARTS EDITOR MAGGIE HOPE

PHOTO EDITOR ANA HERNANDEZ photo@theconcordian.com

ARTS EDITOR TIFFANY LAFLEUR arts@theconcordian.com

COPY EDITORS KATERINA GANG REBECCA LUGER VALERIA CORI-MANOCCHIO copy@theconcordian.com

ASSISTANT OPINIONS EDITOR SANIA MALIK

ASSISTANT LIFE EDITOR MINA MAZUMDER

OPINIONS EDITOR DAVID EASEY opinions@theconcordian.com

LIFE EDITOR DANIELLE GASHER life@theconcordian.com

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M co DANIELLE GASHER DAVID EASEY TC TAN CRISTINA SANZA ID U m m HI AL SIC T CO Concordia University’s GR NS SP ED life@theconcordian.com opinions@theconcordian.com editor@theconcordian.com A E li N T R O P I F TO sa HI L weekly, independent I A L RT S B O Co Ro Ba R gra REN CS E r UT nc spo EXAN EDI ph Fre mina bier, ORS DI wstudent CEOPINIONS ord newspaper TOEDITOR rts i D T e ASSISTANT LIFE ASSISTANT EDITOR c F g Q s@ YE OR R @t ER Alm oli, lore as st u e kl y i a U GR the E i he C AS de , ind niv Mu ahr, Nath ncia m Wa AP MALIK MINA MAZUMDER co OLE MANAGING EDITOR co TSANIA e rs nt 34,epISSUE nc Ar H H n a n A r NI SISTA n r c t 23 l I O ord ne u. ic i a L e r i e a i c ord CA VO VOL. CH M N GREGORY TODARO ws ende ity’s t h b la ian a, P , ian A CONTRIBUTORS S B L OL T S S . r E F pa 2017. nc . d . n I MARCH 14, 3 c L E c h P S A e t B o 4 L o o , B T lli, Barbier, pe S D OR m U Aysha White, Elisa m AN managing@theconcordian.com . 7, , IS HE Jeff Huss ebeTyson r I G TS E OR SIN T 20 SU ES OU IO DC KA APHOTO ey ain ARTS EDITOR EDITOR 17. E 1 S M John Cairns,rJeffrey bu ENBurger, VA DITO T 9 R Z O sin YA O OUR COVER THIS WEEK A C N P R N esMuntu.

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