Flourishing at the Art Gallery: The Strengthening Resilience Exhibition

Earlier in January, the StFX Art Gallery, in collaboration with Flourish@X, put out an open call for art to be displayed in their upcoming “Strengthening Resilience” exhibition. In a message sent out to the student body, the groups spoke on how mental health experiences, though personal and unique, are “rarely solitary.” Connections with people, places, and shared experiences can help students focus on their surroundings, brighten their outlooks, and feel less alone. The Strengthening Resilience display aims at helping students form these connections and at presenting the experiences fellow students have had with their mental health.

Flourish@X is a health promotion program run through the StFX Health and Counselling Centre. The program supports mental health and promotes well-being on campus through Positive Psychology. It consists of a mix of workshops, events, and activities available on campus that aim to build students’ personal development. Many students may know the organisation through the monthly programming that takes place in the Bloomfield Centre.

With the assistance of Amelia Smith, the StFX Art Gallery curatorial intern, Flourish@X invited students to submit digital photographs of their artwork and/or physical objects that reflected their experiences with mental health in relation to the self, the natural world around us, and the communities with which we surround ourselves. The goal was to create an exhibition that celebrates the connections that continue to influence and strengthen our health journeys.

The dates for submission were January 17-18, with the exhibition running from January 23-27 in the gallery in Mulroney Hall, where the art submissions will be projected on a large-screen format. The event will be a part of StFX’s Mental Health Awareness Week. Visitors will have free admission, and though masking is encouraged, it is not mandatory.

The art displayed in the gallery will also be accessible in the Angus L. MacDonald Library lounge room via an iMac monitor and on the Flourish@X and StFX Art Gallery’s social networking sites, including Instagram and Facebook. The artwork presented in all locations will be featured in a digital format. One aspect that makes this art exhibit even more unique is the featuring of artistic videos, all of which will be two minutes or less.

Students every year face hardships in their individual and academic lives that can impact mental health. It is important to recognize this, and with this new art exhibition, StFX is taking another step in acknowledging and supporting the struggles students experience. If you have a spare 30 minutes, the exhibition is definitely worth checking out to support and connect with fellow students on campus!

Indigenous Art Exhibition

On Thursday, November 3, 2022, an Indigenous art exhibition opened in the MacNeil Gallery in the Schwartz Business School. The exhibition is a collaborative effort between the German Society, Friends United, and the Schwartz School of Business. The exhibition features artwork from artists Loretta Gould, Alan Syliboy, David Brooks, Gordon Fiddler, Darren Julian, Shianne Gould, and Gerald Gloade. The German Society spent the better half of Friday, October 28, 2022, setting up the gallery alongside StFX’s former art curator, Bruce Campbell. The art gallery is the 4th collaboration between the German Society at StFX and Friends United.

Preceding the event, members of the public as well as StFX students and staff could purchase raffle tickets for the chance to win one of Mrs. Gould’s paintings. Tickets were 10$ and the proceeds were divided between the breakfast program and Knowledge Keeper Kerry Prosper won the painting. A silent auction was also held for a second Loretta Gould painting. StFX staff member won the auction and the painting.

At the event, members of the German Society presented the artists Mrs. Loretta Gould, who attended the event, and Mr. Alan Syliboy. Mr. Kerry Prosper, StFX’s Knowledge Keeper in residence, spoke about the meaning of the event and reconciliation. Shannon Monk, Mi’kmaq Cultural Tourism Project Manager, also spoke about future projects and the event.

The event started at 5:15 p.m., though guests were welcome to enter the gallery beforehand. Refreshments were provided by Sodexo. After the official opening, guests were welcome to peruse around the gallery, speak to the artists and organizers, as well as have some snacks. The gallery will be open to visitors for the remainder of the academic year and students are encouraged to go view the beautiful artwork on display.

Look out for Bryn Blackwood’s Visit to the ‘Nish

The Antigonish Performing Arts is holding a series of concerts until April 29th. Most concerts will take place at Immaculata Hall on weekend evenings, costing only $5 per seat for students (regular admission is $20.) The upcoming concert will be performed by pianist Bryn Blackwood as part of the Atlantic debut tour. It will take place at 7:30 pm on Monday, November 21st.

Blackwood is an accomplished pianist based in Toronto. Alongside playing, he runs his own private piano studio and teaches at the Lane School of Music. He has won many awards, such as the Paul J. Bourret Memorial Award for Best Performance of the test piece at the 2018 Shean Piano Competition. In 2019, Blackwood won the Eckhart- Gramatte National Music Competition, he placed on CBC’s 30 Hot Canadian Classical Musicians Under 30 List, and won the University of Toronto’s DMA Recital Competition. He completed his Bachelor’s Degree in Music at Western University and earned his Master’s at McGill University, also in Music. Blackwood is currently completing his Doctorate of Musical Arts at the University of Toronto and working as the pianist for many of the university’s vocal courses.

Earlier this academic year, Blackwood performed at concerts in both Kitchener and Simcoe, Ontario, where he played a solo recital of works by Scriabin, Brahms, Ornstein, and Louie. Previous concerts have taken place in Ontario, Alberta, New Brunswick and British Columbia locations. Many were held at universities, including Queens, Lakehead, Calgary, and Mt. Allison.

During the covid lockdowns, he continued to perform on live streams, virtually, and at socially distanced concerts.

Blackwood is most interested in 20th/21st-century music. His StFX concert will mostly feature pieces by Ornstein, whom he also wrote and published his doctoral dissertation about. Ornstein was an experimental composer and pianist who lived from 1895-2002. He published his final sonata at 94, which made him the oldest published composer at that time. Reactions to his compositions were mixed; people would shout and throw things during his early performances, whilst crowds of over 2000 would attend his later ones. As well as using some of his works, Blackwood’s concert will also include pieces by Brian Cherney and Alexander Louie, both of whom are current Canadian composers. Works by Brahms and Scriabin will also be played.

After playing in Antigonish, Blackwood will continue his tour down the East Coast, moving on to Tatamagouche to play at the Grace Jollymore Joyce Arts Centre. The Antigonish Performing Arts Concert series will host its final concert of 2022 on Saturday, December 3rd. Anita Graef and Taylor Furtick will play the cello and piano together. Continuing into 2023, Tracey, Marcel, and Dakota will perform in February (tenor, soprano, and piano), and the Elmer Iseler singers will perform in March (taking place in St Ninian’s Cathedral.)

Interview With Jazz Pianist Michael Kaeshammer

Jazz pianist Michael Kaeshammer performed at the university during reading week, on November 10, 2022. The artist performed songs from his latest album, “The Warehouse Sessions”, which was released on October 7, 2022. Prior to his arrival, the Xaverian Weekly was able to secure an interview with the Canadian musician.

After brief introductions, I decided to ask Mr. Kaeshammer about his background.

Isabelle: Firstly, I was wondering what first drew you to the piano and jazz music.

Mr. Kaeshammer: My dad. When I was a kid, he played a lot of ragtime and jazz piano at home and that’s kind of what I knew from an early age on, you know? He didn’t listen to a lot of pop music or rock music. It was all jazz, and then when he sat down at the piano, he played that kind of stuff too. So, it was really, he was the biggest influence for me to actually get into the piano in particular and play boogie-woogie, and blues, and jazz music.

Isabelle: Okay! So, did you always know that you wanted to become a musician?

Mr. Kaeshammer: No. That really, I just loved playing music, but it was the move to Canada when I was 18—I grew up in Germany, in a little town and there was no professional musicians there in my environment, so I wasn’t thinking of pursuing a music career. But, when I moved to Canada, to Vancouver Island, I saw a lot of musicians, playing 5-6 nights a week, in clubs and bars, and realized that, you know, you can actually make a living performing, even before you have a record deal or before you are known, and that’s what made me pursue a career.

Isabelle: That’s great! What inspires your work?

Mr. Kaeshammer: Life, really. You know, I’m at a pointwhere, I mean I love listening to music, to other musicians and records, but they don’t really influence my own work. That was something that might have influenced me when I was younger and still learning the craft, but just life. You know, I’m a very happy person and want to convey that with my music and see the music actually kind of as a vehicle to connect with an audience rather than trying to show them what I can do.

Isabelle: Did anything specific inspire your recent album?

Mr. Kaeshammer: Nothing specific except where I was at, at that point in my life, you know? We just finished another album that’s coming out in March which I wrote throughout the pandemic. And the pandemic itself didn’t influence the writing for that record, but it gave me the time to kind of reflect on family, and life, and things that are important because we’re just, you know, at home for two years and that kind of inspired lyrics for that new album that’s coming out. Reflection, I guess.

Isabelle: So, you mentioned that some artists may have kind of influenced you in the past, but not so much now. Which artists inspired you?

Mr. Kaeshammer: Well, when I was a kid, I listened to, like I was saying, a lot of jazz stuff, like, you know, like a lot of Louie Armstrong or Big Joe Turner, like blues vocalists, and people like Louie Armstrong as a jazz instrumentalist or singer. And then I got into, I was also at the same time when I was in high school, I was into listening to AC/DC or Guns ‘n Roses or whatever was on the radio at that time. And then I kind of explored things that my mom had a huge 45 singles collection of Beatles and [Rolling] Stones, you know, and then you’re growing up and you’re just kind of learning what music is about and song writing. All those artists were really influential, and I love listening to Memphis soul music like Wilson Pickett or Sam Cooke or stuff like that. So, you know, there’s different phases like when you’re growing up that you get interested in and they all kind of shaped how I approach music today.

Isabelle: So, what’s your favourite part of performing?

Mr. Kaeshammer: Connecting with the audience and connecting with the band. For me, it’s, you know, I mean it’s not the most… well, I don’t know how to put it, but there’s more enjoyable things than traveling every day. I mean, it’s great when you go on vacation somewhere, but when you travel every day on the road, it’s fun, but it’s not the most enjoyable part of being on the road. The most enjoyable part is the performance and if I wouldn’t enjoy that as much as I do—because I love being on stage, being in front of an audience—then I probably wouldn’t go on the road. But the connection I can find with an audience is kind of the payoff, right?

Isabelle: Do you have any advice for anyone hoping to become a musician?

Mr. Kaeshammer: Yeah! I think, from what I’ve learned, is there’s really only, you know, two things that have to be done. One is work hard. Like actually really put in more time than someone else on your song writing or on your instrument or singing, whatever it is you do. And be honest with yourself. Stick to your own, to your gut feeling, you know, and the things that make you different are the things that are interesting.

Isabelle: Is there anything else you’d like readers to know?

Mr. Kaeshammer: I’m excited to come to Antigonish, and to play there. And I know there’s a music program there too and the band that is coming with me, I think they’re pretty known in the Maritimes. Tommy Lee’s on bass and Jeff Arsenault on drums. I think people who want to have a good time—and not necessarily like jazz, people don’t have to like jazz or blues to like the show—should come out and have a good time with us!

“The Warehouse Sessions” album is available for purchase on Spotify, Labelstore, and Amazon Canada for all those interested in Michael Kaeshammer’s music. We hope the musician decides to return to StFX for future performances!

 

The Outside Inn World Premiere

Located just across from the McKinnon Residence, Festival Antigonish Summer Theatre will present The Outside Inn from the 14th-23rd of October.

Coordinators describe the play as “a transformative dark comedy about the mess that makes us human,” promising to be both a comedic and thought-provoking performance. The play opens a window into the fictional lives of Lily (Sharon Bajer) and her husband, Patrick (Elio Zarillo). Both characters have differing opinions on the course their lives are taking. Lily believes that her loving husband, beautiful child, and perfect body make her life complete. In comparison, Patrick is dissatisfied with his life. A day of unexpected events threatens to make or break the two as they struggle to come to terms with each other, their differences, and the challenges they face.

Director Annie Valentina is currently based in Halifax. Previous projects include Kat Sandler’s Yaga and Rose Napoli’s Lo. Her plays often explore transphobia, feminism, and Eastern European identity, relating to her personal experiences. The Outside Inn will reportedly explore themes of illness, death, and body dysmorphia.

Sharon Bajer (playing Lily) has acted in 10 feature films, including Fear X, Hide and Seek, and Scared Silent. She was born in Edmonton, Alberta, but currently lives in Manitoba. She was diagnosed with breast cancer in 2015 and was forced to take a two-year break from acting. As a survivor, she brings her personal experience with a cancer diagnosis to her role as Lily.

Elio Zarillo (playing Patrick) works as a playwright, director, and actor. They will also be involved in two other premieres this season: Prairie Theatre Exchange’s Voltaire and the Winnipeg Jewish Theatre’s Narrow Bridge. Although it is only 90 minutes long, this play explores many thought-provoking issues. It will take place at the Bauer theatre on campus, and tickets are discounted for students. Several first-year English students will study the play in class. If you get the chance to watch the play, there will be many other students with whom you can discuss themes and interpretations of the performance afterwards.

To buy tickets to the performance, visit the Festival Antigonish website linked below. Performances take place Friday-Sunday for the first week and Wednesday-Sunday for the second week, starting at 7:30 each evening.

Buy tickets: www.festivalantigonish.ca

StFX Students Without Power Forced to Use Emergency Hand-Crank Speakers to Survive Hurricane Fiona

ANTIGONISH, NS—With Nova Scotia power outages topping almost half a million in the wake of Hurricane Fiona, Antigonish residents have adapted to life without hot water, evenings by candlelight, and meals consisting of canned beans and tuna. It is times such as these that test our resilience and strength of character. StFX students without electricity report harrowing stories of how the power outage tested their abilities to throw an adequate banger.

“Thank goodness my roommate had the foresight to pack an emergency hurricane bag, or I don’t know what we’d be using to get sloshed on a Sunday night,” Ian MacDonald, a local StFX student, said as he broke out the emergency glowsticks for his “Blackout for the Blackout” party while turning his hand-crank speaker. “It’s scary, it’s difficult—but if everyone in the apartment takes turns cranking, we should be able to maintain a solid buzz”.

Another student, Emma Landry, reports, “at any given time, we have a three-month supply of Coldstreams, Smirnoff, Jose Cuervo, and limes on hand. However, if classes don’t resume soon, we may have to resort to just doing shots of Pink Whitney. For the sake of public health and safety, I hope it doesn’t come to that.”Community members are reportedly impressed by the preparedness and tenacity of StFX students. “I just couldn’t believe how seriously they took their hurricane prep. When I saw that the line outside of the NSLC snaked around the block, I knew students were heeding the advice of public officials to stock up on a three-day supply of the essentials,” Sean Mcdowell, a local Antigonish resident, reports.

Classes remain cancelled indefinitely to give students a chance to recuperate from their four-day benders. “We discussed reopening on Tuesday,” an anonymous source from the Dean’s office reports, “but we didn’t want faculty to have to make their commutes just to teach half-empty barely-conscious classrooms.” Professors are also extending due dates to account for how the past week’s partying has made studying near impossible.

At the time of this article’s release, MacDonald’s hand-crank speaker had begun malfunctioning from over-use. Students are forced to sing the lyrics of their favourite Pitbull songs aloud. Let this week go down in StFX’s history as the week that even a hurricane couldn’t cramp our style.

Appreciating the StFX's Art Gallery's Newest Exhibit: Nurturing Netukulimk

Students looking to experience a unique and immersive display of artwork need not look further than the second floor of the Mulroney building. With September 30th being National Truth and Reconciliation Day, it feels especially important to seek out and listen to Indigenous voices. The art exhibit Nurturing Netukulimk showcases Indigenous peoples’ striking achievements, stories, and cultures. The exhibit is open from September 15th to October 15th in Mulroney 2002 (located across from the replica of Mulroney’s Parliament Hill office) between Wednesday and Saturday afternoons.

Featuring the work of many local artists, Nurturing Netukulimk celebrates Indigenous artists and creators spanning the unceded, ancestral Mi’kmaw territory, especially those living in local Mi’kmaw communities. The work of Indigenous artists who work or study at StFX is also on display. The gallery showcases the local Indigenous community’s talent and creativity along with thought-provoking artwork. Gallery visitors can appreciate an array of multimedia sculptures, photography, paintings, and so much more. There are even pieces of beautiful, handcrafted jewelry and traditional Indigenous clothing.

Mi’kmaw Elder and Knowledge Keeper Kerry Prosper says, “Interpreted literally, netukulimk is about hunting and gathering.” Elder Albert Marshall describes netukulimk as “a guiding principle as to how we go through life, how we utilize the gifts that the Creator has given us.” The gallery indeed promotes the idea that nature is intertwined with all aspects of life, emphasizing the need to better appreciate the natural world surrounding us.

The project was coordinated by the StFX Indigenous Student Affairs Office and the StFX Art Gallery, but this project wouldn’t have been possible without such high-quality community submissions. Additionally, The Coady Institute has graciously sponsored this exhibition.

Open to the public, the Antigonish community and many students have had the opportunity to engage with the exhibit. Social media and digital spaces also played an essential role in sharing the artwork within the community. Beginning in September, students might recognize pieces from the exhibit on screens around campus. Photos of the work are also being shared on Facebook and Instagram.

It goes without saying that the importance of appreciating Indigenous artwork and artists extends beyond National Truth and Reconciliation Day. By reserving a space solely for Indigenous artists and their artwork, the community and student body gain an appreciation for the Indigenous community's strength and power, hopefully serving as a springboard for further interest throughout the rest of the year.

The exhibit Nurturing Netukulimk is a testament to the importance, beauty, and uniqueness of Indigenous artwork. If you happen to have even thirty minutes to spare between midterms, be sure to check it out.

Writing Workshops on Memoir

Awarded author, journalist, and teacher, Majorie Simmins hosted her latest writing workshop “Using the Short Story to Create a Memoir” this past Saturday at the Antigonish town library.

Awarded author, journalist, and teacher, Majorie Simmins

The goal of the event could be understood in terms of Simmins’ recent work: Memoir: Conversations and Craft (2020), an introduction to memoir for writers and fans of the genre alike.

For Simmins, with considerable experience in freelance journalism as well as an MA in literacy education, the memoir holds great value. Since publishing the already-classic Coastal Lives in 2014, she has written a second memoir Year of the Horse (2016) as well as two other books with her most recent being this June’s Somebeachsomewhere (2021). But, in between all sorts of such publications, further including book reviews in The Antigonish Review, feature articles in the Reporter, and essays in the Montreal Gazzette, Simmins consistently finds time to host workshops like the one held here at the town library last Saturday.

The creative spirit which ran through the eight (of the maximum ten) of us seated that day would best be characterized through our host’s guiding statement: “You have the right to your story”.

Simmins, inspiring in her presence and in her sense of candor from the get-go, asked us to name some memoirs we had recently read and enjoyed. Naturally, a thread ran through them. From Canadian classics such as Ondaatje’s Running in the Family, to American maestros including

Steinbeck’s Travels with Charley, all the way to new-school virtuosos like Rebecca Mead (of New Yorker fame) with My Life in Middlemarch – that was just it – they were all virtuosos. The act of writing a memoir therefore appearing to some as dauntingly exclusive.

Opposite this view, Simmins coaches in her workshops across the country that the default setting for anyone writing a memoir should be to tell a story, saying: “It’s for anyone who decides to do it.”

A firm believer in the value of structure in good writing, Simmins also believes that structure has value for developing confidence in new writers. “Achievable goals are wonderful”, she says, recommending 250 words a week to her students as a terrific baseline.

Simmins’ workshops offer students excellent feedback, technical advice, and an affirmative spirit which inspires. “You have to believe in yourself. People and friends who say things like ‘oh, you’re a writer this week’ are not the kind of people you need in your life”. Her statement resonates, with several of us nodding our heads in response and at least as many inquiring of future workshops afterward.

Marjorie Simmins will be hosting another workshop at the town library on the 30th this month. For free admission, register online at: http://www.parl.ns.ca. For more information, visit: https://www.marjoriesimmins.ca to browse future dates, prices, and locations.

OERs at StFX

A long time ago in a galaxy far, far away, students didn’t spend thousands of dollars on textbooks, for many were freely provided by the institution they attend. But wait, this isn’t a fairy-tale—for many students attending university in British Columbia, it’s reality. Since 2012, students on the West Coast have saved almost $24 million dollars as many of their courses are taught using open textbooks. It’s not just students that benefit from these open textbooks, either—hundreds of faculty members have made the switch and have a variety of free textbooks at their disposal.

What is AtlanticOER and Why Does it Matter?

Open Educational Resources (OERs) are online, freely distributed textbooks, but can also include a variety of resources such as videos and educational materials. To learn more about these OERs, I attended the virtual launch event of AtlanticOER and spoke with its lead organizer, StFX alumna Tiffany MacLennan ’19, ’20.

First, MacLennan explains, “AtlanticOER is a repository of open educational resources that are going to be available to any student in Atlantic Canada. That means that once it gets off the ground and gets building itself a little bit more, it will be a place that any professor in Atlantic Canada can put in either their textbooks, educational materials, or videos. As it grows, the aim is that students get access to free educational materials and we can ween away from the traditional textbook model.” You don’t have to convince any student about the benefits of OERs. Many of us know that textbooks can be expensive, unengaging, and unhelpful to the learning process. Many students choose not to buy textbooks for a class because for them, it is a choice between textbooks and groceries.

There are benefits for professors, too. MacLennan explains that “bringing OERs into your classroom can provide you with a new learning opportunity and can force you to have more exciting and inviting conversations with your students. Through using OER, you get to learn more yourself… and you get to play with it—it’s a fun initiative. We also have librarians who can comfortably find OERs for a classroom to remove some of the burden.”

AtlanticOER was established to eliminate some of the barriers to creating OERs, McLennan shared. First, “it gives educators the platform to start creating and sharing their own OERs,” she said. It also helps overcome the challenges that come with creating textbooks and educational materials by addressing the barriers of limited time and resources. “Creating a textbook isn’t very fast–they take a lot of work. With the AtlanticOER repository, there are grants you can apply for that compensate your time spent on OERs or to hire students to help create OERs.” The organization also places a great deal of emphasis on disseminating knowledge, helping people understand the benefits that come with OERs. For McLennan, “the end goal is that no student makes the choice not to buy a textbook based on affordability. The grad gift this year is

for student food insecurity due to an uptick in food related asks from the financial aid office. That tells us those decisions are being made more and more often.”

Students’ Union Advocacy

I also sat down with Siobhan Lacey, current Vice President Academic (VPA) of the StFX Students’ Union to find out what they’re currently doing to advocate for OER adoption. Provincially, they’re working with StudentsNS, the province’s non-profit advocacy group that represents post-secondary students, to advocate to the provincial government for OER funding, such as providing financial incentives and grants to professors. Close to home, the Students’ Union is facilitating conversations with key stakeholders such as faculty and students.

Prior to the launch of AtlanticOER, StFX did not have the on-campus resources to push for OERs; but now, Students’ Unions across the Atlantic region are undergoing training to advocate for OERs at their University Senates. Moving forward, it is important for our Students’ Union to make a bigger push on OERs, but this change can only happen if students want it. It will require students talking to their professors about OERs to create an Open Education culture on our campus.

When asked about the barriers to implementing OERs, Lacey said that “there are a couple big ones. The biggest one is obviously funding. It’s always going to be funding. But to first develop an online infrastructure that can host a variety of OERs… is going to be very expensive, maintaining that even more so. The funding [barrier] is why I think we’re seeing such communal effort around OERs, and why no separate university is developing them. It would take a big budget that I don’t think one university would be able to sustain. Another barrier we’re seeing is incentivizing faculty to develop their own OERs. Obviously, developing a textbook is time consuming and can be a lot of work for faculty. But, ultimately, we know that it’s so much more beneficial for students. So, it’s about incentivizing those folks and showing them the benefit it has to student academic success.” The final barrier Lacey identified was awareness: “trying to encourage faculty to develop OERs because students want them while the majority don’t know what they are is a little difficult to do!” Earlier this year, StudentsNS ran an awareness campaign focusing on this final barrier, and is currently putting a lot of emphasis on knowledge translation to provide students with the skills to engage in conversations with faculty about OERs.

Offering advice to future VPAs or students interested in OERs, McLennan says “not be discouraged by the slow uptake at first, because all good things take time. Starting conversations isn’t easy, especially when faculty have been teaching with these books for [several] years. Use the time it takes to build things to build things right. We need more students to know about OERs to get more students to talk about them… with our faculty, administrations, and librarians to actually push this forward.”

University Administration

The university administration can play a big role in implementing OERs. On March 5, 2021, University Academic Vice President and Provost Dr. Kevin Wamsley agreed to sit down with me for an interview. “I’m a fan of educational resources being distributed to as many people as possible,” he said. “Education is difficult, it’s hierarchical, it can favour those with more resources, and textbooks have, for the past twenty-to-twenty-five years, become very expensive. Textbook companies have become unfair in their pricing. While education has been brought onto the open market readily, the burden of this falls to the student… providing free or low-cost educational resources makes education more accessible.”

When asked about benefits for faculty, Wamsley emphasized that the role of the professor is to disseminate knowledge. “I think it’s important that professors are actively involved in producing materials for class. Professors creating and modifying OERs is an important part of the process… professors are excited to talk about their work and that’s the way it should be. Once you begin to contribute, and you see how it can be dynamic in your classroom, I think people are going to be all in,” he said.

Coming back to one barrier identified by the Students’ Union in implementing OERs, I asked Wamsley about incentivizing professors to adopt and create them. He said there are no current plans to incentivize professors to take this project on, but went on to explain that the school does have a plan: “we have a fabulous teaching and learning centre over in Mulroney Hall operated by Dr. Angie Kolen, and this presents a marvellous vessel to get the word out and provide workshops about OERs and how to get involved.” Further, he says, “professors are not getting rich selling textbooks. They’re not, they never will,” so there’s nothing standing in the way of making future publications accessible.

Long Live The Queen: Priscilla Returns to Campus

Fear no more, fellow Xaverians! Priscilla: Queen of the Highlands lives on. Despite the COVID-19 pandemic, Dr. Chris Frazer has been working diligently with X-Pride to ensure that the beloved Priscilla will grace the StFX stage for its sixteenth consecutive year. Having grown its fan base and interest significantly since the first show back in February 2005, which hosted an audience of only 100 people, the show has been known to sell-out the Mackay Room of the Students’ Union Building, hosting around four-hundred viewers from across the province.


This widespread show of support for the 2SLGBTQ+ community in our small, rural town began as the entertainment portion of a workshop titled “Centering the Periphery: The Experience of Rural Life for LGBTQ Youth,” which was hosted on the StFX campus in 2005. The workshop was organized by Dr. Frazer (History) in tandem with Dr. Nancy Forestell (Women and Gender Studies) and Claire Fawcett (Anthropology). Dr. Frazer had recently been appointed as faculty advocate for 2SLGBTQ+ students following a number of homophobic assaults on the University’s campus. In an effort to support Dr. Frazer’s new role, and following the success of the first-of-many Priscilla shows, X-Pride decided to continue producing the show on an annual basis.

Photo by Addy Strickland

Photo by Addy Strickland


On Friday, February 20, we will all be able to enjoy a socially distanced show featuring many favourite local and regional performers. Dr. Frazer notes that among this year’s performers, we can expect fan favourite Rouge Fatale from Halifax, who will host the show. Other performers will include Elle Noir, more local Kings, and Dr. Frazer’s own Joni Cash and C. Leah Cruise, along with some other Halifax regulars. Viewers can expect dynamic performances which will include a range of queens, kings, genderf*ck, and non-binary performers. The show will be hosted on Zoom, and tickets will be sold online. More information will be released closer to the show.


To stay up to date as more information becomes available, follow @xpridesociety and @xgsdsa on Facebook and Instagram!

The StFX Art Gallery: A Campus Gem

I was lucky to have an interview over email with Andrea Terry, director and curator of the StFX art gallery and professor in the StFX art department. I must admit that during my time at StFX, I’ve never visited the art gallery. However, after asking Dr. Terry some questions about the gallery and receiving some very detailed answers describing the gallery and why students should take advantage of it, I think I’ll find the time in my schedule to give this wonderful place a visit, and I think you should too.

SB: Can you give me a brief history of the art gallery?

AT: The gallery was established in 1976. First, it hosted exhibitions on the fourth floor of Bloomfield Centre, and then it moved down to its current space on the first floor.

The StFX Art Gallery hosted fifty-seven exhibitions in its first decade of operations, featuring local and Nova Scotian artists. It also brought in touring shows from the Art Gallery of Nova Scotia. Moreover, over the past few decades, the gallery has cultivated a sizable permanent collection of approximately 3,500 artworks, acquired largely through donation. The collection features art and objects that represent the cultures and histories of northeastern Nova Scotia. Notably, a sizable portion of the collection is stored in the former CIBC bank vault at the back of the Bloomfield Gallery with a large, heavy door, levers, and two combination locks that take me – on average – 15 minutes … to open!

In September 2020, the StFX Art Gallery opened its newest exhibition space in 2002 Mulroney Hall, complete with 11’ high walls, climate control, and an amazing lighting system to show off the art exhibited to its best advantage, so the gallery continues to grow and expand, which is quite exciting!

SB: What do you enjoy most about being a curator at the STFX art gallery, and can you tell me a bit about previous art galleries you may have worked at?

AT: I received my PhD in Art History (2010) and taught art history courses at universities across Canada. In 2014, while teaching at Lakehead University, I started doing some independent curatorial projects with artists based in Thunder Bay, Ontario, and eventually I became the Acting Curator of the Thunder Bay Art Gallery. Being the Director / Curator of the StFX Art Gallery lets me do two of my favourite things: working with artists and working with students. I recognized early on in life that I had some artistic abilities, but I keenly appreciated and wanted to support those who had more skills than myself, so being able to support, promote, and celebrate artists and their practices is extremely important to me. I also appreciate working with students, both in the classroom and in the gallery. I’ve been fortunate to have excellent student staff workers at the gallery who have designed exhibition posters, edited artist interview videos, and managed the gallery’s social media. Basically, my approach when working with student staffers is to tell them what I’d like – in terms of an exhibition poster – and let

them run with the project. It’s amazing to see what they produce, as my graphic design skills are somewhat/extremely limited.

SB: Do you have a favourite piece or exhibition?

AT: Right now, I’m extremely grateful to be able to host the national touring exhibition COLOUR WITH A “U” featuring 33 art quilts by artists from across Canada. It’s a beautiful and captivating exhibition—there’s a wealth of colours, textures, and sights to be experienced, and it’s on in 103 Bloomfield until February 27, 2020. Visitors can make 30-minute appointments to visit on the gallery’s website.

In 2002 Mulroney Hall, I’ve organized a New Acquisitions exhibition, showcasing the latest additions to the gallery’s permanent collection. A number of works are by accomplished Indigenous artists, such as Cree painter and printmaker Allan Sapp (1928 - 2015) and Tsimshian carver, painter and printmaker Roy Henry Vickers (b. 1946), to name a few. I’m looking forward to having people see these new works and learn how and why the permanent collection continues to grow.

SB: Why should students visit the art gallery?

AT: That’s a great question, one I’ve given a great deal of thought. It’s a great place to take a break, to go and see, learn, and experience new things. It offers a space for people to take a breath, to escape their daily routines, to do something different. An art gallery visit can offer similar benefits – in my opinion – to a yoga or meditation class in that encountering art on exhibition typically encourages one to be fully present, to flex mental muscles, to appreciate that which is around you.

For me, it’s such a pleasure to walk through the gallery from time to time and see people, students, visitors captivated by different pieces. The gallery landscape constantly shifts and evolves; each visitor notices something different – oftentimes people ask me such thoughtful, insightful questions that I have to mull over my answer, or they’ll point out things about an artwork that I would have never noticed myself. These exchanges are extremely rewarding, and I am incredibly grateful take part in them.

SB: Can you tell me more about upcoming exhibitions?

AT: From May to August 2021, the StFX Art Gallery is pleased to host, in partnership with the Nova Scotia Sports Hall of Fame, the exhibition Sports Illustrated: The Nova Scotia Edition. This exhibition features the original artworks of Chronicle Herald editorial cartoonist Bruce MacKinnon, more specifically his sports cartoons. I understand that Bruce grew up here in Antigonish and that his cartoons have garnered international attention, so it promises to be an excellent exhibition.

SB: Finally, do you have a favourite piece of artwork in general? I personally really like Judith Slaying Holofernes by Artemisia Gentileschi and Portrait of Madame X by John Singer Sargent.

AT: That’s a tough question for someone in my position to answer because there are so many that come to mind right away.

One artwork that I find particularly captivating is on display at the gallery now as part of Colour with a “U” – Linda Finley’s 36 Million Stories: The Fabric of US. This art quilt is a small patchwork quilt framed within a ship’s wheel, embellished with sculptural fabric elements, more specifically meticulously crafted heads of various individuals that make up the array people living in the land now known as Canada. The detail of the various figures is astonishing. One of my favourites is a woman with pink curled hair and a nose ring, because I had a nose ring when I was an undergrad, so that particular form resonates with me. Once I point that head out to visitors and explain why I first noticed it, visitors point to other figures that strike a chord or evoke a memory for them.

It’s a truly remarkable work, and I’m going to be doing an artist video interview with Linda this week and posting the interview to the gallery’s website and social media pages in 1-2 weeks’ time, so everyone can learn more about her practice.

To view the work, go to https://www.instagram.com/p/CHi_LiXHRzP/

The Xaverian Weekly’s Local Gift Guide 2020

COVID-19 has taken a toll on small businesses. This holiday season, shopping local will help your favourite neighbourhood shops keep their doors open! In Antigonish, there is no shortage of local businesses to choose from. Below, we have included some gift ideas from some of our personal favorites as inspiration. Happy shopping, and Happy Holidays!

1. Give the Gift of a New Tattoo

New ink can be expensive, so help out a loved one this year with a gift certificate to one of our local tattoo shops! Dane Hiltz at Freedom Electric Tattoo offers a range of tattoo styles, and also sells prints of some of his designs for a moderate price, which lend character to any room. A great gift for any tattoo enthusiast! 

At Folklore Tattoo, Emily Kane and Colleen Murray offer specialized, strictly Blackwork tattoos. While they aren’t offering gift certificates this year, Emily also sells screen-printed totes and apparel with unique designs on her Instagram page!

2. ...or of a Great Hair Day 

Vivid Hair and Body is well known for their magnificent hair coloring and modern cuts. Not only do they have gift certificates available for purchase, but they also stock scrunchies and various other hair products. There’s also Vivid Sidekick, a permanent popup featured by the salon, which sells homeware, clothing, and other accessories. 

3. Deck the Halls with a Locally Grown Christmas Tree (and the table with a chicken!)

Loch Abar Chicken Farm is the perfect place to support local. If you’re in the market for a tree, look no further! These farmers are also well known for their chickens, so if you’re not in the mood for a traditional Christmas turkey, a local chicken is the perfect way to celebrate!

4. Anyone for Five Golden Rings?

Cameron’s Jewelry is a great local option for all your jewelry needs. The kind and knowledgeable staff would be happy to help you find anything you may be in the market for – golden rings, necklaces, watches, and all sorts of other giftware. 

5. Treat Your Favourite Foodie

A favourite among the Antigonish community, Peace by Chocolate recently released new items in time for the holidays. Whether your loved ones are fans of milk, dark, caramel, nuts, or fruit—they’re sure to have something delicious in stock! Pair the chocolate with a t-shirt or the Hadhad’s new book, and you can check any chocolate-lover off your list. 

For the chef in your life, you might consider gifting some fun new seasonings. Big Cove Foods offers a variety of unique and delicious spice blends that make dinners shockingly easy! You can find all their products (including some fun jellies) online, or a smaller selection at Happenstance in downtown Antigonish. 

Just across the street at the Five to a Dollar, you might also pick up some fun flavours of Tidal Salt, harvested straight from the Nova Scotian sea! The company’s goal is to relocalize sea salt, and they sell their product in individual jars or sample-sets.

Not sure the actual food gifts would make it to Christmas? Why not pick up a giftcard to your loved one’s favourite restaurant! The Tall & Small Cafe, The Waffle Bus, Gabrieau’s Bistro, Justamere Cafe & Bistro, Little Christo’s, Townhouse, Snow Queen, Love Eat Asian, Myer’s Tea Room, and the Brownstone all offer gift certificates in any amount. At The Waffle bus, you can also pick up packaged coffee and their logo tee-shirts—perfect for the waffle lover in your life!

6. …or Your Favourite Fashionista 

Trendy’s Clothing and Shoe Shop is your stop for a slightly higher price range gift. Trendy’s offers a great selection of footwear, and some very nice clothing. If you’re searching for Burks or Blundstones this season, this is the perfect place to go. Sheepskin wool insoles from Lismore Farm, another local business, are a great compliment to a new pair of shoes! 

Wallace Leathers is your one stop shop for all things leather, they carry a variety of items including beautiful leather gloves which are perfect to keep you warm all winter, shoes, and handcrafted leather journals. Check out their facebook page!

Photo by Sarah Laffin

Photo by Sarah Laffin

7. Give the Gift of Relaxation

Antigonish Nail Boutique is skilled at full sets of nails. They also do manicures and fills, making a gift certificate to the shop a great gift for any nail lover. Along with nailcare, they also sell Hempz Lotion, which is perfect for a stocking stuffer, or a homemade spa kit! 

If you aren’t a fan of the at-home spa experience, a day at Baile Mor Salonspa might be more up your ally. The spa offers a number of different relaxing experiences, including massages and facials!

For a Gold Dust Tanning is a great place to get a tan, and pretend you got to go somewhere warm over the holidays instead of being stuck in the cold. Pick up a gift card here and help your loved one pretend they aren’t stuck in the snow. 

8. For The People Who Have Everything

The Plum Tree Gift Shoppe is a great place to find the perfect Christmas ornament for your loved one, or pick up a new Christmas-themed print for your wall. They also carry candles, journals, socks, and sweet treats—great for stuffing those stockings!

The Posh Peppermint is another great place to buy something fun or unique for someone who has everything. They carry a huge variety of gifts, including home decor, candles, ornaments, art, and the quintessentially Nova Scotian gurgle jug. 

Briefly mentioned earlier, Happenstance also stocks a wide range of gifts, and specializes in things unique to Nova Scotia. Pewter, tartan, pottery, and a range of books by Nova Scotian authors are just a few of the treasures you might find here. A great place to shop for someone who might not make it home for the holidays this year!

The Antigonish Farmers Market is also home to a lot of great gift options. Now in their new building, the Market offers many vendors and is the often the perfect place to find options within your price range while supporting local. The market is open every Saturday from 8:30am to 1:00pm, and will host a series of special Christmas markets Wednesday evenings in December.

And finally, Red Sky Gallery is the best place to get all of the cards you need this holiday season. Each card is made by a local or provincial artist, and would be a treat to find in the mailbox. 


We’ve tried to include as many local businesses as possible in this guide, but ultimately only had room for so many. If we’ve missed your favourite, or if you run a local business you think we should know about, please tell us (and our readers) about it in the comments below!


Album Review: Away is Mine by Gord Downie

On October 17, 2017, Gordon Edgar Downie died at the age of 53, after a short battle with glioblastoma, a type of brain cancer. Tragically gone too soon. Gord Downie released both solo albums and was the lead singer of the Canadian rock band the Tragically Hip.

Gord’s brother, Patrick Downie, claimed that Gord worked throughout his entire cancer battle, as his passion for music was what kept him sane. All the songs in Away is Mine were written after his diagnosis. They were the last 10 songs that he both wrote and recorded.

His second, but not final, posthumous album, Away is Mine is two albums in one. First, a regular collection of new songs, and the second half are the same songs, yet entirely acoustic recordings. It was released on October 16, 2020. Marking 3 years after Downie’s death. The album is uplifting and unexpected for a posthumous album. The unedited acoustic version is raw and pure, focusing on his voice rather than the music. His entire album evokes emotion and his voice is a perfect way to reminisce, this album filled with the last songs he sang before his death.

The final song in the album, “Untitled,” is my personal favourite; it is also the one that touches on his disease. All 10 songs were recorded over a period of 4 days in July 2017 just two and a half months before his passing. I recommend listening to the acoustic section before the others if you plan to listen to the whole thing.

Nova Scotia Kitchen Party

Since the beginning of the COVID-19 pandemic, we have all been experiencing the fatigue of social distancing, being away from those we enjoy spending time with. Though restrictions have opened to what we now refer to as a ‘bubble,’ large gatherings are still not permitted. This has inevitably caused much-loved events to be postponed or cancelled. Traditions of gathering with large, at-times rowdy groups of friends, family, and strangers, have all been put on pause. The spirit of such traditions, however, has remained alive for many here in Nova Scotia since the very start of quarantine in March 2020.

The Ultimate Online Nova Scotia Kitchen Party COVID-19 Edition Facebook group (UONSKP) has been steadily gaining momentum since it was first created on March 19, 2020. Following the shutdown of many businesses, and a mandate by the government regarding safe distancing, the group served as a space to highlight the resiliency of many Nova Scotians and offered a place to support each other from afar. As an online recreation of the classic East Coast kitchen party, the videos of music shared amongst the group quickly became a hit with those who hold Nova Scotia near and dear to their hearts.

Videos of families playing music, with some playing instruments like guitar, fiddle and even spoons, breathed life and hope into many of our lives once again. Given the uncertainty of the pandemic, many felt it was nice to keep this tradition alive, albeit looking a little different from usual. If anything, the online format has given the traditional gatherings a broader audience, and has allowed more people to enjoy them. Some who have moved away from home have said that seeing so many people become involved has cured their homesickness, and allowed them to connect with their East Coast roots again.

As the description promises, the idea of the Kitchen Party did indeed clear up some of the pandemic fatigue we are all surely experiencing. The Facebook group is poised to clear up some of the “doom and gloom” on all of our Facebook feeds, and wished to flood them with kindhearted music and fun. No matter your musical abilities, the UONSKP offers a space to connect, and enjoy some long overdue party vibes from the comfort of your own home. Grab your bubble, grab some food, and sit down to enjoy – or dance it out – to performances from some friendly faces around Nova Scotia, or abroad.

Years of Treaty Conflict, StFX Professor Speaks

StFX anthropology professor Dr. L. Jane McMillan is the recent recipient of the Atlantic Book Award for Scholarly Writing for her powerful release, Truth and Conviction: Donald Marshall Jr. and the Mi’kmaq Quest for Justice. Praise and recognition have been widespread since the book was released in late 2018, and she has since travelled to Harvard University as an invited speaker, and Toronto as an awardee.

On October 2, 2020, Dr. McMillan sat down with Staff Writer Nathan Penman to discuss her recent book award, the ongoing acts of aggression toward Mi’kmaq fishers, and what students can learn from Donald Marshall Jr.

***

NP: To start, could you tell our readers a bit about yourself and what you do?

JM: I’m a legal anthropologist and an applied anthropologist, so we do anthropology that hopefully does something that informs policy or can drive change. We identify social problems and work with community members to try and address those problems using whatever means we can. It is a really collaborative, community-led type of work that I do. I’ve had the wonderful privilege of working with the Mi’kmaq Nation for close to three decades now.

NP: Why did you write Truth and Conviction, and was it difficult trying to balance academic objectivity with your personal relationship to Donald Marshall Jr.?

JM: Well, it was a project that had been going on for a very long time. It was a project that was based on my Ph.D. dissertation, and then life got in the way. When Junior was alive, he wanted us to write a book together and we didn’t get to that work fast enough. He passed away in 2009, but I never lost sight of his desire to make sure that stories and his legacy continued.

So, I took that on, and my goal with the book was to honour his legacy and hopefully mobilize people to continue to act. To give them some insight into how he was thinking, but also [his] transformative impacts in terms of justice reform and treaty rights. I mean, it’s a heck of a story, he really was a remarkable man. But in writing it, I was also grieving the loss of somebody that I loved and cared about—somebody I spent many years of my life with. I spent a lot of time reflecting on our relationship and on our life, so that was a deeply personal experience for me. It wasn’t always easy, there were a lot of tears. A lot of tears working through that, but [there was] a lot that I needed to keep to myself because I’m quite a private person, so even putting in the personal anecdotes that are in there was pretty tough.

NP: You recently won the Atlantic Book Award for Scholarly Writing. How did it feel to receive it, and what does this award mean to you?

JM: I was absolutely thrilled and honoured. I didn’t expect to receive the award. It means a great deal to me—the recognition is very affirming. It was a difficult book to write and one never knows how that type of work is going to be received as balancing the academic and the personal is always a bit of a challenge. And the recognition from the Atlantic Book Award—they wrote a really beautiful letter to me talking about the timeliness of the work, particularly in light of all of the racism and the tragic consequences going on over the summer.

NP: Dr. Ingrid R. G. Waldron’s There’s Something in the Water won the Scholarly Writing award last year, and this year you won it with your book, Truth and Conviction. To you, do these recognitions mean something for future work in mobilizing Mi’kmaq and Indigenous knowledge, ways of living, or current struggles?

JM: Well, I certainly hope so. I hope people will keep speaking out, the academy will keep writing and reporting, and news venues like yourself will keep the stories alive and in the headlines, and not just for the horrific sensationalism but getting at the root causes. Because it’s not until we address the root causes of inequality and discrimination that we’re going to make any change. This is why we’re seeing such important work being done by the Mi’kmaq Nation today to assert their livelihood rights against all of the obstacles that have been put before them that exclude them and prevent them from doing what is rightfully theirs. I think those moments are really important and that the press needs to accurately reflect those moments. There’s been a shift in the discourse around what the Mi’kmaq have been doing and there seems to be more positive support, as there should be, for treaty rights assertion.

NP: On September 18, The Assembly of Nova Scotia Mi’kmaw Chiefs declared a State of Emergency in response to the hostilities surrounding fishing treaty rights and their assertion. Your book describes how these came about. So, what do you think about the recent fishing rights disputes and the State of Emergency in Mi’kmaq’ki?

JM: Well, there are two important things, I think, for me. One, I 100% support the Assembly of Chiefs and the Mi’kmaq communities for asserting their livelihood rights and going out on their self-regulated livelihood fisheries. That’s been a long time coming, and that activity should not be criminalized in any way. It is legal under the Constitution, the Supreme Court, and of course through the Treaties.

I am terribly disappointed in the response from non-Indigenous fishers, but these conflicts aren’t new. The gear conflicts, the maliciousness, the destruction of traps, of boats—of anything that can interfere with the Mi’kmaq doing their ceremonial or livelihood fisheries—has been going on for many, many, many years. And the Mi’kmaq haven’t been well protected nor have their rights been well recognized. So, I think what I really enjoy seeing right now is the unity of the Mi’kmaq Nation in going forward in supporting each other; those that gathered down there for the Mawiomi yesterday, those that gathered in Potlotek, and those that are supporting the Membertou fishery.

That to me is always what Jr. Marshall would’ve wanted. You know, I think that he would be thrilled to see that kind of leadership, that kind of collective action. That was what he was aiming for when he continued on with that fight.

NP: Your book talks about continuing Donald Marshall Jr.’s desire for the Indigenous Peoples’ rights to be respected by everyone. I have to ask, what do you think the Department of Fisheries and Oceans could or should do to protect Mi’kmaq fishers and their rights?

JM: Well, I think there needs to be a whole-scale restructuring of the Fisheries in order to include, respect, and educate others on that space in the fishery. There needs to be very a distinct place for Mi’kmaq rights to the resource, and they need to stop interfering with the livelihood aspects, they should be enabling commerce rather than disabling it. And I think that the education programs of the regulatory body have to shift so that everyone understands there are Mi’kmaq rights to fishing and that other Indigenous communities also have very similar rights to access these resources in Canada and they can no longer be excluded from that. There’s a lot of work to be done. They also need to be protecting Mi’kmaq gear and Mi’kmaq lives around that water against the hostilities and conflicts.

NP: What do you think people should understand about the Friendship and Peace Treaties of the 18th century?

JM: They are living treaties. They have been affirmed by the Supreme Court of Canada and they are upheld in the Canadian Constitution. The Mi’kmaq have an unbreakable bond to those treaties and live by and adhere to them. And all of the settlers who live in this territory are also treaty people and have an obligation to live the treaties as well, and that means honouring and respecting the relationships and, ideally, someday getting to the place where they are constantly celebrating those relationships rather than fighting over what those rights may be.

NP: What do you think, then, that StFX University as an institution and its students could be doing to assist Mi’kmaq People trying to assert their treaty rights—their re-affirmed rights?

JM: I think we’ve got a great administration in place right now that are very supportive, and they want to be good neighbours to the Mi’kmaq Nation. The Indigenous student services section of the university needs some growth, it needs some support, it needs more resources put toward it. So that’s one thing the campus can do. I think the campus can also welcome the dialogue and help shift the conversation from one of antagonism and racism to one of peace and friendship. As you mentioned, to be living the meaning and intent of the treaties in better ways.

I think that we fly the Mi’kmaq flag, we acknowledge we’re on Mi’kmaq territory—those are important symbolic steps—but substantively, there’s work to be done in our research relationships, our teaching relationships, and our service relationships. And I think that those changes are coming, I think that there is certainly the political will on campus and that students are all benefiting from exposure to Mi’kmaq culture and Mi’kmaq knowledge. And Indigenous

knowledge isn’t general, and I think that everybody is learning and participating in that way, and we’re all better off for it.

So, I think more and more engagement and more and more opportunities for land-based learning. Our knowledge keeper on campus, I think that he could benefit from more resources because he’s really tapped a lot to educate and help people learn, but he can’t do it all—he’s a busy man—so we’d like to support Kerry Prosper in whatever ways we can. And I’d like to see at some point see the university set up sort of a space that’s both sacred and educational, and we could put in an ethnobotanical garden that relates to Indigenous knowledge, medicines, and plants, and maybe have a wigwam where we can do teachings and have the community come in and share their knowledge with us and have them be properly compensated for that exchange.

NP: Me, I’m from Sydney so I’ve grown up with some familiarity of Mi’kmaq knowledge but when I came to university—it just opens your eyes to just how much you don’t know. And having more of those opportunities to learn can never be a bad thing.

JM: I also think that we need more Indigenous faculty—we need more diverse faculty. But, more Indigenous faculty and staff, for sure. It’d be great to have a Chair of Indigenous Governance in the Public Policy and Governance program. A Chair of Indigenous Environment in the Climate and Environment program. A Chair of Indigenous Health in the Health program. A Chair of Indigenous Business—I mean we can have it everywhere.

NP: Let’s circle back to your book. In it you state: “The adversarial justice system features the state as the victim and punishment as the cure, in a narrow adjudication process separated from the community.” I wonder, then, to you, what would a pluralized justice system in Nova Scotia or Mi’kmaq’ki look like?

JM: It would be one where the community has way more input in the remedy. The restorative justice processes are fairly inherent in Mi’kmaq belief systems and they could be brought forward and brought into practice. The Wagmatcook Court is a great start, and they are working really hard with community members and [they] have their Elder advisory circle. They work with the Mi’kmaq legal support network which provides some customary and law and court worker support.

But I think we can take it a step further and see some self-determined justice institutes being brought forward relying on Mi’kmaq legal principles and I’d like to see that happen. So, I think that the Mi’kmaq have always had an interest in creating their own courts—it doesn’t have to look like a Canadian court, it doesn’t even have to be called a court, for the sake of this conversation. Or, [it could be] a justice lodge or someplace where people can come and gather and gain the teachings they need to repair whatever harms have been committed. And to reintegrate people back into the communities so people can go on living in a good way.

NP: As a follow-up, what would you say to those who have doubts in Indigenous People’s ability to judge or mediate through these justice circles, or so on, when harm is done to the community?

JM: I think regardless of what kind of justice system you have, you have people who doubt it. I mean, we certainly can’t have blind faith in our justice system in Canada; it makes mistakes, it makes a lot of mistakes. And Donald Marshall’s wrongful conviction is but one of many, many more. And, so, I think any sort of system that’s trying to generate knowledge, repair harms, and deter people from committing further offences and working to re-integrate people, of course, is going to run into its problems. But I think that the benefit of Indigenous legal principles and practice is that they’re far more focused on rehabilitation and reintegration than punishment. And I think that our justice system would benefit from changing its lens to one that’s far more rehabilitative and reintegrative than its focus on punishment because it’s not working.

NP: I think your passion for telling Donald Marshall Jr.’s story and telling people today why it’s important to continue his legacy—I think it speaks in the book, so I really do want to commend you for a quality book, and like I said I thoroughly enjoyed and learned a lot from it. I really do hope that our readers will do the same.

JM: Thank you, Nathan, I appreciate that.

Pray For It: Bold Change or Failed Attempt? July Talk REVIEW

July Talk has always been known to please their fans. 

The Toronto band features the clashing voices of the soft and soaring Leah Fay, the gravelly and growling Peter Dreimanis, drummer Danny Miles, bassist Josh Warburton, and guitarist Ian Docherty. The group are known for their energetic and loud live shows, often involving Faye dancing around the stage and getting into the crowd, all while barefoot. The band has earned a reputation as one of Canada’s loudest and most in-your-face bands of the modern era.

Prior to Pray For It, July Talk released 2 studio albums — a self titled album in 2012, and Touch in 2016. The self-titled album inseminated the public ear with a brand of abrasive and loud rock music the band would be known for, a sound they would deliver again on Touch. 

While July Talk was hit after hit front-to-back, Touch showed signs of progression from the band, experimenting more with their sound and giving their tracks more room to breathe.

When the band began releasing singles for Pray For It, the songs signified a new sonic palette  for the band. Their signature gritty guitar riffs and fire-in-the-belly attitude was traded for something smoother, more relaxed and less in-your-face. 

Going into this album, the listener is posed a question: Is Pray For It a step in the right direction or a failed attempt at a new sound?

On Pray For It, the band has infinite space to move around and experiment with their sound. Is this album perfect? No. Is it a step in the right direction? Absolutely. After 8 years of sitting on the same material, the July Talk sound becomes stale. On Pray For It, the band presents a whole set of new ideas sonically and lyrically that blow their earlier material out of the water.

Although July Talk is known for their sound, the best thing about Pray For It, by far, is the songwriting. The group has always touched on social justice, gender and sexuality, violence. On Pray For It, the band looks at the way these themes affect society and explores a simple question: why? The band looks at  these relationships from a microscopic viewpoint and explores their intricacies on a level much deeper than surface. 

This all starts on the opening track, and third single from the album, Identical Love, which starts the album on a very haunting note with a very fragile and sweeping drone that builds throughout the song and erupts like a firework display later in the track. The writing is almost poetic.

“The evening heat surrounded us // It blossomed from the cup // The only one of their kind // Welcome inside”

The album then moves into the song Good Enough which has very dark lyrics about feeling inadequate and being in a manipulative relationship, but is played almost like an 80’s dance song. It features really bouncy drums that make you want to get up and dance mixed with echoing and sustained synth chords. 

Although the album has several other high notes like Life of The Party, Pay For It, and Governess Shadow, the album has some pretty unignorable missteps. 

Pretender almost feels like a B-Side from Touch. It is very reminiscent of the band’s older sound by incorporating distorted guitars and a loud, gritty delivery from Peter on the chorus. While the song is enjoyable, it feels like the band holding onto the familiar instead of exploring their new direction. 

The most criticised track on the album, Champagne, is also the most socially conscious.The song seems to reflect the concept of Champagne Socialism — someone identifying as a socialist while living a luxurious lifestyle — but instead of referring directly to socialism, the term is being more directed toward social justice and fake activism — people virtue signalling while reaping the benefits of white privilege without using their resources to support the movement in any meaningful way. 

The track is essentially a gospel song which may be the reason so many people dislike it. Sonically, Champagne sticks out like a sore thumb in the track list. While the idea is very meaningful and important, the execution falls apart and really doesn’t fit on the album.

Pray For It closes on a very dark and brooding note with Still Sacred. The track is almost frightening with its hammered and distant piano chords laying on top of some really languishing guitars. It acts as a nice book-end to the album by sounding tonally similar to the ominous opener, Identical Love. 

Overall, Pray For It is a good album and successful foray into a new sound for the band. Although there are some pretty notable missteps on this album, it is still a step in the right direction for July Talk. Their songwriting has improved and they’ve shown they can contribute meaningfully to current social discourse. 

The band’s new sound mostly works and while there were some flops, the songs that swing hard enough knock it straight out of the park.

It makes me very excited for their next album, hopefully we don’t have to wait until 2024 to hear it. If you’ve never heard July Talk before, I recommend listening to this album and exploring their earlier two releases as well.

RATING: 7/10

An Interview with Martha Wilson

Arts & Community Editor Addy Strickland interviewed author Martha Wilson over Zoom on July 16, 2020.

Martha Wilson's short story collection, Nosy White Woman, was recently awarded the Alistair MacLeod Prize for Short Fiction at the 2020 Atlantic Book Awards. The prize was established in 2015 to honour the memory of Alistair MacLeod, a masterful short fiction writer who called Nova Scotia home. Wilson was also a finalist for the New South 2018 fiction prize and runner-up for the 2017 Peter Hinchcliffe fiction prize, and has published work in the New Quarterly, Real Simple, The New York Times, The Japan Times, Kansai Time Out, and the International Herald-Tribune. Nosy White Woman is Wilson’s first published collection of short fiction.

AS: Can you start by telling me a little bit more about you?

MW: I’ve been in Canada for twenty-five years. I’m American, and I feel very grateful and lucky to be in Canada. My husband is from Nova Scotia. We were in Toronto for ten years and moved back to Nova Scotia when our children were small, so my children have grown up in the country, in rural Nova Scotia, which has been a wonderful experience for them. I’ve really appreciated having the chance to have lived, as a younger adult, in a big city, and then as a mom in the country. I read a lot, though especially during this pandemic it’s harder for me to read a book than it used to be. And I do read Twitter a lot. Like, way, way too much. I especially read political Twitter, and since I still vote in the United States, I follow a lot of Washington journalists and track U.S. political news pretty closely. That takes up a lot of my attention, and I don’t know a lot of Americans here in Nova Scotia who are as focused on it as I am. It can be a little bit isolating, since my family doesn’t want to hear about it. That’s probably my big “hobby” —following U.S. politics.

 AS: Can you also tell me about your journey as an author?

 MW: I always knew I wanted to write, so it was really so satisfying to have published this book. It took me twenty years to complete it, and in finishing the book, I realized that I was able to finish it and publish it because my mother had died. She died in the spring about five years ago, and in the summer, I signed up for the Humber distance writing course, and I thought, “I’ll finish this short story collection.” I worked on it for a year and then started the publication process, with literary press Biblioasis. We were well into the editing of it before it dawned on me that I’d been able to write it because my mother was gone. I was really surprised by that. Not by not having been able to finish it, but by the opacity of that process—that I did not realize what was going on for months and months, even though I was really engaging with the stories and the publishing process. So I’m very interested that things that can be so apparent in retrospect can be so invisible at the time. It’s not that I thought the stories would be painful for my mom, or too specific—my mom’s not in the book—but it was just too close while my parents were still around.


 AS: Did you go into writing these stories with the intention of publishing a collection?

 MW: No, but I've always loved short stories, and for years and years I subscribed to Harper's and The Atlantic. Those two were monthlies. The New Yorker obviously has amazing fiction, but it comes every week. I could never finish a New Yorker before there's another one dropped through the mail slot; they just come all the time. The Atlantic and Harper's, during my twenties and most of my thirties, were publishing one story a month each; it was the perfect amount. It was as if the fiction was titrated at a dose to perfectly match the attention and thought I would give it over the course of the month. A novel, you choose it yourself: you go to the bookstore, you order something; or you like a writer, so you buy their book. With the short stories in monthly magazines, it's like they're assigned to you. They just arrive. That had a really big impact on how important short fiction became to me. I still remember a lot of those stories that I read when I was a young adult. I remember them with great clarity. It's something that has nearly disappeared from public life during my adulthood, and that makes me sad. (But it's okay; we didn't have Twitter then.)

 AS: For people who are interested in reading Nosy White Woman, can you give us an idea of what to expect?

MW: Because I'm so interested in politics, there's a lot of that; I'm extremely interested in the effects of policy on our daily lives. I'm always telling my daughters who are teenagers that policy is more important than anything else. At the same time, that’s not exactly what the stories are about. They're about families, they're about adult children, they're about marriages, they're about fear and worry and happiness. They're a lot about privacy, and the fact that we all have that private internal life that’s separate from the life that even our most intimate family members see.

Most of my stories are not about race, but I was very conscious about not having whiteness as the default. The title story is about police brutality, especially against men of colour in the United States.

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 AS: Can you talk to me a bit about the book’s title? Why did you decide to call it Nosy White Woman?

MW: At Biblioasis, Dan Wells (who established the press), suggested it. Fiction editor John Metcalf and I had “The Golden Bra” as the title story, and Dan said to me, what would you think of changing it, making “Nosy White Woman” the title story, because that's really more reflective of your interest in policy and politics and societal issues, and how those play out in our daily lives. And I agreed. I'm not sure of the date; I think it was probably fall of 2018, but one thing that I talked about in “Nosy White Woman” was that we had seen on YouTube and on social media the deaths of Philando Castile, of Freddie Gray, and several African American men shot by the police, for not-valid reasons. It became clearer and clearer over the years I was working on these stories that my experience with the police in the United States is a completely separate reality from the reality that a lot of people have. I've been shocked to come to understand how different those are, and that's the reckoning that white people are coming to. We've really seen that this summer with how white people regard the Black Lives Matter movement: the belief that white Americans have in the validity of that movement has just skyrocketed over the summer.

AS: What do you hope that people take away from reading this collection?

MW: Even though I talk so much about politics, and it sounds like that's all I write about, that's not it at all. One of my early readers, Catherine Newman, called the book “gloomy and hilarious.” I really love that description, and asked the publisher if we could put that on the front—it's my favourite tagline. So I guess I couldn't imagine a better way for my book to be described.

AS: You were recently awarded the Alistair MacLeod Prize for Short Fiction for this collection. What does receiving this prize mean to you?

MW: It was very exciting. It was encouraging and gratifying to be linked with such an admired name in Canadian fiction, someone so beloved. That was a lovely thing. I also thought it said that my book is in some way speaking to this moment. This particular summer, at least. Especially in the United States, white people are learning more about white privilege, which is one of the most important ways our society is going to move forward.

AS: You’ve lived in Nova Scotia for the last 15 years, and before that, you lived in Toronto after coming from the United States. Has living here, or moving here, impacted your writing?

MW: Yes. It brought me back to my childhood, because I grew up in a small town. I live near Windsor, Nova Scotia, and it's very much like the town in Georgia I grew up in. One of the things I wrote about in what's probably one of my favourite stories, “Midway,” is how small towns used to be much more rural. Talking about when the protagonist is growing up, I wrote, “Since we lived in a town, I thought that was my identity: town person. Now I can see how newly scratched in the dirt that life was, how essentially rural it remained. How all of that held me.” That's something that I've really gotten back in touch with since moving to Nova Scotia 15 years ago. I grew up in a small town but it was really like the country. So many of the people I went to school with were farm kids, and we had FFA—Future Farmers of America; we had 4H. Many of the kids I knew a raised chickens, and the boys would be driving tractors after school and on the weekends. That was the life I was familiar with. Moving back to Nova Scotia has reignited those memories, because that way of making a living is still so apparent here, in ways I never saw in Toronto.

 It's really important to honour that lifestyle and not look down on it a second-best. My younger daughter is dying to get out of Nova Scotia. She has very specific plans to go to university in either Toronto or Montreal, and she is out of here the day she gets that high school diploma. Which is fine, obviously. But it's important that we not fall into a trap of believing cities are somehow cooler, or a better way to live.

AS: What can the world expect next from Martha Wilson? Are you working on anything new?

MW: I'm working on a new short fiction collection. A lot of it is about working in a church. Church life really fascinates me, especially the behind the scenes of church life that isn't about attending church, but about the church office. That's something I'm working on now.

 

The Antigonight Art After Dark Festival Looks Forward to an Eleventh Year

The Antigonight Art After Dark festival is looking forward to its eleventh year despite challenges posed by COVID-19, and they’re looking for artists to help make it happen! 

For those who’ve visited the festival in the past, they’ll know it for it’s vibrant, colourful, and energetic takeover of the town’s streets, parking lots, and sidewalks—featuring dozens of different artists and performers in various genres. Typically centered in the connection and interaction between artists and members of the community, with last year’s attendance estimated at 3,000 people, this year’s festival may look a little bit different than what visitors are used to. Connecting with the arts, however, is more important than ever. Festival Director Emma MacDonald believes that “art is integral to who we are” and that even though we’re living through some fairly unprecedented times, there’s no better way to connect then through creativity.

Despite new regulations regarding social gatherings, MacDonald is excited about the possibilities that a socially-distanced event might allow, sharing that just because the festival might not look like what we’re used to “does not mean that it will be any less special.” She shared that “by creating an alternative festival plan we are not only supporting creative professionals in our community, but it may also be a bright spot for the community in the coming months.” A distanced festival also brings about new opportunities to engage community members who might live farther away. 

The festival organizing team is inviting artists, collectives, and community organizations to submit original project ideas that celebrate and consider ways that we can encounter art and be connected even if we cannot gather in-person. Previous projects have including music, dance performances, painting, sculpture, workshops, storytelling, and theatre. All submissions are welcome, whether digital or non-digital, and unconventional ideas are encouraged. The deadline for submissions is Friday, June 26 at midnight. The submission form and relevant instructions can be found here, on the Antigonish Culture Alive website.

 Successful submissions will be presented, performed, installed, or displayed during the Antigonight festival from September 1 to 12, 2020. Leading up to the festival, Antigonight will also be running several community projects, so keep an eye out for the announcements on any ACA or Antigonight social media!

 

Robyn Maynard: Black Life, Black Liberation and the Climate Crisis

Robyn Maynard: Black Life, Black Liberation and the Climate Crisis

“This is the world that white supremacy and industrial capitalism built.”

On Monday, January 6, 2020, Robyn Maynard’s lecture Black Life, Black Liberation and the Climate Crisis argued the point above by insisting on an expansion of where we see anti-blackness and violence in the context of the climate crisis.

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Shifting Fatherhood and the Resettlement Realities of Syrian Fathers Living in Canada

Shifting Fatherhood and the Resettlement Realities of Syrian Fathers Living in Canada

Syrian families who have come to Canada face challenges adjusting to a new home and a new country. Adnan Al Mhamied, a McGill doctoral student and Syrian immigrant, is studying the resettlement realities facing these family units with a focus on the fathers.

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