Comedian Breaking into the Mainstream

Xavier B. Gould, Acadian entertainer

Xavier B. Gould, artist from Shédiac, New-Brunswick, was interviewed over the phone by Yanik Gallie on Wednesday 17, 2018.

Graduate from Mount Allison University in Drama, Xavier was noted as one of the 30 under 30 artists by Acadie Nouvelle last year.

The humorist hosts Le Bilingual Show: Hosté par Jass-Sainte featuring comics from New-Brunswick and Québec at Centre des Arts et de la Culture de Dieppe on February 17, 2018.

*****

The interview was recorded over telephone around 2pm on Wednesday 17, 2018. English interview translated by Yanik Gallie. For the full interview in the Acadian dialect, visit our Xaverian Weekly website @ http://www.xaverian.ca

YG: What does pride mean to you?

XG: Historically, pride meant nothing to me. It showed I didn’t fit in with the LGBTQ+ community. Pride is a big statement.

Growing up, and even in university, I distanced myself a lot from pride. Whether it be going to events or having gay friends, I didn’t participate that much. I didn’t feel like I fit in one of the boxes that was pride.

I learned within the last two years that I can create my own frigging box and make whatever I want out of pride. I can meet people who feel the same way I do and create my box with them. I take part of what pride represents, be yourself.

For me, pride’s accepting my own box that I recreate as I grow, and I’m happy.

YG: How was Jass-Sainte Bourque received by the LGBTQ+ community?

XG: I was host of an event at pride this summer when a group of kids between 10-12 years old saw me getting lunch on a break. They freaked out, “Jass-Sainte! Jass-Sainte!”

One said, “It’s my first pride. If my parents knew I was here, they’d disown me.” I shared my story with them, “When I was your age, my parents did interventions. In a failed attempt to protect me, they told me to tone it down and be less open about my sexuality. Last week, I sent a picture of myself wearing heels and makeup at rehearsal to my dad. He replied, ‘Holy shit, you look fabulous. The world is not worthy.’ If my dad made it this far up the road, it will work out for you. Give your parents a chance, and continue to be yourselves.”

They looked to me with an inspired expression, knowing that I’ve been through some shit and can still make people laugh.

YG: What moment inspired your comical character Jass-Sainte Bourque?

XG: I read the poem “Fuck you, Évangeline” by Céleste Godin. That was one of the pillar moments when I realized that, in Acadie, you have the right to turn things upside down.

You don’t need to listen to music by 1755 for the rest of your life. You can if you want, that’s valid. As an artist and creator, you have the right and are encouraged to make it your own.

What is culture if it cannot change? At that moment, I thought about Jass-Sainte seriously. This is a way for me to assume myself within my culture.

YG: Strong fictional female characters Marichette, Sagouine and Delphine B. B. Bosse are symbolic of the archetypal strong Acadian woman in literature. How do you distinguish your character from those of your predecessors?

XG: Jass-Sainte is contemporary. She is all about social media with her Facebook, Instagram, Twitter, whatever accounts right. Versus La Sagouine, it’s a written literary work, a play. Jass-Sainte is different because the personage is adapted for today with the technology.

But, it’s not that different because what previous characters did was indicative of the time too. When Sagouine was published, it was a driving force that inspired the creation of many literary works. Hopefully, Jass-Sainte is the start of a similar movement.

Another difference, Jass-Sainte is ambiguous in whether she is a woman or man. I keep it vague on purpose. She is also ambiguous in who she likes. Technology and ambiguity set Jass-Sainte apart.

YG: How did studying Drama at Mount Allison University influence your strategy in producing a dramatic and comedic character?

XG: In many ways, the production, movement and acting classes influenced my strategy. The main way my studies influenced me is that I learned to think critically.

The way education is set up at Mount A is that while you read, you ask critical questions. Don’t take for granted that just because you are given a reading it’s true. Meaning, they can give you a super racist and sexist reading from the 1920s so that you think, holy shit, that’s racist and sexist.

Pose questions. Why was it written like that? What would it be like if it were written today? Critically analyze the reading and make creative conclusions. Keep it critical moving forward. It’s how I go about with my creations.

YG: What advice would you give to someone interested in writing monologue?

XG: If you have a character or an idea, if it’s authentic to you or your experiences and you want to share that, fucking share it. Run with it. Being yourself will lead you to success.

It’s impossible to know all strategies, contracts and connections. The only thing you can know 100% is let your box continuously develop. Make it your own.

---

The 2 in LGBTQ2+

Understanding Two-Spirit identity.

You may have noticed that the LGBTQ+ acronym has extended recently to LGBTQ2+. You may not think much of this change as the acronym has transformed and evolved over time to truly incorporate and represent the intricate identities of many. However, I had always been curious about what the 2, short for Two-Spirit, truly meant and how it was an important identity to highlight within the community. It turns out that Two-Spirit is a very powerful and useful tool, especially in a North American context, for Indigenous folks who are queer-identifying and to a country that is working to recognize the true histories of Indigenous peoples and work towards decolonization.

The term Two-Spirit was first coined in the late 1980s in Minneapolis, where, at the time, there were many LGBTQ+ communities mobilizing in response to the AIDS crisis. Many Indigenous folks that were gay or trans did not identify strongly with the larger LGBTQ+ communities and instead, identified more closely with their indigenous community or tribe. In response, activists worked to create the umbrella term ‘Two-Spirit,’ with would be an identity based upon sexuality and gender and would be exclusive to Indigenous people around the world. The development of the Two-Spirit identity relates to indigenous histories. ‘Two-Spirit’ has given a meaning to an identity concept that was previously not defined although was originally understood in certain tribes to be the quality of very powerful and prominent individuals within their communities.

Two-Spirit is thought to encapsulate the masculine and the feminine; the ability to connect with both identities was thought to be special and a source of both power and strength. Historically, many tribes throughout North America have pointed to the existence and place of Two-Spirit people in their communities. Yet, it is extremely difficult to research due to years of cultural destruction at the hands of colonizing Europeans. As author and activist Jessica Yee points out, indigenous tribes in general, were very egalitarian and valued women and mothers highly while appreciating the contributions of many gender identities and skills. With European contact, however, came the harsh and violent assimilation of gendered roles onto Indigenous peoples. Europeans believed strongly in the binary between men and women and religious beliefs also left the topic of different sexual expression out of the question.

The identity of Two-Spirit for Indigenous peoples is a way of reclaiming culture, understanding the values of different identities and the contributions different individuals can bring to a community. The term gives a sense of identity and unity among Indigenous individuals and groups because it connects socio-cultural, historical and spiritual contexts with gender, sexuality and identity in general.

John R. Sylliboy, who joined us as a part of the Pride Month Lecture Series here at StFX on January 23, is the co-founder of the Wabanaki Two-Spirit Alliance and is working to understand how we can look at the identity of Two-Spirit in a context of decolonization. Sylliboy points out that learning about the Two-Spirit identity is difficult due to cultural erosion but conceptualizing it is possible through the analyzation of gender, sexuality and identity in Indigenous epistemology and contemporary settings. Sylliboy’s discussion on Tuesday outlined ways that we can contextualize Two-Spirit identity as a source of empowerment and cultural continuity as we work to decolonize our institutions and our country. Two-Spirit is mainstream in Nova Scotia and Mi’kmaq communities and the Wabanaki Two-Spirit Alliance works to build supports in areas of health, culture, education, awareness and research on matters related to Two-Spirit people in Nova Scotia. We are very lucky here at StFX to have had Sylliboy come to speak with us about matters related to Two-Spirit people. The term and identity works to not only unify Indigenous individuals but sets a platform by which Indigenous histories and values can be explored and reincorporated into a modern context where they can work to benefit individual sexual/gender expression and promote important and beautiful beliefs of Indigenous communities to work to aid in the process of decolonization.

---

The Underground LGBTQ+ Activists that are Paving a New Road

Pride month is underway at StFX and it has been a very successful and exciting time. During Pride month at StFX there are many high-profile names of LGBTQ+ advocates that come up.

Along with the advocates that you may see in the media all the time, there are underground activists that are helping pave the way for new generations in the LGBTQ+ community; advocates that sometimes go unmentioned.

A man named Xulhaz Mannan is certainly an LGBTQ+ activist that has changed the lives of many. Mannan is the force behind “Roopbaan,” Bangladesh’s first and only LGBTQ+ themed magazine.

Mannan was openly gay and a big supporter of the LGBTQ+ community while he worked in the human rights sector in Bangladeshi. Mannan used to organize the annual ‘Rainbow Rally’ which started in 2014. 

For the first time ever, Bangladesh displayed a human rainbow during the Bengali New Years celebrations. And since it wasn’t perceived as having any connection to LGBTQ+ the organizers were given the green light.

Participants were asked to dress in a different colour of the rainbow and they paraded throughout the city. It gave members of the LGBTQ+ community the ability to be able to flaunt who they are without being harmed or feeling threatened in any way. In doing so, Mannan gave hope to those that feared about being their true self.

 Since homosexual relationships are illegal in Bangladesh, many people who are within the LGBTQ+ community are forced into exile. Mannan gave people in the LGBTQ+ community hope, and the power of being able to be open with their own sexuality.

Tragically, Mannan was murdered in his apartment along with another LGBTQ+ activist, Mahbub Rabbi. The death of Mannan was heartbreaking and sent a clear message to the LGBTQ+ community in Bangladeshi: that their sexuality is not tolerated among certain people, causing them to live in fear. Yet, Mannan showed courage and hope, and he died being his true self.

Mannan’s strength and force of hope should be an inspiration for all.

Two other individuals that are big supporters and activists within the LGBTQ+ community are Ivan Coyote and Rae Spoon.

I was introduced to these two individuals in my Sex and Gender class last semester by the amazing prof, Dr. Lisa Pasolli.

Ivan Coyote is a Canadian spoken word performer writer and LGBTQ+ advocate. Coyote has written countless novels, short stories, and spoken at TED Talks about their experience in the LGBTQ+ community.

Coyote in non-binary and prefers to go by the pronouns of ‘they’. Most of Coyote’s work is focused on issues with gender, identity and social justice.

Coyote also co-wrote a novel with Canadian singer/song writer, Rae Spoon. Their novel is entitled, “Gender Failure”. As a side note, Rae is an amazing musician and I highly recommend checking out their music.

For a decade, Rae Spoon identified as a transgender man, but in 2012 during an interview Rae came out saying that they now preferred to be called by the pronoun, ‘they’.

Both Ivan and Rae have acknowledged that they have struggled with fitting into the gender binaries that are put in place within society.

The two of them together are an inspiration for all; they talk about issues of what it was like growing up outside of the normal gender boundaries and the criticisms that they both faced. They have also challenged the transgender community when they both decided to not take hormones for treatment, offering discussion on the many layers of their experience. 

Their work has challenged the ideas of what makes a ‘man’, and what happens when you find yourself not falling into the particular gender binaries; thus, sparking the discussion of what constitutes of being a ‘man’.

Their advocacy of the LGBTQ+ community has sparked many discussions, and has given hope to those that feel the same way.

Another one of my favourite female LGBTQ+ advocates is Sara Ahmed. I was also introduced to her by StFX professor, Dr. Nancy Forestell. Ahmed is a British-Australian scholar who has worked in the fields of feminist theory, queer theory, critical race theory and postcolonialism.

The work and research that Ahmed has done has provided countless new information for the LGBTQ+ community and she was awareded the 2017 Kessler Award for the impact her research has left on the queer community. 

Women like Sara Ahmed are doing some of the most important research in the 21st century. Her work is giving courage and hope to others to follow in her footsteps to continue the research in this field of study.

One of Ahmed’s works, “Unhappy Queers”, explores queer politics of unhappiness. She addresses issues that often lack the appropriate attention such as the overuse of heterosexual happiness in the way relationships are portrayed.

The piece is well worth the read and sheds light on how society perceives happiness, or unhappiness in association to non-heterosexual relationships.

An LGBTQ+ advocate that is closer to home here in Antigonish is Andrew Murray whom I had the pleasure of meeting Pride Month vigil.

Murray is the first openly gay councillor in Nova Scotia who’s engagement in the community has extended to Theatre Antigonish, the Neptune Theatre and various other companies around the world as a set designer.

At the vigil, it was very inspiring to hear Andrew talk about his life growing up in the 70s and 80s as a gay man. What I found to be the most inspiring part about Andrew was his enthusiasm and his beautiful positive attitude.

Andrew certainly faced more than his fair share of struggles growing up yet he always stayed positive, and kept going on in life, continuously trying to be the best version of himself.

To me, Andrew is a ray of light. What I learned from him the most was, no matter what happens in life, always be proud of who you are, if that’s gay, bisexual, transgender, two-spirit, lesbian, or however you identify, be your true self.

In my opinion, Andrew is probably one of the most influential people in Antigonish; his advocacy for the LGBTQ+ community is so important in a small town like this. If you ever see him setting up the window displays on Main Street, I’d highly recommend stopping to say hello.

---

History of Drag Research

Entertainment that challenges the norms of gender and sexuality

My personal and professional interest in drag performance stems directly from activism in resisting the pervasive homophobia and transphobia that characterised StFX and Antigonish when I arrived here in 2004.

During the academic year of 2004-2005, the LGBTQ2SIA community and allies were rocked by two serious homophobic assaults. This prompted two demonstrations and gave momentum to initiatives that sought to turn the situation around.

One initiative was the Positive Spaces training program, designed to reduce homophobia and transphobia, and to train allies; another was the LGBT Safety Initiative Project, which inspired a StFX conference on rural queer experiences, held in February 2005. This brought together national and provincial leaders in the LGBTQ2SIA community with youth and adults in Antigonish, to establish an agenda for organizing locally. This lent a tremendous impulse to the formation of X-Pride, the queer student society at StFX, and the formation of an off-campus youth peer support group, known as the Rainbow Warriors.

The conference also featured a drag show, showcasing local talent alongside performers from a Halifax-based organization called the Imperial and Sovereign Court of Nova Scotia (ISCANS). That was the birth of “Priscilla, Queen of Highlands,” which is now in its 14th year at StFX.

Since its inception, Priscilla has represented the best of what drag can offer – it is a venue of queer culture that fills a huge void at StFX and in Antigonish: a safe space for queers and allies to be themselves without fear.

It was this experience that eventually led to my research on the history of drag in Nova Scotia.

What I have discovered is that drag has a surprisingly long history in this province, punctuated by big gaps and silences – mainly because it is a history that has not yet been recorded.

One of the earliest known drag performers came from Pugwash, Nova Scotia. His name was Ross Hamilton, who volunteered for the Canadian army in World War One. Ross had a talent for drag, a talent that he put to good use as part of an entertainment unit that performed for the troops on the frontlines on the Western front. Ross created “Marjorie,” who was wildly popular among the troops, and it was an act that he continued to pursue with success into the 1930s. Ross reprised that role in the Second World War, and even starred as Marjorie in a Canadian military recruitment film made by the National Film board – called “A Letter From Camp Borden.”

Drag seems to have disappeared after 1945 – or more accurately, it went underground, a victim of so-called “pink scare” in the 1950s and 1960s, which led to an intensification of homophobia that saw gay men and lesbians purged ruthlessly from government and military service and persecuted by legal authorities.

Drag reappeared with the emergence of the gay liberation movement in the 1970s, which reached Nova Scotia in 1972 with the formation of the Gay Alliance for Equality (GAE) in Halifax. In 1975, GAE purchased the Turret, a space in a building known as Khyber Club, located on Barrington Street, which transformed into a community centre for the queer community, and also a private gay night club. This gave rise to the modern version of drag in Nova Scotia.

Since then, drag has continued to grow and evolve, and is now entering what might be a “golden age.” The art form not only features drag queens, but also drag kings, and artists performing what is known as “gender-fuck”. Drag at its best not only entertains, but does so through questioning and challenging the norms of gender and sexuality in a society that remains dominated by heterosexual values.

It is a highly visual and exciting art form, inhabited by powerful narratives – that have rarely been told. Telling those stories, and understanding the history behind this art form – and the role it has played in bringing together and sustaining the queer community – is the purpose of my research. And it is becoming an increasingly urgent task as we lose more of those early drag performers.

---