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Keep on Trockin’: men in pointe shoes are coming to Vancouver

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EIC
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What would have once only been considered fodder for variety shows or slapstick comedy, men dancing en pointe has become big business for Les Ballets Trockadero de Monte Carlo. The all-male ballet company was founded in New York in 1974, and has performed in over 500 cities worldwide since.

“They’re not very easy to get. They are so busy — one of the busiest companies in the world,” explained Svetlana Dvoretsky, president of Show One Productions, who will be presenting the company in Vancouver this month at the Queen Elizabeth Theatre.

The company tours extensively, including an annual trip to Japan where they have a cult-like fan base, but they haven’t performed in Vancouver since 1985. “They’re lucky,” said Dvoretsky. “In today’s market, it’s difficult and competitive [to attract an audience].”

Les Trocks, as they are affectionately known, seem to fill a niche in the ballet market, as no other company offers a show like theirs. “There is one company in Russia that is similar, but not on the same level,” said Dvoretsky.

The success of their show comes not only from their comical parodies of classical ballets, but also from their impressive technique. “The show is very accessible,” said Dvoretsky. “Some people think it’s just a gay show or for gay people who like ballet, but it’s for all kinds of people.” Ballet aficionados will appreciate the quality of the technique and the references to classic ballets; others will appreciate the humour and dedication, and many more will be attracted by the show’s drag element.

All the company members are ex-principals from professional ballet companies, and they all love what they do. “I think they’re very honest and sincere in what they do,” said Dvoretsky. “They don’t cut corners.” Their dedication is evidenced by the fact that the company has class every day unless they are travelling — even on performance days.

While the company is comprised of only male dancers, their shows usually have both male and female roles; you’ll be sure to see a ballerina with a hairy chest wearing a tutu. “You have to relax right away and not take it too seriously,” laughs Dvoretsky.

The company sets the mood for the show before the curtain is up by making a comical announcement about casting changes to warm up the audience. As Dvoretsky explained, “It helps the audience overcome expectations.”

The show in Vancouver will include the company’s signature interpretation of Swan Lake, a section of various pas de deux from modern works, Go for Barocco (a Balanchine satire), and the Russian classic Paquita. “It does help if you know the history of classical ballets,” said Dvoretsky, but for those who need to brush up, a thick program is provided with synopses of all the ballets. Included in these programs are biographies of the dancers and their alter-ego characters based on famous ballerinas.

Slapstick humour, hilarious interpretations of the classics, and impressive technique all make Les Trocks fabulous and unforgettable.

Les Ballets Trockadero will perform at the Queen Elizabeth Theatre on January 24. For more information visit trockadero.org.

Still Alice is a genuine portrayal of life with Alzheimers

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EIC
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Still Alice, based on the best-selling novel of the same name by Lisa Genova, stars Julianne Moore as a 50-year-old linguistics professor who is diagnosed with early onset Alzheimer’s disease. Being diagnosed with this disease at such a young age is extremely rare, and the film follows her journey through the stages of the debilitating disease from the beginning of her symptoms to the eventual end of her ability to retain any recent memories

The disease begins with subtle signs: from a renowned linguist forgetting the word ‘lexicon’ to forgetting what lecture she was meant to present, and then onto more complex memory loss as time goes on. We watch as she becomes lost in familiar places, as she forgets names and favourite desserts. Moore presents us with a character that resembles friends and family members many of us may have known or will know during the course of our lives.

Along the way, viewers are presented with the harsh realities that so many face when diagnosed with this disease. We witness the struggles faced by her loving husband (Alec Baldwin) and her three children (Kristen Stewart, Kate Bosworth, and Hunter Parrish). Of particular importance is her children’s struggle to face the reality early on that they each have a 50 per cent chance of inheriting the disease, and passing it along to their children, too. Whether or not they choose to get tested and learn the results is an choice they each must face individually.

The movie does a good job of portraying Alice in a genuine manner. Moore has said in interviews that she spent a great deal of time around those with Alzheimer’s to understand how they feel and act in daily life, and her research shows in her performance throughout the film.

At times, the camera work changes to show things from her perspective — a little out-of-focus and blurred in some areas. As she progresses through the disease, we witness someone who was so strong in her language skills transformed to someone who depends on her iPhone for constant note-taking and reminders. Later on in the film, Alice breaks down when said phone is lost, but is unaware of its importance when it is no longer in sight.

We also bear witness to a private moment in which she devises a plan for her future self behind all the other characters’ backs, and the harsh reality that comes from reading said plan in a more advanced state of her disease.

 

Still Alice is a powerful film that is sure to impact those who have been touched in some way by Alzheimer’s, and give those who have not a glimpse into a reality they may never have imagined before.

 

Still Alice opens in Vancouver on January 23.

 

Concerns with the quality of Build SFU’s outreach are unfounded

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EIC
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As a former outreach assistant for Build SFU and a political science student who holds firmly to the ideals of a just and fair democratic process in which all individuals’ voices should be heard, I believe that the Simon Fraser Student Society is proceeding in a fair manner by calling a revote on the passing of the debenture for the Student Union Building (SUB) and the Stadium, as well as the bylaw amendment. 

At the Annual General Meeting (AGM) on October 22, certain members of the Society were unable to exercise their right to vote due to safety issues in accommodating all students into the SFU Theatre where the meeting was held. This has led to questions about the merits of the outreach done by Build SFU workers, such as myself.

It is my belief that, now more than ever, students should hear both perspectives on what exactly occurred during and prior to the AGM, in order to make a sound judgement on a project that holds their best interest at hand at the newly dubbed Special General Meeting (SGM) on January 19.

Having formally done outreach with Build SFU, I can say without a doubt that the majority of students that I and my respective peers spoke to were thrilled to see the projects’ successes and the finalization of the SUB’s design, all of which were created through student-led discussion and feedback. The Build SFU initiative prides itself on engaging the student body with the project, and looks to positively promote the SUB and Stadium, each of which house components implemented following a student feedback survey which took place last year.

To say that Build SFU unfairly influenced the vote at the AGM is misguided at the least.

To say that Build SFU or any of its members unfairly influenced the vote on the day of the AGM is misguided at the least. Our outreach aimed to promote the communal benefits of the SUB and stadium, and not once did I or any of my members attempt to bias a student to vote in favour of the project.

In recognition of attending the meeting, students were entered into a draw to win prizes, and the first 300 students received a pound of chicken wings that were granted to both ‘yes’ or ‘no’ voters. These incentives were merely meant to thank everyone who came out to voice their opinions on the project as a whole, and were never meant to force or lead individuals to favour a certain ideal.

Build SFU ensured through its outreach assistants that all pertinent information was made available to students, including the student-paid levy which was showcased daily at the table and listed per-semester the costs of the building itself. It is my belief that the large voter turnout at the AGM was driven by a positive desire to see a success for the Build SFU project, which could only have been made possible by the majority of undergraduate students supporting the construction of the building itself.

Without this support, our outreach could not have been such a successful experience. I am thankful to have been given the opportunity to work with like-minded individuals towards the success of an initiative that I believe will only better our university, and help us provide future SFU students with a place of belonging.

With the upcoming SGM in mind, I urge all SFU undergraduate students to hear both sides of the issue and come out to voice their opinions on a matter that will crucially decide the future of a project that, for me, has been and will always be designed for the students, by the students.

A place of knowledge: SFU Galleries celebrates the university’s 50th anniversary

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EIC
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“Art tests things,” Melanie O’Brian, director of SFU Galleries and curator of its upcoming group exhibit, Geometry of Knowing, explained to The Peak. “It pushes on the unanswerable and unstable. It shifts, and it can make people uncomfortable with space.”

From January to May of this year, SFU Galleries will explore the ways in which more than 30 local and international artists have opened up or recovered spaces in time and knowledge via processes such as “witnessing, being with, querying, and generating,” according to the project’s description.

The exhibit’s theme of emerging and recovered knowledge also creates a space for SFU Galleries to explore its own engagement with the production, dissemination, and acquisition of knowledge while approaching an important milestone. Geometry of Knowing marks not only SFU Galleries’ celebration of the university’s 50th anniversary, but also the culmination of a project to rebrand the Audain, Teck and SFU Burnaby galleries in tandem as ‘SFU Galleries.’

“When we were thinking about the exhibit’s concept, we thought about the interstices that connect the SFU Galleries with the university and the community — how we create and spatialize knowledge,” said Amy Kazymerchyk, Audain curator and assistant curator for Geometry of Knowing.

When SFU was established as a space for knowledge production in 1965, the Burnaby campus’s ideas of knowledge were based around introspection and focus. In contrast, the school’s newer campuses in Surrey and Vancouver have developed a view of knowledge as something integrated into all aspects of life.

From of these early explorations, O’Brian and Kazymerchyk produced the first group exhibit of its kind at SFU. Their desire is to use SFU Galleries as a space in which to re-examine how the visual and material languages of contemporary art generate experiential, emotional, physical, environmental, and intuitive intelligence.

Geometry of Knowing presents diverse works, some new and others featured from SFU’s permanent collection. These pieces span multiple generations of artists who have engaged the tactics of fieldwork, embodiment, and materiality, in a manner that reveals or instigates a process of knowing.

“SFU’s collection of art, which now stands at 6,000 works, began roughly in 1965 and coincides with the advent of contemporary art,” O’Brian explained. “We have a lot of paper and print editions. We also have work from Vancouver artists like Carole Itter, who explored art as lived experience back in the ’60s and ’70s — how we understand our bodies and space in relation to it.”

Itter’s 1979 photographic series, Euclid, is a good example of the diverse art on exhibit at Geometry of Knowing. It documents musician Al Neil tracing Euclidean geometric theorems in the sand at Cates Park in North Vancouver. These images were projected as part of a collaborative live performance with Al Neil on piano, and later used on the cover of Neil’s 1980 album Boot & Fog.

“Geometry is a convergence of lines in a free way,” O’Brian said, referencing the exhibit’s vision and title. “It creates a new context that allows things to happen at SFU Galleries that don’t take place elsewhere.”

Geometry of Knowing is a four part exhibition presented at the Audain Gallery and SFU Gallery from January 15 to May 15. There is a free opening reception at the Audain Gallery, January 14 at 7:00 pm. For more information, visit: sfu.ca/galleries.

Five cures for winter boredom

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EIC
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1. Discover Thug Notes

If you’re ever in need of a quick summary and analysis of a classic piece of literature, Thug Notes has your back. Hosted by character Sparky Sweets, PhD, watching this web series promises to turn you into one well-read balla. You can refresh yourself on why Hamlet is “cray cray,” why Holden Caulfield needs to “get his shit together,” and why 1984’s Winston should stop “talking smack about Big Brother.” With the tagline “classic literature, original gangster,” how can you go wrong? Visit thug-notes.com to educate yoself.

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2. Prepare for the new James Bond film, Spectre

Daniel Craig is back as James Bond this November in the 24th installment of the popular spy series. Spectre was officially announced in a live broadcast from Pinewood Studios on December 3. Director Sam Mendes shared some details of the film and was joined by the principal cast: Christoph Waltz will play the villain, Léa Seydoux and Monica Bellucci will play the Bond girls, Ralph Fiennes will be M, Naomie Harris will play Eve Moneypenny, and Ben Whishaw will return as Q. Filming will take place in London, Rome, Mexico City, Tangiers, and the Alps. You’d better get started if you want to re-watch all the Bonds before November. Visit 007.com for more information.

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3. Choose which shows you want to see at PuSh

The PuSh International Performing Arts Festival presents a diverse mix of shows each winter, and this year the festival is bigger than ever. It will include mainstage shows, Club PuSh with more intimate performances, a film series, and a workshop series, PuSh Assembly. Whether you’re interested in circus, theatre, dance, music, visual arts, or experimental art in general, you’ll surely find something to cure your winter blues. Artists come from all over the world to present their works at PuSh, and the festival is a great opportunity to see some highly acclaimed artists that would otherwise remain unknown to us. The festival runs from January 20 to February 8. Read our preview of the festival and visit pushfestival.ca to browse the program guide.

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4. Visit an on-campus gallery

Maybe you’ve never even thought to venture inside the SFU Gallery on the Burnaby campus, just off the south concourse of the AQ, or maybe you didn’t know that SFU has two other galleries — the Audain Gallery at Woodward’s and the Teck Gallery at Harbour Centre. All three galleries present dynamic exhibitions that are sure to inspire, or at least get you thinking about something other than the depressing weather. SFU Galleries has over 5,500 works in their permanent collection, including many significant regional and national artworks spanning the last century. So next time you have a break between classes, indulge in some artistic enlightenment to pass the time. Visit sfu.ca/galleries for more information.

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5. Watch a Canadian film

Didn’t get a chance to watch all the great Canadian films from 2014? Now’s your chance to catch up. The Pacific Cinematheque is presenting the Canada’s Top Ten Film Festival from January 8–18. The festival includes feature-length films, shorts, and student films, and the selection was chosen by a panel of filmmakers and industry professionals from across Canada. 2014 was a great year for Canadian film, including Xavier Dolan’s Mommy, David Cronenberg’s Maps to the Stars, and Stéphane Lafleur’s Tu dors Nicole (You’re Sleeping, Nicole). Visit thecinematheque.ca for more information.

Cinephilia: Existentialism in 2014 American cinema

By
EIC
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Many movies of 2014 pondered the meaning of life and brought up explicit existential questions. Does it really matter whether you live nobly or criminally, whether you are full of pleasure or pain, whether you continue to live or die? These films seem to suggest that everything you do ultimately comes to nothing; you are not special, and you are not valuable. But can we live consistently and happily with such beliefs?

“This is the worst day of my life. I knew this day would come, except why is it happening now? First I get married, have kids, end up with two ex-husbands, go back to school, get my degree, get my master’s, and send both my kids off to college. What’s next? My own funeral?” These poignant comments from Boyhood come from Mason’s mother after he has grown up and is about to move out of her house.

Boyhood follows protagonist Mason over the course of 12 years and a series of milestones. The movie’s narrative is not based on the cause and effect of traditional storytelling, and often feels as though each individual sequence throughout the 12 years depicted is ultimately meaningless. The scene with Mason’s mother ends, and his life continues; he goes to college, meets a couple of new friends, and gets high.

Boyhood seems to propose that all we can do is live out the rest of our milestones. There is no way out except duping ourselves into believing in some overarching meaning.

What if you had cancer and only months to live? Augustus Waters in The Fault In Our Stars falls in love with a girl in his last days. At the beginning of the film he talks about how life is meaningless, but his character shifts when he finds meaning in love. Late in the film he says, “I am in love with you. And I know that love is just a shout into the void, and that oblivion is inevitable, and that we’re all doomed. And that one day all our labour will be returned to dust. And I know that the sun will swallow the only Earth we will ever have.” 

Augustus passes away near the end of the film, and his labour does indeed “turn to dust.” We’re left wondering if love can truly conquer nihilism.

But the boldest attempt at addressing the ultimate meaning of life of all films in 2014 was The Zero Theorem. Qohen Leth is a computer hacker who is called “a man of faith” and yet lacks whole-hearted faith in God. His name is an allusion to Koheleth, the preacher in Ecclesiastes who uttered “Everything is meaningless.”

Qohen is working on proving the ‘zero theorem,’ an equation to demonstrate the meaninglessness of life. Qohen unsuccessfully waits for a phone call from God to instruct him on his life’s meaning. Outwardly, he looks like an impressive fortress of faith, but inwardly he is depressed, broken, and unfulfilled, all because of one question: what is the meaning of life? Only after he falls in love with a blonde call girl, adopts an existentialist philosophy, and forgets about God’s call does he really begin to experience life to the fullest.

All three films agree that we cannot live happily without meaning. Their implicit or explicit assumption is that God does not exist and, by consequence, neither does any inherent meaningfulness. They suggest that we should create our own meaning, but this raises an even more pressing question: can we really make meaning in a meaningless world?

Woodward’s exhibition in the SCA office manipulates ‘then’ and ‘now’

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EIC
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In the current exhibition at the School for the Contemporary Arts (SCA) office at SFU Woodward’s, Pretense on Curation, second year MFA candidate Jaime Williams uses the location as both the setting and the subject.

In her video installation, shot in the SCA office after hours and incorporating props and costumes that adorn her body, Williams enacts atypical movements within the space. Whether crawling over and under a desk or writhing around on the floor under an overhead shot, Williams’ actions within the six videos stimulate specific areas of the office. The movements are suggested by the props, as well as by directives from the curator, Curtis Grahauer. They activate areas of the space using a performative and humourous approach.

In this interview, Williams and Grahauer discuss the methodological framework used to execute Pretense on Curation and reveal the philosophical concerns of Williams’ working process.

Curtis Grahauer: Pretense on Curation uses the SCA office both as a location and a subject. What was your interest in using the office in this body of work?

Jaime Williams: I am interested in what is happening in the present, and working site-specifically allows me to respond immediately to energies and aspects of the space.

CG: The videos are playing on a screen above a filing cabinet, with another video hidden inside the drawer. It is discretely installed yet reflects the space back onto itself as the backdrop to your performances within the videos. Do you see this project as an intervention and commentary on the space?

JW: Results of my investigation indicate that manipulation of the office space in combination with the philosophical concerns of the artist and curator creates a loop in thought and action that folds back on itself and contradictorily leads to something new — something beyond the original combination of philosophical concerns and the immediacy of working in the site. It is through engaging in the space — consciously and with a sense of presence — that my philosophical concerns become new, which subsequently imprint themselves on the space, becoming a record of the past. The videos capture the process of imprinting.

CG: How do you see the props functioning within the video? Are they highlighting certain aspects of your body? Do they create differences as they change from video to video?

JW: Your questions relate to the body in space in the present, which carries the debris of philosophical concerns and also past traumas. The past becomes present through physical and psychological scars. I examine and then exploit these scars through body-mind stylings, i.e. costumes, props, states of consciousness, psychosocial ‘games,’ and experimentation. The stylings relate to these scars and allow for a deeper engagement with them.

CG: What was your interest in disturbing the boundaries between the artist and curator during the production of the videos?

JW: Your scars, similar to my own, become evident in our joint engagement with the space. The results of our work together manifest as a critique of space, but in reality scars are somewhat independent of the space — insofar as anything can actually be independent. Fortunately, spaces seem to critique themselves, and perhaps because of shared content, this critique exposes itself when juxtaposed next to the scars of the artist and curator.

Pretense on Curation is open to the public until January 16. The SCA Office (GCA 2860) is located on the second floor of SFU Woodward’s.

Standouts at the World Juniors

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EIC
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Defenceman Darnell Nurse celebrates with his Team Canada teammates, which includes forward Nic Petan.

With the annual World Junior Championship at a close — Canada having captured gold once again — it’s time to take a look at some of the standout performances of this year’s tournament. It is a great chance for young players to showcase their talents, and in some cases even to catch the attention of an NHL team (Denis Godla, anyone?). Here are the best players of the tournament in each position:

Forward:

Nic Petan, Canada

Nic Petan’s always been known as a scorer. In his draft year, he had 46 goals and 120 points, more than either Nathan MacKinnon or Jonathan Drouin. The knock against him is and has always been that he is too small, which was the reason the Winnipeg Jets were able to draft him in the second round, 43rd overall in 2013. I think those worries can be put to bed now, as he has — in my mind — been Canada’s best forward in the tournament, scoring 11 points in seven games. He also had a hat trick in the semi-final match against Slovakia, and could have had two or three more if not for the sensational goaltending of Denis Godla. The Winnipeg Jets have a good prospect in Petan, and I wouldn’t be surprised if he makes the team out of training camp next year.

Runners Up: Sam Reinhart, Max Domi

Defenceman:

Darnell Nurse, Canada

Before the tournament started, it was clear that Darnell Nurse, last year’s sixth overall pick (for the Edmonton Oilers), was going to be a big part of Team Canada. However, before the final, Swedish defenceman and Canuck fifth round pick Gustav Forsling was the probable standout, leading the tournament in scoring as a defenceman. But after the gold medal game against Russia, there’s no choice but Nurse. He was instrumental in holding the lead in the third with a couple of great shifts, and was very physical, not just during the final but the whole tournament. He was not on the ice for a single five-on-five goal against the whole tournament, an unbelievable achievement. While he didn’t put up many points in the tournament — finishing with only one assist — Nurse stood out with his solid defensive game.

Runners Up: Gustav Forsling, Josh Morrissey

Goalie:

Denis Godla, Slovakia

Denis Godla has been passed over the past two NHL drafts, but I think this is the year he will finally be drafted after his performance in this tournament. He was named both top goalie and MVP of the tournament, and was given a standing ovation after both the semi-final and bronze medal game by the crowd in Toronto. He finished with a .926 save percentage, and while that wasn’t the highest in the tournament, he made a total of 224 saves during the event, by far the most  of all the goalies. His performance against Canada in the semi-final was simply incredible, making numerous highlight reel saves throughout the game. While Canadian goaltender Zach Fucale had the better numbers, he had the benefit of having a much stronger defence playing in front of him.

Runners Up: Zach Fucale, Thatcher Demko

SFU Senate encourages professors to excuse students for SGM

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EIC
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The SGM will address some items from the 2014 SFSS AGM, which quickly met capacity and was unable to accommodate all voting members.

In light of a recent SFU Senate recommendation, students may have the opportunity to participate in the upcoming SFSS special general meeting (SGM) despite conflicting classes.

At the last meeting of the SFU Senate on January 5, the senate moved to recommend that instructors accommodate students who request in advance to attend the SGM next Wednesday, Jan. 21 at 1:30 pm without academic penalty.

The encouraged academic excusal (or amnesty) would be subject to the discretion of individual professors.

Due to issues with capacity and the loss of quorum partway through the recent SFSS annual general meeting (AGM) held on December 16, some students have raised concerns over the matters of approving the Build SFU debenture and a bylaw addition.

In response to those concerns, the SFSS resolved to hold the SGM in the new year to allow those students who were unable to attend the AGM the chance to make their voices heard.

Senator Peter Tingling noted his opposition to the motion and raised an issue regarding the accountability of students in their own academic careers, a concern that was echoed by other senators.

“We all make choices. We all deal with the repercussions,” he argued, “I think the best way to get people to continue to be engaged is to do so in a realistic environment.”

“I think it’s quite amazing that they’ve done this.”

Peter Ruben,

SFU Senator

SFSS VP University Relations Moe Kopahi responded by suggesting that the SFSS confirm the SGM attendance of students who express intent to participate in the meeting to their professors.

Senator Colin Percival pointed out that this sort of academic amnesty is typically granted for situations in which students are off-campus during classes for a protest regarding university affairs; however, president Andrew Petter interjected that it had been previously applied to an SFSS AGM in 2007, at which a board member was impeached.

Senators also raised the issue that the meeting time falls during peak instructional hours. Kopahi explained that the selected time was chosen for the amount of students expected to be on the Burnaby campus. He said, though unfortunate for people who have class, it was the time that made the most sense. “We’re trying to accommodate the need of those students as well,” he said.

Senator Tracey Leacock countered that if “this meeting is not important enough to students that they would be willing to attend at a time that they weren’t already on campus,” it perhaps “is not as important as the student society is making it out to be.”

However, Senator Peter Ruben commended the SFSS for the lengths to which they have gone to ensure funding to its Student Union Building project. “I think it’s quite amazing that they’ve done this,” he said. “The senate and the university should do all it can to ensure that every student has a voice in how this whole venture unfolds.”

In the vein of including as many students as possible in the meeting, senator Helen Wussow suggested that the proceedings be extended to an online environment, allowing those unable to physically attend to participate in voting and discussion.

Student senator and SFSS president Chardaye Bueckert cited the BC Society Act, explaining that the debenture must be passed by special resolution requiring an in-person vote. She went on to explain that the society lacks the technological resources to fully offer online participation, such as video conferencing, to all students who may require it.

The amnesty, given professors see fit to grant it, would not only promote the attendance of students on Burnaby Mountain, but would allow students who study at other campuses the opportunity to attend the SGM.

Many members of senate responded positively to the motion, arguing that it would help build community by reaching out and encouraging students to engage in student matters.

Senator Panayiotis Pappas explained that he was in favour of the motion on the grounds that the inaccessibility of SFU’s location must be taken into account.

“We have to face up to the limitations that our location puts on student community life,” he said. “If we have to make an adjustment now and then, it’s not the end of the world.”

Petter noted that it had been a good discussion on both sides, but in the end, the motion was passed with only a few oppositional votes.

Sports Briefs

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Men’s Basketball

While the men’s basketball team has been struggling offensively in the new year, SFU’s women’s basketball just broke 100 points for the very first time since they joined the NCAA. The Clan beat the Northwest Nazarene Crusaders 103–86 in Nampa, ID. Seniors Erin Chambers and Katie Lowen led the team in scoring, with 28 points each.

Women’s Wrestling

The women’s wrestling team participated in two tournaments last weekend. The first of which, the Menlo College Open in Atherton, CA, featured SFU winning three weight classes. Wrestlers Laura Anderson, Francesca Giorgio, and Alyssa Wong all won in their respective classes. Freshman Abby Loy captured silver and bronze medals at the Nordhagen Classic in Calgary, AB on Sunday, January 4. Teammate Darby Huckle also participated — however, she lost to Loy.

With files from SFU Athletics

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Simon Fraser University’s independent student newspaper since 1965.

Contact us: [email protected]

© The Peak Publications Society 1965-2024

Simon Fraser University’s independent student newspaper since 1965.

Contact us:
[email protected]

© The Peak Publications Society 1965-2024