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We should do more to protect Indigenous lands

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The coast of Sechelt, BC
PHOTO: Lauren Kan / Unsplash

By: Hailey Miller, Staff Writer

British Columbia is unceded territory, meaning it’s stolen Indigenous land. Today, Indigenous land isn’t protected to the extent it needs to be, if at all. The government continues to neglect the well-being of Indigenous communities and lands. They overlook the negative impact of wildfires, the lack of clean drinking water, and devastations caused by pipelines, just to name a few. Indigenous peoples have voiced their concerns time and time again regarding the destruction and negligence of their lands, only to be sidelined by federal and provincial governments.

The recent rise in wildfires is disproportionately affecting Indigenous communities, such as the Prophet River First Nation, Doig River First Nation, and Blueberry River First Nations. Devastation has been increasing at rapidly alarming rates. This continually contributes to destruction of Indigenous lands and resources, and also affects our wildlife. Since many Indigenous people rely on the environment for resources — like harvesting plants for food and medicine, in addition to hunting animals — wildfire destruction on these lands negatively impacts resources within the communities.

The government is in charge of implementing laws and regulations on land protection, and they have failed. They have failed to support Indigenous peoples by aiding in land preservation, and safety. Reconciliation efforts have been neglected for far too long, and we see this continue with poor efforts to rebuild communities affected by wildfires, such as Lytton. This needs to change. 

Indigenous peoples know how to take care of their own land.To proactively counter the negative impacts of wildfires, Indigenous peoples historically practiced cultural burns “every five to 25 years.” Colonial ruling banned it in 1874. Today, it’s difficult to practice as permits are hard to get. This method of cultural burning involves starting a controlled, low-intensity fire that allows for the release of CO2, developing thicker bark on trees, and promoting carbon storage and nutrient dense soils, among other positive benefits. If permitted by the government, this would safely “rebalance ecosystems” and replenish forests, reducing preventable destruction of Indigenous lands. 

Cultural burns have been practiced throughout many Indigenous communities for centuries, and the reimplementation of this technique would help combat many issues surrounding wildfire management. However, Indigenous people have long been excluded from forest management, with few instances of Indigenous-led fire management existing in Canada. The government needs to do more to include Indigenous knowledge and leadership with its land preservation policies.  

Clean drinking water is another major issue for many Indigenous communities, which is completely unacceptable. As of 2023, there are 26 First Nations communities across Canada who don’t have access to safe, clean drinking water. This is the result of First Nations communities being forced onto reserves in areas with poor water quality and a lack of infrastructure. The basic human right to water is often overlooked and neglected by the government for many, with some of the highest unsafe levels in communities such as Whispering Pines/Clinton, Skawahlook, and Lytton. 

The lack of access to clean water is a health and safety concern, and needs to be immediately addressed. How can Indigenous lands be preserved and protected if members of these communities don’t even have simple access to the basic needs of clean drinking water, and safe shelter — that has otherwise been demolished by wildfires?

Indigenous peoples have been here far longer than most of us who call ourselves “Canadian” — they were always here. Change must occur to ensure proper treatment of Indigenous lands and the peoples in these communities alike. In seven years, only 13 of 94 of the Truth and Reconciliation Commission Calls to Action have been completed. A true step in reconciliation involves listening to Indigenous peoples, funding resources, and implementing their knowledge for land protection. This includes self-governance, authority, and proper support from the government to create equitable access. 

The Bright Young Things delves into grieving youth loss and pursuing happiness

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A black and white photo of eight people wearing 1920’s style party wear looking at the camera.
PHOTO: Courtesy of Folding Camera Theatre

By: Tam Nguyen

The Bright Young Things is a play about a group of eight young artists and aristocrats trying to readjust to society after World War I and Spanish Flu pandemic in the 1920s. It deals with the everlasting afflictions of young adults, like the pursuit of happiness and quest for purpose, alongside a satirical commentary on the vanity of the wealthy class. As part of over 85 artists and performers at the Vancouver Fringe Festival, the play was written by Folding Camera Theatre,  who also made up the cast. The company emerged from graduates of Langara’s Studio 58 program, under the supervision of director and facilitator, Ming Hudson.

The entire play takes place over the course of one night, at an eventful dinner party in a fancy ballroom. Performers employ the Tableau technique, where some characters stand still to represent a visual background, while the spotlight illuminates those delivering lines. This creates a realistic environment, where audience members feel like somebody walking through the party, only hearing snippets of conversation and confrontations.

Bright Young Things” was a phrase used by the press to describe rebellious English socialites of the 1920s. At its core, The Bright Young Things features a cunning cast of characters: the play begins with Celina Ross, the host of the party. A deeply indulgent hedonist, Celina believes life is a celebration.” Her best friend, Stephen, is the life of the party. Then, Thomas, a war veteran, arrives to reunite with old friends. Two famous actresses, Diana and Scarlet, along with Everett, an arrogant photographer, join in later on. Then there is Ron, a homely painter who was invited off the curb. Finally, ambitious writer and Celina’s sister, Olivia Ross, makes her unpleasant arrival.

The Bright Young Things is one of the most well-written plays I’ve ever seen, with Gatsby-esque party set decorations, jazz music, and mesmerizing acting. I met Emma Rose Gold, who plays Olivia Ross, at the award showcase night, and we had a pleasant conversation.

According to Gold, not only does the play deal with vanity, but it’s also about “how different people deal with traumas and hardship, and how they wind up discovering their own.” At the play’s climax, Olivia and Celina get into a fight because of their contradicting values on life. Olivia writes articles exposing celebrity vanity, including Celina’s frivolous parties and friends, which is something Celina cannot forgive her for. This type of moral dilemma continues today; we are all navigating in the fog.

Gold explained that if the characters hadn’t “dealt with this collective trauma, they would have made some different decisions. But I think that they needed some way to feel as though they were gaining control of their own destiny.”

This hit a little too close to home, considering we’re still dealing with the impacts of COVID-19, along with other collective traumas like inflation and climate change. With a lot of uncertainty right now, young adults are still figuring out how to survive, let alone plan their futures. Even though the play was set in the 1920s, grieving the loss of being young amid the tumultuous quest for purpose in life is still very much relevant in today’s society.

As a character-driven piece with eight main characters and eight writers who have their own viewpoints, the process of creating the play required a tremendous amount of effort, teamwork, and most importantly, change. Gold recalled, “Eight people trying to write something and make it into a cohesive story in an hour is absurd. So, we had a number of sessions where we would just read it all as a group, and then we had discussions about what we felt we wanted trajectories for characters to be, what different concepts we had, and what we thought would work and what didn’t.” 

“In rehearsals, we allowed it to be very fluid, and for things to change all the time,” she said.  

As both an actor and writer, Gold opened up about how she needed two distinctive lenses when approaching the play. “As a writer, it’s all about what serves the story best, and how you find these points that are important,” she said. “It was a very critical lens we were looking through when it comes to writing things, but when it comes to being an actor, it’s almost a selfish lens. You only focus on yourself and your character, so you stop having empathy for the characters in the story.” 

Gold also praised the Fringe Festival for its lottery selection system, in which performers submit their works to Fringe, and they literally choose performances “out of a hat” to be featured. While mainstream theatre is “all about curated work,” she said, “with Fringe, what I like about it is that it gives absolutely everyone an opportunity to show off a story. You can write about quite literally anything, and you can have your work shown, and and you can have people pay to come see your show.” Fringe gives opportunities to people who aren’t necessarily pursuing theatre as a career, but it “brings them joy.”

The play ends on a hopeful note, when Olivia and Thomas, the two most misunderstood characters, have a heart-to-heart conversation in a garden about learning to live in the present and letting things go, and have a romantic slow dance. 

SFU soccer pick up big points Thursday night

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PHOTO: Wilson Wong / SFU Athletics

By: Kaja Antic, Sports Writer

On Thursday, October 19, both SFU soccer teams avoided adding a tally to the loss column with a 7–1 victory for the men, and a 1–1 draw for the women. Both matchups were against Great Northwest Athletic Conference (GNAC) rivals south of the border in Washington State. 

The men’s team played earlier in the mid-afternoon, with the match beginning at Saints Field in Lacey, Washington. The excitement for the Red Leafs began nearly 20 minutes in when forward Michael Hennessy scored his first goal of the match.

Hennessy, a freshman, ended up scoring five goals in the 7–1 SFU win against the Saints, doubling his goal total for the season to 10. He previously scored one goal against the Saints in a 5–0 win at SFU’s Terry Fox Field on September 30.

Quickly after his first goal, Hennessy scored again a minute later on a pass by forward Devin O’Hea to make the game 2–0 for SFU. 

O’Hea extended SFU’s lead to three in the 27th minute, assisted by fellow senior, defender Niko Papakyriakopoulos. This was O’Hea’s sixth goal of the season, continuing his six-game scoring streak that began with a 2–2 draw against Western Oregon on September 28.

Halfway through the 36th minute, the Saints notched their only goal of the match past goalkeeper Justyn Sandhu. Sandhu would only be challenged a handful of times throughout the game, making two saves on seven of the Saints shot attempts. 

Beginning the second half, Hennessy completed the hat trick, scoring his third goal of the game unassisted in the 51st minute. Four minutes later, Hennessy scored his fourth of the game, assisted again by O’Hea.

In the 60th minute, Hennessy scored his fifth and final goal of the match, assisted by midfielder Ali Zohar. After scoring three goals in a span of less than 10 minutes, Hennessy was substituted off the pitch and replaced by freshman midfielder Devi Romero

The excitement for the Red Leafs did not end there, as freshman Ryan Torres scored his first goal for SFU in the 87th minute, assisted by junior Nicolai Placzek, to make the final score 7–1.

SFU’s men’s soccer team now leads the GNAC standings, with an overall record of eight wins, two losses, and two draws, including a perfect record against conference opponents. Following the win against Saint Martin’s, SFU powers forward on a five-game winning streak.

As for the Red Leafs women’s soccer team, their match began the same evening at Tomlinson Stadium in Ellensburg, Washington. Though not the same high-scoring result as the men’s game halfway across the state, the women’s team earned a key point in a draw against Central Washington University. 

The game remained scoreless for most of the match, with the first goal coming for SFU in the 80th minute by sophomore winger, Kaiden Sherwood — though the Wildcats followed up quickly after. 

SFU women’s soccer ranks fourth in the GNAC standings, with an overall record of four wins, four losses, and three draws, with a  3–4–2 record against conference opponents. With the tie against Central Washington, the women’s team earned their 11th point of the season. 

Autumnal films and series

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An illustration of a pumpkin wearing 3D glasses smiling.
ILLUSTRATION: Kristin Lee / The Peak

By: Kiara Co, SFU Student

The chilly, warm-toned season calls for watching something chilling in the comfort of your own home, with a hot drink and thick blanket on your couch. Here are some films and a mini series that are perfect options!

Wolfwalkers (2020) 
Wolfwalkers is an animated film about a young apprentice hunter, Robyn (Honor Kneafsey), who comes to Ireland with her father to wipe out the last pack of demonic wolves. When Robyn meets Mebh (Eva Whittaker), a young girl who’s part of a tribe that turns to wolves at night, Robyn learns the wolfwalkers are not what her father makes them out to be. The film is fitting not only for Halloween with its werewolf themes, but all throughout fall, with its atmospheric foliage: it features detailed, striking illustrations in mainly oranges, yellows, browns, and greens. The film’s folklore and fantasy elements, plus a heartwarming story of friendship, make it cozy and uplifting.

Stream Wolfwalkers on Apple TV+.

Practical Magic (1998)
If you’re a fan of Hocus Pocus and Ella Enchanted, Practical Magic is for you! The film is more on the comedic side for people who don’t want to be too scared. Sister witches Sally (Sandra Bullock) and Gillian Owens (Nicole Kidman) have mostly avoided witchcraft growing up. Their mom conjured a curse that if a man ever mistreats an Owens, they die. When Gillian’s boyfriend, Jimmy Angelov, dies unexpectedly, the Owens sisters learn about witchcraft and magic to try to resurrect him. Indulge in magical, witchy energy, with festive black, purples, browns, and oranges! 

Stream Practical Magic on Hulu or Amazon Prime Video.

The Witches of Eastwick (1987) 
For a film that was released in the summer, this film captured a haunted and eerie tone. The Witches of Eastwick is about three friends, Alexandra (Cher), Jane (Susan Sarandon), and Sukie (Michelle Pfeiffer), who don’t know they’re witches until they meet a stranger named Daryl (Jack Nicholson) who reveals it to them. As the film progresses, these witches learn through their powers that Daryl is not who he really claims to be. Daryl eventually shows his true colours, as he has the power to use dark magic and shape shift, with a skill for seducing women and manipulating anybody. Overall, it’s an epic film about friendship with fantasy elements.

Stream The Witches of Eastwick on Amazon Prime Video, Crave, or YouTube.

Over the Garden Wall (2014)
Over the Garden Wall is a short and soothing animated miniseries with 10 bite-sized episodes, each 10 minutes long. It’s cute and enchanting to watch the main characters, brothers Wirt (Elijah Wood) and Greg (Collin Dean), get lost and navigate their way through a peculiar forest. The journey unravels many mysteries and encounters with interesting characters, as you root for Wirt and Greg to find their way back home. The animation captures a chilling tone, especially in the muted colours of the forest, with lots of browns, faded greens and reds. 

Over the Garden Wall can be streamed on Cartoon Network’s official YouTube channel and on Amazon Prime Video.

Halloween doesn’t excuse violence or prejudice

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A scary-looking carved pumpkin on a bed of fall leaves
PHOTO: Ksenia Yakovleva / Unsplash

By: Michelle Young, Opinions Editor

Content warning: mentions of racialized violence, Missing and Murdered Indigenous Women and Girls, sexual harassment, and Islamophobia.

The season of ghosts, pumpkins, and candy is upon us. While its roots are quite different from what we know today, Halloween is associated with dressing up and indulging in “scary” things — witches, spirits, and horror films. However, there are specific prejudices and insensitivities that seem to show up during Halloween under the guise of being frightening, and therefore, in the spirit of the holiday. Just because it’s Halloween, doesn’t mean you get to break out the racism, sexism, and ableism. 

A few years ago, there was a violent residential display in Maple Ridge accused of being “reminiscent of lynchings.” The residents who put up the display were shocked it was being accused of racism and being “too gruesome for children.” Others pointed out the area the display was put up wasn’t far from where Louie Sam, a young Indigenous man, was lynched. Without going into much detail, the family claimed it was a medieval display that they added to every year. Despite the critique, they refused to take the display down as they “didn’t intend” to be racist and plan to continue their display every year. Their response entirely ignores the historical context of oppression and puts comfort above a genuine care for how racialized children are affected by violence. 

This year, a Vancouver Island landfill has “been ordered to remove and destroy a Halloween decoration amid complaints that it is cruel and distasteful, particularly towards Indigenous women.” The sign displayed a cheap price where you could supposedly pay to bury a body. This is entirely inappropriate considering the “discovery of human remains in a Manitoba landfill last year” and the belief that there are other Missing and Murdered Indigenous Women and Girls in landfills. While the sign was removed, it comes off as anti-Indigenous because there was little regard here for those who have been violently targeted here, too.

In both cases, these people claimed they didn’t mean harm, but the reality is they did. We cannot ignore the historical context of racialized violence during Halloween just because others put up these decorations “for fun.” There are real people who have suffered, and that shouldn’t be swept under the rug.

If there is a true commitment to equity, there needs to be an understanding of the historical events that have disproportionately affected marginalized groups, and we should make an effort to avoid making light of them. This doesn’t only apply to displays or decorations. There are also a variety of costumes that either rely on prejudiced tropes or stereotypes or downplay serious issues. Costumes of “terrorists” stigmatize Muslims while costumes of flashers make fun of sexual harassment. For similar reasons, there shouldn’t be costumes of real serial killers — or even worse, their victims. This is scary in all the wrong ways.

Halloween is supposed to be fun. Recreating violence or stigmatizing others is not fun. You should not ruin someone’s day because you decided people who are offended are “too sensitive.” This silences genuine concerns about the messages people send when they dress as confederate soldiers or use cultures as costumes. These things wouldn’t be OK at any other time of the year — Halloween doesn’t give you a free pass. There are countless ways to decorate and dress-up for Halloween that don’t involve prejudice and insensitivity. 

Halloween isn’t supposed to be something grotesque. While costumes like witches and Frankenstein aren’t free of prejudice either, we should be moving further away from this direction, not closer towards it. If you need to rely on violence and stereotypes for a “scary” Halloween, you are boring and unoriginal. Get creative, there are so many interesting characters and styles that can be incorporated into a costume. Don’t perpetuate bigotry. 

Attorney Neri Colmenares speaks on the growing fascism in the Philippines

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This is an image of the Filipino flag. Their flag is blue and red, with a sun image in the centre. The flag is blowing in the wind on a flagpole outside.
PHOTO: iSawRed / Unsplash

By: Izzy Cheung, staff writer

On October 17, SFU Harbour Centre set the stage for “Defending Human Rights: Resistance Against the Growing Fascism in the Philippines,” an event that explained the political and economic climate of the Philippines. Headlining the event was a talk by Attorney Neri Colmenares, whose official titles include “vice-president of confederation of lawyers in Asia Pacific (COLAP), the national adviser of the national union of people’s lawyers (NUPL) and a Council member of the IBA Human Rights Institute (IBAHRI).” 

This event was hosted by Sulong UBC, in partnership with the SFU department of geography, SFU department of global Asia, SFU David Lam Centre, and SFU Filipino students association

Colmenares began his talk by introducing a term he calls “geographical injustice,” which shows how committing a specific act in two different countries may yield different results. To prove this, he used the example of using cannabis. Cannabis usage is legal in Canada, but if an individual in the Philippines is caught using it, they could be killed. The difference between what people can and can’t do is thus dictated by the government inside a country’s borders. In a 2016 press conferences with the president of the Philippines, he was quoted as saying “But if you would smoke [cannabis] like a cigarette, I will not allow it ever. It remains to be a prohibited item and there’s always a threat of being arrested, or if you choose to fight the law enforcement agency, you die.” However, Amnesty International opposes the death threat as “in clear violation of international law and standards.” The borders of where one lives should not justify the violation of human rights. 

Next, Colmenares went on to highlight // Highlighting statistics of the Filipino economy, specifically rates of unemployment (4.3%) and inflation (5.4%). He noted how the instability of this economy has contributed to the “forcible eviction of Filipinos” from the Philippines due to “political repression, instability, and economic conditions.” Because of the unstable economy and political scene, many Filipinos will flee the Philippines in favour of finding stability in other countries such as Canada. 

“Filipinos sacrificed leaving their family and their country and their friends because their family needs to survive,” Colmenares said. “That is why many Canadian youth are asking, ‘Maybe I should go back to the Philippines and find out what forced my parents or grandparents to leave the country decades ago.’” 

The instability in the country, Colmenares informed, is due to those who hold power. He noted that during the current president Ferdinand Marcos Jr.’s first year in office, it was discovered that there were “61 [cases of extrajudicial killings] and eight cases of enforced disappearance.” Moreover, during former president Rodrigo Duterte’s tenure, the president could claim “presidential immunity” and have any and all charges against him dropped as long as they were filed in the Philippines.  

“Human rights transcends politics,” Colmenares argued. “You have to condemn human rights violations.” 

As a way of healing the growing instability in the Philippines, Colmenares outlined some possible solutions. First, he argued that developing the countryside and “distribut[ing] lands to the farmers” would help them contribute to the economy. Colmenares “propose[s] industrialization” for the country’s economy. He urged that the Philippines is poor because they “do not produce what [they] need [but] produce what other countries need” such as clothing, produce, and other materials.  

After Colmenares’ talk, there was a brief break that included cultural performances put on by Isa Carlin, Kai Fenix, and one of the event’s hosts, Lovely Ranges. The three of them performed poems that spoke to the bittersweet experience of immigration, the beauty of the motherland, and the oppression that comes with imperialism. Following the poems was a performance of two songs delivered by Miguel Maravilla, a first generation Filipino immigrant and self-taught musician. 

“Because you trust, therefore you hope, and because you hope, therefore you struggle,” Colmenares said. “Thank you so much for being concerned with the conditions [in the Philippines] and not forgetting the Filipino people, because we in the Philippines continue to consider you all as part of the Filipino people — part of our struggle and part of our hope.” 

CJSF hosts annual Fundrive to support the station

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This is a photo of the outside of the CJSF radio station office. Their office is in the SUB at SFU Burnaby Mountain. The outside of their door has a large image of a person listening to music with headphones.
PHOTO: Gudrun Wai-Gunnarsson / The Peak

By: Saije Rusimovici, Staff Writer

From October 30–November 5, CJSF 90.1 FM will be hosting their annual Fundrive. The on-air fundraiser will support the independent radio station that has been operating since 1965. CJSF is a non-profit radio station located at SFU Burnaby, with a signal that reaches as far as Vancouver Island. Thousands of listeners tune into the CJSF online stream regularly. The Peak interviewed multiple CJSF members to learn more

The Fundrive will contribute to “the ongoing renewal and replacement of equipment,” including the tower and antenna located on the roof of the W.A.C. Bennett library. The rest of their operating budget comes from a portion of the tuition fees SFU students pay at the beginning of each semester. “Our stakeholders are members of our community,” said Robin Eriksson, CJSF programming coordinator. This community participation is embedded in everything we do, and results in a broadcast schedule that is independent of what is trending in mainstream spaces,” they continued. 

“Campus-community radio stations like CJSF are really like community centres that just happen to exist over the airwaves, as well as in physical spaces,” said Chris Yee, public relations coordinator. Broadcasts are uninterrupted by commercial advertising. In turn, CJSF airs free public service announcements via social media, as well as interviews that promote student-led initiatives. “This service is often under-utilized by students,” noted Eriksson.

CJSF provides “an alternative to commercial radio and the CBC, holding space for voices that are underrepresented elsewhere on the dial,” according to Eriksson.

The content featured on CJSF is almost entirely “produced by a member of the public on their own time,” according to Yee. The programmers “come from all walks of life — some have been producing their shows at CJSF for years, and some have returned to our station after long hiatuses, but there are also other folks starting brand-new shows here as well, many of whom are actual SFU students.  

“We intend to continue to deepen our culture of collaboration with community groups both on and off campus,” said Yee. “I’d like to see us build more of our online community outside of the corporate social media and streaming sites, especially considering what’s happened in the online world over the past year,” in reference to the implications of Bill C-18 across Google and Meta platforms

“In 20 years, terrestrial radio may or may not be on its way out, but hopefully there will always be folks interested in being part of spaces that foster organized communities,” said Yee. Station manager Magnus Thyvold agreed, “Technological change is a constant these days and we have to constantly adapt. Our future will be in growing our other media channels: our website, social media, our new smartphone app to complement our radio broadcast.”

CJSF has a significant impact on the SFU community and beyond. CJSF provides students with the opportunity to gain “critical skills that students can apply to their academic career and working lives” through a variety of volunteer experiences, according to Eriksson. “CJSF has changed my life in more ways than one,” said Pariya Zabihi, CJSF board member. “I feel closer to my community and brave enough to try new things and talk to new people because of the positivity I’ve received at CJSF. These opportunities ultimately guided me to becoming an associate producer at CBC Radio, and that is a journey I wouldn’t have pursued if it hadn’t been for this station and the people in it.”

The Fundrive plays a pivotal role in providing fulfilling experiences to people like Zabihi, who hope to pursue careers in broadcasting. CJSF is more than just a radio station. By amplifying and uplifting voices, CJSF is an integral part of the SFU community. 

You can support CJSF by visiting their website at www.cjsf.ca/donate. Alternatively, you can call into a CJSF program or mail a cheque to the radio station.
Follow @cjsf on X or @cjsfradio on TikTok. Find CJSF on terrestrial radio at 90.1 FM, on and off campus. Live streams are available on the CJSF Radio app. 

Horror in Seconds centres BIPOC filmmakers decolonizing the genre

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Photo of Doaa Magdy, a Black woman with a red afro wearing a T-shirt that reads “horror in seconds” in a red, gothic font. She is smiling wide with peace hand signs. She is standing in front of a TV screen that reads “60 second horror filmmaking, by Doaa Magdy, Jordan Peele’s Future Competitition.
PHOTO: Petra Chase / The Peak

By: Petra Chase, Arts & Culture Editor

On a dark and stormy night, horror enthusiasts packed the Vancouver Public Library’s (VPL) inspiration lab. Doaa Magdy is the founder of Vancouver’s first BIPOC horror film festival, Horror in Seconds. Magdy led a workshop open for the public to create 60-second horror films, and the turnout was tremendous. Magdy introduces herself as “Jordan Peele’s future competition,” referring to the Black filmmaker known for his iconic horror and poignant racial commentary film, Get Out. She has the same enthusiastic assurance in others’ abilities to be amazing horror filmmakers, and told everyone they’d walk out of the session having made a 60-second film. By the end of the workshop, there was a mini film screening of spine-chilling and comedic clips shot by the participants around VPL that proved it. 

Horror in Seconds, with its first annual events happening November 22–26 around Vancouver, is geared toward BIPOC filmmakers. Magdy’s mission is to decolonize horror, a genre which has traditionally underrepresented and tokenized marginalized identities.

“From my own experience as a Black person, it means, for example, not making the Black person die first,” she said, chatting with me after the event. Decolonizing horror means “sharing our stories from our own perspective. It means making the horror genre accessible to us.” There is no application fee, the process is straightforward and simple, and the only equipment needed to participate is a phone.

Magdy praised free public workshops like this one for further removing barriers, saying, “People leave feeling like ‘yeah, I’m a filmmaker.’ Boom. The most important part is having fun.” 

Submissions “must be 60 seconds or less, shot on a smartphone and with no dialogue.” 60-second films can be edited on Instagram or TikTok, and this allows many people to participate, so different perspectives can be platformed. Short clips are also “mindful of folks with lower attention spans” and having no dialogue allows people who are deaf or hard of hearing to have the same viewing experience.

We watched a few 60-second muted clips from horror movies to see how suspenseful short clips can be, because there’s more context that’s left up to your imagination.

“[Horror] could be a very relatable experience for folks that experience some form of discrimination for being different, or outcast. This is a genre where people can unite and share their experiences,” Magdy said. People of diverse ages and backgrounds turned up, brought together by a love of horror. Horror “tackles sociopolitical issues that are very current by using different metaphors.” 

Horror in Seconds’ theme this year is holidays, and that can range from Christmas to Ramadan to International Yoga Day. As long as there’s a horror spin, Magdy encourages people to be wacky and creative. They shared a short film they made that imagined what a film would look like if it were directed by her cats. She also joked about her favourite horror tropes: “Characters following the noise. Why do you always follow the noise? If I hear a noise, I’m not going there.” Horror can be hilarious!

Halloween doesn’t need to end when November starts. Magdy encourages you to hold onto your Halloween costumes an extra month to wear them to the festival. It will include screenings, live performances, a Halloween burlesque show, and a horror-themed DJ dance party.

In the meantime, here are some of Magdy’s film recommendations: Talk to Me (2022) is a horror thriller about friends conjuring spirits, which Horror in Seconds is screening with Vancouver Black Library on Halloween. She also recommends Horror Noire (2021), a compilation of six films by Black directors. Finally, XX (2017) is an anthology of four short horror films written and directed by women. She noted how horror has many subgenres, and how indie horror was a motivation for the festival, because “low budget doesn’t mean low quality.”

There will be a festival teaser on October 30 at VPL featuring a discussion on the filmmaking process and clips of footage they have prepared for the festival. The Talk to Me movie night screening will take place at Vancouver Black Library on Halloween, October 31. Follow Horror in Seconds on instagram at @horrorinseconds, and check out the event page for more information on what’s to come. Consider donating to their fundraiser via gofundme.

The multifaceted problem of Gentrification

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An illustration of a group of people holding signs in protest of gentrification
ILLUSTRATION: Andrea Choi / The Peak

By: Daniel Salcedo Rubio

Gentrification is a seemingly unstoppable phenomenon taking place in cities across the world, from North American cities like Vancouver or my home, Mexico City, to East Asian cities like Tokyo and Seoul. Gentrification is a complex sociocultural and economic process where “wealthy, college-educated individuals begin to move into poor or working-class communities, often originally occupied by communities of color.” In theory, investing in communities and neighbourhoods that have been historically neglected resource-wise sounds like a fantastic initiative. More often than not, it will actually cause displacement of marginalized groups, furthering their economic and social disenfranchisement. There is a complex interplay of issues at the heart of gentrification, where perhaps well-intentioned revitalization initiatives perpetuate inequality and cultural erasure. 

In Mexico City, gentrification took an exponential rise due to the COVID-19 pandemic. Remote workers from all over the world, especially from the US, moved into the city — primarily into the neighbourhoods of La Condesa and La Roma Norte, looking for cheap rent and an affordable everyday life. Displacement quickly came to the city and for its citizens. Rents for apartments in these neighbourhoods rose to $1,500 USD ($2,051 CAD) a month, with a one-bedroom apartment averaging $632 USD ($872 CAD) throughout the entire city. This is in a city where the average monthly income is only $4,600 MXN ($346 CAD). Displacement is not just an outcome of unreasonably high rent, but also forceful evictions. The rental model that platforms like Airbnb offer has pushed renters out of their homes, as it’s far more profitable to rent a property to so-called digital nomads for $6,400 CAD than it is to keep renting it to its current residents for $750 CAD. Not only have locals been displaced, but Mexico City is now so culturally different to the point where last time I went to those neighbourhoods, the majority of people in restaurants were American customers. 

Don’t misconstrue the sentiment of the locals when they tell someone to “go back to your country” — their sentiment does not arise from xenophobia, but from rage toward the loss of their spaces and erasure of their culture — from rage at gentrification. Unfortunately, gentrification hasn’t only impacted big cities. Smaller communities like Ixil and Kinchil in Yucatan are facing similar, if not worse, problems. Mayan communities have been battling land theft at the hands of real estate conglomerates looking to build luxury developments for outsiders, because stealing Indigenous lands apparently never went out of fashion for the ultra-wealthy

In the US, historically Black neighbourhoods like The Central District, a “hub for Black culture for over 100 years,” have been deeply affected by gentrification. Ron Daniels, president of the Institute of the Black World 21st Century, described gentrification of historically Black communities as an “insidious onslaught.” Vine City, Atlanta, where American minister and civil rights activist Dr. Martin Luther King Jr. lived, has been wiped by sports stadium projects. The Bronx and Harlem in New York City — predominantly Black and Latinx neighbourhoods — are integral to history. Malcolm X addressed the Black communities of the world with his famous speech at the Harlem Freedom Rally in the 60s. The Apollo Theater in Harlem saw the debut of legendary Stevie Wonder and was a staple for icon Aretha Franklin. Who wouldn’t call gentrification an onslaught? When Black-owned businesses are under threat of displacement for the sake of “progress,” one can only ask — progress for whom? To whom is it beneficial that culturally significant neighbourhoods are systematically losing their identity, their culture, and most importantly, their people? 

Here in Vancouver, gentrification is an ongoing threat for many cultures. Chinatown, a historically and culturally rich neighbourhood that has been a vital community for Chinese migrants, continues fighting the dangers of gentrification. The now-obscured Lao Tzu mural in the Lee Association Building has been replaced by an incredibly bland-looking condo complex. The proposed Beedie apartment complex on 105 Keefer is also a harmful proposal for the neighbourhood. The board approved the condo under the condition of giving it a “welcoming” façade fitting the emblematic neighbourhood, while actively ignoring the calls of protestors for low-income housing. This shows just how superficial the city’s concern for its citizens really is.

The displacement of Downtown Eastside residents is another well-known and documented case of gentrification in the city, where developers are actively trying to “upscale” a neighbourhood of predominantly low-income residents. The Waldorf Hotel, which was originally a working-class hangout, slowly became a centre for local artists and upscale restaurants offering a lifestyle beyond the reach of the neighbourhood’s residents. Even Kitsilano and the West End underwent gentrification in the 60s and 70s, with student and family housing being replaced by luxury condo buildings. The façade of progress and economic development are merely masking the city’s deeper issues, lacking the intent required for positive change.

Progress and development may be inevitable processes in society, yet gentrification isn’t. Policies and guidelines can be, and must be, put in place to avoid the displacement and erasure of entire communities. This involves actions like building affordable housing and allocating a portion of developments for low income individuals, as well as significantly considering community input in decision-making processes. Thankfully, several government agencies, Vancouver included, have heard the pleas of the people; platforms like Airbnb, which have been responsible for driving up housing costs, are now being regulated more heavily. It’s necessary to take into consideration the historical, cultural, economic, and, most importantly, human factors of progress. While we might be taking a step in the right direction to offset the rental crisis, gentrification is a multi-faceted issue and this is just one step with miles yet to traverse. Progress for the betterment of the few, who actively and purposefully exclude and marginalize, can’t be called progress at all.

Women in the workforce are still not equal

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An illustration of multiple women, working multiple jobs
ILLUSTRATION: Alyssa Umbal / The Peak

By: Izzy Cheung, staff writer

Most of us remember walking through toy stores as kids and seeing various toys sectioned off based on gender. Mini kitchens, dress-up kits, and dolls were kept in one area, while toolbelts, race cars, and science kits were kept in another. The idea that girls should grow up gently “playing house” while boys should build and play with action figures can carry over to beliefs about gender roles. Cues like these — hinting at the futures of boys and girls — have sadly become common indicators of how sexist many societies can truly be toward women in the workforce. 

Science, technology, engineering, and mathematics (STEM) fields in particular are often highly demonstrative of divides between men and women; age-old stories about the lack of women in STEM dominate online conversation. Specific industries are known for being dominated by men or women, which is the result of sexist, patriarchal systems that rely on misogyny as a means of power. When we consider gaps in wages between men and women, disparities are often attributed to each gender’s choice of occupations rather than systemic issues that should be further examined.  

Industries such as STEM are often dominated by men. While these fields benefit from traits such as assertiveness and leadership, outspoken and opinionated women are often shunned for speaking their minds, while men who do the same are celebrated. Leadership is not defined by gender, but company culture dominated by men can be a very difficult environment for women to break into. Because of these beliefs, career choices can become manipulated by the patriarchal systems that still exist in society.

The way we value work between men and women reflects biases in the workforce. The Pay Equity Office of Ontario reports that women currently make 87 cents compared to every dollar men make in an hour’s worth of pay. Many may assume this disparity in pay is due to the career choices that women make. For example, data from the US Department of Labor show that the three most common occupations for women are registered nurses, elementary or middle school teachers, and secretaries or administrative assistants. Interestingly enough, these positions were previously dominated by men, until perceptions about womens’ domestic skills being “advantageous” for this kind of work arose. However, despite 87.9% of nurses being women, men reported making an average of $7,300 more than their coworkers in the US. Women in CEO positions also see themselves making less than men, as men make almost $1 million more per year. The issue clearly isn’t just people’s choice of career.

Building a bridge toward equality in the workforce, especially regarding the wage gap, first requires small pieces to be put in place. On August 31, 2021, the government of Canada implemented the Pay Equity Act in an attempt to lessen, and eventually eliminate, the gender wage gap. This act is a small step toward change, but more still needs to be done. As a society, we should consider the subtle ways in which the system we operate within seeks to oppress certain groups. Women of colour, trans and queer women, and women with disabilities are often further marginalized in the workforce due to systemic barriers. Next time you walk into a toy section, think about which children get to play with what. Patriarchal beliefs have led us to believe that womens’ work should be confined to certain practices, making for an unfair, unequal workforce.