By: Yasmin Vejs Simsek, Staff Writer
The Vancouver Queer Arts Festival (QAF) is in the top three list of LGBTQ2S+ arts festivals world-wide and features multimedia exhibitions, music, rooftop parties, and more. This year it returns to an in-person programme from June 18–July 8 with the theme “Hauntings.” Artistic director Mark Takeshi McGregor defines the theme as an exploration of “what frightens us, with liberal doses of profundity, humor, and camp.” The festival takes place in different arts spaces around Vancouver, with most of its events hosted at the Sun Wah Centre in Chinatown.
Here are four events to look forward to at this year’s Queer Arts Festival:
HAUNTINGS: Pride in Art Community Show
For the first time ever, this community arts show is teaming up with the queer-led James Black Gallery to showcase art from local LGBTQIA2S+ artists. The Pride in Art Community Show is a staple at the QAF, and every year its name honours two-spirit artist and co-founder of Pride in Art Society, Robbie Hong. HAUNTINGS will feature works from artists such as stunning digital artist Avery Chace, and multi-medium, macabre inspired artist Braden Scheck.
When: June 20–July 8, Wednesday–Saturday from 12:00 p.m.–6:00 p.m.
Where: The James Black Gallery (144 E 6th Avenue)
Vanishing Act is a curated visual art exhibition featuring almost 20 artists from the global queer community! It’s mainly focused on the Global South and its diasporas. The exhibition fits extremely well with the theme of Hauntings, as the curators ask the audience to “face our own Frankensteins.” It also fits well with Vancouver, our very diverse and talented city. Plan your visit for July 2 if you want to tag along on a guided tour by the exhibit’s curator, Adwait Singh, and creative director, SD Holman.
When: June 18–July 8, Wednesday–Saturday 12:00 p.m.–6:00 p.m.
Where: Sun Wah Centre (268 Keefer Street, third and fourth floors)
Curator Tour: July 2, 3:00 p.m. and reception at 5:00 p.m.
Queerotica brings you a night of literacy and is the perfect event for you bookish types out there. You’ll be enjoying readings from local writers who will challenge how BIPOC queer bodies are fetishized, projected, and eroticized. It will also explore the effects of masking or revealing one’s true self under colonialist supremacy. This event is sure to stand out with its focus on harrowing realities felt throughout the BIPOC queer community.
When: July 6, 7:00 p.m. (door opens at 6:30 p.m.)
Where: Sun Wah Centre (268 Keefer Street, Rooftop)
This rooftop party is the festival’s closing event, and not one to miss! I imagine there will be loads of glitter — and what better way to end the QAF. You’ll be able to see the art that’s been displayed throughout the festival as you make your way up to the party that will be featuring music and drag performances. Members of the Vancouver-based Asian drag family, House of Rice, will be performing, including the drag mother herself, Shay Dior. See you there!
When: July 8, 7:00 p.m.–10:00 p.m. (doors at 6:30 p.m.)
Where: Sun Wah Centre (268 Keefer Street, Rooftop)
Tickets are purchased for each individual event with the ones mentioned being by donation or included in the festival all-access pass (priced at $69). You can find the link to their Eventbrite page for tickets on their website.













Pass Over uses morbid humour to critique systemic racism
By: Yasmin Vejs Simsek, Staff Writer
Content warning: mention of racial slur, racism, police brutality.
Pass Over at the Waterfront Theatre on Granville Island is a political commentary on Black men wanting a better life for themselves. Written by Antoinette Nwandu and directed by Omari Newton, this Broadway play has come to the Vancouver stage to make the audience laugh, cry, and reflect upon the impacts of anti-Black police brutality and systemic racism.
The long-time issue of police brutality is something that has been denounced by the general public, especially after the murder of George Floyd. Pass Over did not shy away from critiquing this systemic problem and successfully portrayed the fear that Black people must experience daily — particularly in the US. Moses (Chris Francisque) and Kitch (Kwasi Thomas) are the two charming and witty main characters of the play: Black men who are on the streets dreaming of the promised land and taking their fate into their own hands. Pass Over successfully left me on the verge of my seat, wanting to analyze every single aspect of the play.
The play starts with Moses and Kitch talking shit with an overuse of slang words and being brotherly with each other. Within the first five minutes of the play, they fell to the ground in fear of gunshots from the police and the audience were left feeling horrible for having just laughed at their inside jokes and banter. This form of contrast happened several times during the play and each time we were more and more struck by the reality of fear.
The set was simple, with a street, a lamp, some trash, and tires and crates for seats, and it magnified the characters’ circumstances and their wish for a better life. Moses and Kitch discussed their ten-point list of what their promised land entails, which included ordinary items we take for granted such as clean sheets and socks. Directly following this dialogue, a stranger entered and juxtaposed our two protagonists with his Southern vocabulary, pristine white suit, and food for a whole village. In stark contrast to Moses and Kitch who just shared a pizza crust, he was an alien in their surroundings, a representation of colonialism. Moses and Kitch attempted to talk like the white stranger, in the hopes the police would leave them alone. This was very comical and absolutely tragic all at the same time.
It would be impossible to count how many times the n-word was used in Pass Over. It became exaggerated when paired with the repetitive use of “damn” and “man,” to the point of being overdone. It was also repeatedly said by white characters, which was extremely uncomfortable to hear, but I imagine that was the intention.
The play takes a metaphorical supernatural turn when Moses gets the powers of the biblical Moses to overcome “the angel of death itself” — the police. This was a clever way of showing that it literally took magic to get out of the unjust circumstances enforced by systemic racism.
Pass Over astonished me. The turn of events threw me back in my seat and I was surprised I didn’t see it coming. The emotional acting and the hardships portrayed had me too engaged to even imagine what could come next. I find it very impressive when a play can make you laugh through a topic that is so traumatizing, and the guilt of laughing is an important emotion needed to reflect upon the realities being critiqued. Although with small theatrical critiques, I was left reflecting on the play and its message for hours afterwards — and isn’t that what theatre is supposed to do?
Pass Over runs at Waterfront Theatre till July 2, 2022. Tickets can be purchased here.