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Humour is an overlooked tool in creating social change

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Someone is holding toilet paper rolls over their eyes like binoculars. They are straight-faced, and it’s a very funny-looking photo.
A good chuckle can really change the way you see things. PHOTO: Cottonbro / Pexels

By: Sara Brinkac, Humour Editor

Ah humour, a beauty of a concept and a wonderful spice to life. What’s there to say about humour that hasn’t already been said? It shows intelligence (sometimes), it diffuses tense situations (most of the time), and it brings joy to our lives (all of the time). Humour is so extraordinarily versatile in its social uses that we often overlook just how powerful it can be in enacting social change. But who can blame us? Humour is a famously elusive topic and it can be tough to see how a joke about an orange can change your perception of the grocery industry.

As both The Peak’s humour editor and general human being, I have spent a lot of time thinking about funny; I’ve always surrounded myself with funny, and (to some readers’ disagreement) I like to think I am funny. But despite my credentials, I’ve always had a tough time pinpointing what humour is exactly. What makes something funny at its core? Why is it meaningful? What makes up one’s sense of humour? 

In my reflections, I almost always come back to the social importance of humour. Chiefly, how humour allows us to look at a situation from many perspectives. Through a curated perspective on life, humour allows us to see absurdities in our actions — as demonstrated by the video works of John Wilson — or be surprised by shifts in our perspective. You see tomato, I see Tom: a toe — and he’s handsome too. 

The ability to look at an object in many different ways is invaluable for developing understanding, and with understanding comes dedication to change. A 2017 study from the American University compared the impact of traditional information based documentaries and the comedy series Stand Up Planet on viewers. “People learned more about the global development issues by watching the traditional somber documentary, but they felt more watching Stand Up Planet,says lead researcher Caty Borum Chattoo. 

While it goes without saying information and informed actions are crucial to social change, so is emotional engagement. We understand there is chaos all around us, but monotonous presentation rarely stimulates. Humour allows us to change the narrative and speak with a more nuanced social tone that we as a species naturally resonate with. It’s when we are confronted with the absurdities of our actions that we begin to recognize those patterns in our everyday life and make efforts to change with a lighter heart. 

A terrific advocate for mental health can be found in the off-kilter comics of Alex Macdonald. Known on social media platforms as alecwithpen, his works are at once deeply personal and charmingly funny — prompting us to reflect on our journeys towards mental wellness. Oglaf, a sex-positive comic, has won accolades for its depictions of LGBTQ2A+ people of various races; showing us explicitly that sex is both funny and worthy in whatever forms it may take.

Humour reminds us there is always a different way to look at things, and there is always room to be surprised. When we start making light of our situations we begin to accept that our initial perceptions and (perhaps pragmatic) rules of reality are not all that stands. We can go easy on ourselves and others — heck — we can even accept that others have a beneficial view on life we hadn’t previously considered. And you know what that sounds a lot like? Empathy. One of my favourite ingredients in a stew I like to call social change.

SFU joins $24-million Indigenous-led global research project to protect biodiversity

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an Indigenous fern in BC
The project aims to record how Indigenous peoples protect and preserve their land’s biodiversity. PHOTO: Debbie Ballentine / Flickr

By: Luke Faulks, Staff Writer

On January 12, 2022, SFU announced it would be joining Ărramăt, a “six-year, $24-million project” led by Indigenous peoples to protect biodiversity and investing in Indigenous research. The project will collaborate with universities worldwide.   

Dalhousie University assistant professor Sherry Pictou, Mi’kmaw from L’sɨtkuk, is among the principal investigators. “The research builds on the momentum and opportunities created in Treaties, by the Truth and Reconciliation Commission, the National Inquiry into Missing and Murdered Indigenous Women, Girls, and Two-Spirit People, and the United Nations Declaration on the Rights of Indigenous Peoples. We want to harness that momentum in ways that can create fundamental change to the status quo around biodiversity and health.”

The Peak reached out to Ărramăt for more details but did not receive a response. The Peak spoke with two Ărramăt project leads from SFU to find out more. 

Health science professor John O’Neil helped write the proposal for Ărramăt. After a successful pitch to the New Frontiers in Research, O’Neil has become one of six principal investigators working alongside international researchers and scholars. The project is based out of the University of Alberta, which is receiving $24 million for the endeavor. New Frontiers in Research is funded by the Government of Canada and is meant to provide funding for interdisciplinary research.  

According to O’Neil, beyond the substantial financial support, what sets the project apart from other efforts to tackle declining biodiversity is where funding is going. “Most of the funding is going directly to Indigenous governments, Indigenous organizations, [and] Indigenous communities to do the research.” The plan is for Indigenous groups to catalog their practices for protecting “biodiversity in their regions in order to protect the health and well-being of their communities.” Unlike other research projects of this scale, O’Neil says a university’s role in Ărramăt entails co-ordinating research efforts and funds, rather than leading the research itself.

With $24 million, O’Neil said the plan is to have nearly 140 “place-based projects.” These are the projects that will be run almost entirely by Indigenous communities. 

“Pretty well every eco-zone on the planet is represented in this project,” said O’Neil.

Health science associate professor Maya Gislason was brought on board as an expert in the relationship between ecological and social systems for the betterment of overall health. She suggests an overwhelming amount of conservation work is being done by an Indigenous minority. “We’ve got 80% of biodiversity stewarded by [5–6]% of the Indigenous population on the planet.”

Gislason explained the project aims to “bring those knowledge holders to the foreground. However, Gislason expects issues of institutional colonization in this project. “The scale and the scope and the Indigenous-led dimension of the project, it’s going to help challenge and surface out some of those systems that are not yet ready to actually do decolonizing work.”

The project, according to O’Neil, aims “to fundamentally change the way Indigenous knowledge is viewed as part of the global efforts to promote biodiversity” and intends to complete by 2027. 

The different pathways include recognizing Indigenous rights, decolonizing education systems, repairing the relationships between humans and nature, exploring Indigenous medicine, and strengthening Indigenous food and water systems. Each pathway is intended to address a specific wrong committed against Indigenous groups and the environment, from “poverty and economic exclusion” to “wild species disease and conflict.”

The project’s next steps involve establishing the research infrastructure to ensure the success of the endeavor. Ărramăt’s first big hurdle is to navigate the distribution of funds to Indigenous partners. The original proposal to the New Frontier in Research cemented the principles that guide the project, like notions of healing through a healthier environment, “but the actual practicalities of doing it need a lot of work,” according to O’Neil. Communication with research partners and hiring to translate the proposal’s principals into actionable research is next on the docket. 

Updates on Ărramăt can be found on the project’s website. Past webinars can be viewed through the site’s Events page, and the Story Map offers visitors a chance to scroll through the group’s mission in detail.

It’s time to end your dysfunctional relationship with Instagram

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A photo shows someone holding a mobile phone. On the screen, a TikTok notification bar is asking: “Do you want to uninstall this app?” The person’s thumb hovers over they “Okay” button.
Putting distance between yourself and social media isn’t easy, but it’s worth it. PHOTO: Krystal Chan / The Peak

By: Ciara Reid, SFU Student

Ending a dysfunctional relationship is difficult, but things are usually better once you’re out. This was my experience in beginning the process of deleting my social media after two years of increasingly unhealthy use. 

Before the pandemic, my relationship to Instagram was as healthy as my relationship could be to a platform that causes damage to people’s mental and emotional well-being. Sure, I was constantly comparing myself and my life to those of the people I followed, but at least my time spent on the app was limited and my life outside the app was satisfying. And before COVID-19 , I wouldn’t have even considered downloading TikTok because I knew just how addictive it would be.

With lockdown, things changed. In the absence of other things to do, I spent hours on Instagram. I downloaded TikTok. Before I knew it, I was spending massive chunks of my day on social media. And I was feeling way worse. I was addicted. 

My addiction persisted beyond lockdown. In every free moment, I had my phone in-hand. I felt like I was looking for something: a laugh, the dopamine hit of a new “like” or a feeling of connection. But once my phone was down, I felt empty and frustrated — like I had achieved nothing. I had so many interests I never had time to explore, and I felt very alone. 

A 2017 survey showed social media is associated with worsened anxiety, depression, loneliness, and body image. While TikTok has yet to receive the same damning reviews, I can say from experience it is addictive. 

In a 2021 interview, Stanford psychiatrist Anna Lembke noted most people are at risk for social media addiction: because of its ease of access and the dopamine rushes it sends through our brains. What’s problematic, says Lembke, is that the more we are exposed to these dopamine rushes, the higher our “baseline” becomes — we feel the need to consume more. According to Lembke, after using social media we are “plunged into a dopamine-deficit” which — in addition to the constant comparison and FOMO we experience when using social media — leaves us feeling awful. 

None of us are truly unaware of how social media affects us. The evidence of its detrimental potential is everywhere. However, cutting ties with our social media accounts is not as easy as we might hope. Many platforms are designed to be as addictive as possible, and quitting them has been likened to dropping a cigarette habit.

I chose to delete my Instagram and TikTok because I no longer wanted to be on platforms that encouraged me to compare myself to others; I no longer wanted to feel the guilt of never exploring my interests because all my time belonged to social media.

We all owe it to ourselves to take a step back and assess our relationship to these apps. Irish podcaster, Blindboy Boatclub, puts it perfectly: substance use (and here I would include social media) is not inherently problematic or damaging: what can be problematic is our personal relationship to substances. As Blindboy argues, emotional awareness of how and why we use something, and the impact of its use on our lives, is essential. 

Lembke suggests taking prolonged breaks from social media to combat its addictiveness. And my process started with intermittent week-long breaks. This process made it easier to move toward outright deletion, fueled by my refreshed understanding of what’s best for my mental health. To facilitate the distancing process, apps like Forest and Digital Detox offer motivations to spend time away from social media. 

To be honest, I am worried about loneliness. I know I am losing some connection, and I have yet to see how this will feel in the long term. But damn, it feels good to have my time back.

Need to Know, Need to Go: Jan 31–Feb 13

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Illustration of a blue calendar, with "Need to Know, Need to Go" written on top
Arts & Culture events to catch around the city. Image courtesy of Brianna Quan

By: Gurleen Aujla, Peak Associate

World Community Film Festival | February 5–13 | Prices Vary | Online and in-person

Attend the 31st World Community Film Festival from the comfort of your own home! A non-profit based on Vancouver Island is hosting BC’s longest-running social justice documentary festival. The 11 films spotlight women journalists in India, community connections to land and food, harm reduction in the Kainai First Nation, and socialism in economics. Viewers can purchase an all-access pass through the festival website, starting at $25, or individual film admissions starting at $8. 

CreativeMornings Vancouver: David Robinson | February 4, 8:30 a.m.–10:00 a.m | FREE | Online 

Vancouver’s CreativeMornings is hosting award-winning sculptor David Robinson for a breakfast lecture. CreativeMornings hosts monthly talks highlighting local creative talent and providing a space for individuals to connect. Robinson uses a variety of materials in his sculptures, often adding “psychological and mythological twists to his subjects.” Register for the talk on the CreativeMornings website.

The Secret of the Red Envelopes | February 3, 6:30 p.m.–7:30 p.m | FREE | Online

In the spirit of Lunar New Year, the Vancouver Public Library (VPL) is hosting a workshop on crafting your own lucky red envelopes. As a symbol of good luck and prosperity, they ward off evil spirits. The event will be hosted by Jeffrey Wong, vice-president of Wongs’ Benevolent Association, and Doris Chow, co-founder of the Youth Collaborative for Chinatown. Participants can register on VPL’s website.

SFSS explains decision to close Student Union Building

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a study space inside the SUB building
The debate for closing the SUB took three hours. PHOTO: Kriti Monga / The Peak

By: Karissa Ketter, News Writer

On January 20, 2022, the SFSS emailed the student body informing them the Student Union Building (SUB) will be closed until February 18, 2022. In their email, they wrote, “In regards to high COVID-19 cases across the province and the return to campus mandated by Simon Fraser University (SFU), the SFSS Council does not believe SFU is taking appropriate measures to protect our membership.

“It is unfortunate that we have to make this decision, however, our concerns are the safety and health of those on campus.”

Former SFSS president Gabe Liosis and vice-president external relations Matthew Provost spoke with The Peak to discuss the Council’s decisions.

“We don’t believe that the university is doing enough to protect students,” said Liosis. He thinks the university’s mentality is that students are “going to get COVID-19 at some point. So you might as well just get used to that fact and move on with your life. We at the SFSS strongly disagree with that sentiment, and believe that it doesn’t really espouse the philosophy of community care.”

Liosis noted the Council was hesitant to close the SUB and their debate spanned over three hours. “So this was not an easy decision,” said Liosis. The Council recognized “The Student Union Building is a risky setting” because it encourages students to interact with others in close proximity where they cannot guarantee their safety. 

The motion to close the SUB was carried with 32 councillors voting yes, 9 voting no, and none abstaining to vote. 

“Our call on the university right now is that the Spring 2022 semester remains online until at least the Omicron wave peaks, and we see significant decline in the number of cases and hospitalizations,” said Liosis. 

Liosis reported the Council will determine at its February 16 meeting whether or not they will extend the closure. The criteria for this decision is currently unclear but Liosis predicts it will include factors such as COVID-19 cases, hospitalization rates, and their confidence they can guarantee safety for staff and students in the SUB. 

Liosis also predicts when the SUB does open, it will do so at reduced capacity. 

Prior to announcing the complete closure of the building, the SUB had been functioning at a reduced capacity. For the Fall 2021 semester, the SFSS re-organized and reduced seating to accommodate 150 people. Liosis noted the building can hold up to 1,000 individuals.

Provost noted some of the concerns that were outlined by fellow councillors at their meeting. Primarily, the concern around taking away space from students which will force them to cluster in other areas. 

SFSS’ decision to close the SUB has been met with some backlash on social media. “Students are now forced to overload into other areas of campus, which might increase the risk of COVID-19 transmission as it will be harder to physically distance,” said a student who started a petition to reopen the SUB. “The SFSS, a ‘student-focused’ organization has failed the students of SFU again as it seems like this move is a political move rather than a move that looks in the best interest of students.”

The SFSS statement noted, “We fully acknowledge the importance of the Student Union Building to both the mental and social health of those who use the building. However, we cannot and will not risk the lives of our staff and membership. We are not willing to contribute to a potential increase in COVID-19 case numbers on campus, and will not bear the brunt of decisions made by the university.”

The SUB was designed for social gathering. Provost noted that their staff has been forced to consistently remind students to social distance and wear masks properly. “We cannot guarantee that there won’t be exposure or transmission in the SUB.

“The truth is, this is not and will not continue to be enough without SFU also doing their part. It is unfortunate that we have to make this decision, however, our concerns are the safety and health of those on campus,” read their statement.

For updates on the SUB’s reopening, visit the SFSS website.

Poets+ is the future of Vancouver’s poetry scene

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Portrait shot collage of, from left to right, Tawahum Bige, Tin Lorica, Jillian Christmas, and Justin Percival
Remember these artists; they’re going places. PHOTO: Arts Council of New Westminster

By: Alex Masse, Peak Associate

Released on January 14, Poets+ is the creative brainchild of the Arts Council of New Westminster, Fifth Chord Studios, and Tawahum Bige, the project’s curator. It’s a one hour showcase of emerging poets of colour that takes on “themes of identity, oppression, and reconciliation.” True to form, the event held a land acknowledgement in its video description, honouring the unceded traditional territories of the Coast Salish peoples of the QayQayt (qiqéyt) Nation, as well as all Coast Salish Nations. 

“I wanted to highlight BIPOC artists in the scene that not only are brilliant poets, but do so much more beyond that whether comedy, music, community advocacy and to give them the space to exemplify it,” Bige said.

Four poets performed back-to-back, sharing a variety of stories in a spectrum of styles. The piece opens with works from Justin Percival, a Nisga’a poet, who was born and raised in Vancouver but considers himself a visitor to the land. His poems touch on living in Vancouver, addiction, and hope. His style is rhythmic and driven, his natural flow undoubtedly a product of his background as hip-hop artist EnigmaDaPoet. As the grandson of a residential school survivor, Percival is personally connected to the themes of oppression and reconciliation, and his poetic repertoire holds memorable intensity. 

Up next is Tin Lorica, a queer Filipinx comedian who’s brought laughter all over the local scene, co-hosting comedy shows and even featuring on a Just For Laughs stand-up compilation album. They’re no stranger to poetry, having released a chapbook, Soft Armour, in 2020. In Poets+, their vivid imagery and cool flow paints pictures of diaspora, familial trauma, mother tongues, mental health, and — at one point — “the mistake of hooking up with a white boy.”

Third on the roster is Tawahum Bige. As a Two-Spirit Łutselkʼe Dene, Plains Cree poet, spoken word artist, and hip-hop musician, they’ve taken on stage and page alike. Bige shared music and poetry, including their debut single, “Shedding,” a hip-hop track with an energized flow and lyrics that snapshot both righteous emotion and beautiful, anti-colonial imagery. Bige’s words are born from life experiences, be that going through the court system as a land protector or growing up Indigenous in a colonized land. 

The showcase closes with Jillian Christmas, a queer creative facilitator and award-winning poet. Her body of work covered intimacy, healing, mental health, living as a woman of colour, and the racism she and others — family and strangers alike — have dealt with. She also brought some music to the stage, a one-woman symphony of a ukulele and drum kit. Christmas’ poetry is a lush, full-body experience, and some of the work showcased can be enjoyed in print in her poetry collection, The Gospel of Breaking

The whole piece is worth watching, and shows just how much can fall under the umbrella of what poetry is. Bige claims a major inspiration for Poets+ was to break down barriers between art forms. Poets+ may be just the beginning. 

“I hope it makes a big splash into the local scene and encourages more work like this! And truthfully, the intersections of poetry with other art forms is always an interest of mine and so it was really wondrous to get to move my own creative ethic forward,” Bige said. 

Poets+ is a beautiful look at the future of poetry in the Lower Mainland and the potential it has to uplift diverse voices and perspectives, because they have plenty to give and a beautiful way of doing so. It’s a medley of talent and names to keep an eye on.

View Poets+ on the Arts Council of New Westminster’s YouTube channel.

un/settled exhibit prompts students to create thought-provoking book display on Black artistry and solidarity

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A tall, wooden bookcase filled with self-published books.
These books were made during a publishing class. Photo: @sfupublishing via Instagram

By: Sara Wong, Arts & Culture Editor

un/settled was a 240 foot installation celebrating Black womanhood, produced by Chantal Gibson and Dr. Otoniya J. Okot Bitek at the SFU Belzberg Library. Although it is no longer on display, the impact it had was profound. Inside the library, a book exhibit created by Fall 2021 publishing students showed work “based on, or in conversation with, un/settled.” 

“It’s a proposition for someone who wants to reflect on what it means to be unsettled. Because we should all be unsettled,” explained Dr. Okot Bitek in The Lyre. Using a variety of mediums, from poetry to guidebooks, the print and digital books class (PUB 331) aimed to further dialogue on Blackness in public space. 

As Peak contributor Linda Kanyamuna said about un/settled, “It’s important to recognize the urgency of solidarity in the scope of racial justice, and that standing in solidarity for Black lives is a communal effort.” And like Gibson noted in The Lyre, “The facelessness of the portraits created space [ . . . ] for others to identify with and find their own meaning in the work.”

In an interview with The Peak, some of the PUB 331 students discussed their book designs and what they took away from this assignment.

Rowina ChanThe Guide to Allyship

“Designing The Guide to Allyship was my response in sharing a how-to on becoming a compassionate and empathetic friend, family member, coworker, and so forth,” Chan explained. “The concept of community was something that resonated with me.”

Her pocket guide features open-source text about supporting communities of colour, which was created by Jamaican American writer and designer Amélie Lamont. It also includes illustrations by Latinx digital artist Pablo Stanley, which are accentuated by the die-cut cover. This feature allowed Chan to play with the interactiveness of her book, which was meant to reach a wide audience.

The die cuts were done by hand in order to stay on budget — a decision that made production challenging, yet satisfying at the same time. “My professor [ . . . ] was very generous and patient in offering her Cricut to do the die cuts, and it was truly a rewarding learning experience for both of us when it was our first time experimenting with the machine,” Chan said.

The Guide to Allyship would not have come to fruition without the incredible help of the teaching team, Mauve Pagé and Erin Chan,” she continued. “The technicalities with file formatting and design layout for printing are something I will carry with me for future projects.”

Melissa Ho — SFU Library resource book

Did you know SFU libraries are open to the general public as well as students? After discovering this, Ho decided the concept of her book would be to highlight the services these libraries offered, especially as they work to amplify BIPOC voices.

“Through interviews with Leanna Jantzi, head librarian of SFU Fraser Library, and Megan Sorenson, librarian for SFU publishing, I got to better understand the role of SFU in communities and how libraries have shifted from being exclusive places for the privileged to what they are today,” she said. 

“Growing up, buying new books was tough for my family due to financial reasons,” Ho added. “I wish I’d known the SFU Library was open to the public before I attended SFU, because I would’ve flipped through all the design books you couldn’t find at public libraries.”

Due to “personal matters regarding mental health,” Ho produced a digital book instead. “Pagé was extremely compassionate and understanding to accept my book beyond the due date,” Ho said. Though she did not get to print, the extra time allowed her to produce something she was genuinely proud of.

Alyssa LalaniDetangled Roots

“The concept of my publication was to embody the beauty of Black hair in an art book while educating readers on issues of hair-based discrimination,” Lalani said. “I was especially inspired after reading Linda Kanyamuna’s article in The Peak.”

Lalani’s work combines scribbly line art illustrations and expressive typography to represent natural hair. Though the design is quirky, a great deal of thought went into each element. For instance, the typeface — VTC Bayard — draws inspiration from 1963 March on Washington for Jobs and Freedom signs. This connects to the book’s theme of unravelling discrimination’s roots.

“The class went beyond mere graphic design principles and forced you to think about the story you are trying to tell,” Lalani said. “Mauve Pagé is an extremely talented book designer and I learned a lot from being in her class and having her critique my work.”

Knowing her project would be on display challenged Lalani to do something new with the book’s materiality. She ended up using coptic stitching for the binding, which added texture and mirrored Gibson’s technique of braiding thread in un/settled. “It was a little surreal seeing my book on the SFU publishing Instagram. I remember thinking to myself ‘wow, I really made that and it’s out in the world now,’” said Lalani.

Stefanie Pengun/settled poetry book

Wanting to directly honour the source material, Peng opted to create a poetry book with Dr. Okot Bitek’s work. “I’m not a Black woman, so I wanted to use the words written by a Black woman to convey the message of un/settled rather than using my own,” Peng said. Aside from highlighting Dr. Okot Bitek’s poetry, the book features greyscale photographs of nature and Black skin “to emphasize and spotlight the idea of Blackness.”

Peng also emphasized how personal these projects were. “This work had more meaning and weight than anything I’d ever worked on in school. It was simultaneously great and pressuring,” she said. During the process of designing her book, Peng sought to answer a variety of question prompts such as, “Why do I want it to look or feel this way?” and “What is its place in this world?” To her, it was important that what she showcased was evocative.

“Having my work up in the library for everyone to see in connection to the un/settled exhibit makes my work feel tangible and important, like the messages I weaved into it have some direction to go,” she said.

Caffeine should be used with caution

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An illustration of a student holding a cup of coffee. They are wearing large glasses, and the image is layered with some transparency, giving the illusion of being overcaffeinated.
This is your sign to quit. ILLUSTRATION: Nazmus Sakib / The Peak

By: Maya Beninteso, Peak Associate

So . . . you consume too much caffeine. Though not entirely a surprise — caffeine is addictive by nature and central to the student lifestyle — I am nonetheless about to roast your habit. You have bean warned.

Caffeine is found in some of your favourite beverages: coffee, tea, energy drinks, and pop, which are designed and marketed (boo capitalism) to keep you coming back for more. Someone’s profiting off your caffeine dependence and — spoiler alert — it’s not you.

There is an irrefutable culture that exists amongst students and the overall workforce that promotes and reinforces the consumption of caffeine. I believe this student culture of consuming caffeine is, in part, due to academia’s grind culture. The need to keep up with constant, high-pressure academic rigor has resulted in the normalization of stimulant use. I, too, admit to having fallen victim to consuming copious amounts of caffeine — it’s necessary to sustain the vigorous studying sessions demanded by grind culture. I’ve even come to be on a first name basis with the baristas at my local Starbucks. Though the coffeeshop rapport is nice, the caffeine addiction is a problem.

Caffeine reliance has been normalized to the point where it’s easy to forget that caffeine is a psychoactive substance — it’s literally a drug, and is the world’s most widely consumed one at that. Like with any other substance, this means that you can develop a dependence (both physiological and psychological) to caffeine if consumed regularly — even in small amounts.

Psychological dependence can be found in the subtle shift in language from “I could go for a coffee right now” to “I need coffee this fucking instant.” If the risk of dependent cravings aren’t reason enough to motivate you to distance yourself from caffeine, consider the symptoms of physiological dependence: headaches, fatigue, tremors, and more. Sounds pleasant, right? These symptoms are most prevalent and severe when an individual goes into caffeine withdrawal, which usually occurs 12–24 hours after last consuming caffeine. It’s better to withdraw yourself from your caffeine consumption before the caffeine starts to consume you.

The two known strategies to reduce caffeine consumption are in weaning or in a hard cutoff. Weaning entails slowly reducing caffeine intake — try drinking tea instead of coffee, or adding more space between your coffee breaks. The hard cutoff method is recognized to be a tough switch, but if you choose this method, I encourage you to try it over the weekend lest it ruin your work week. If you’re already rebelling against the culture of hyperproductivity though — might as well go full send and ride out your withdrawal symptoms during work hours.

Is this article going to be single-handedly responsible for you going cold-turkey on caffeinated beverages? Likely not. Beyond the impacts associated with the 10 trillion kilograms of coffee we produce yearly, coffee dates, tea time, and caffeinated beverages remain a staple for many of us. But I do hope this stimulating article will persuade you to, at least, chill out on the caffeine consumption — for both your own sake and that of the environment.

Around the table: Chinese and Vietnamese Lunar New Year treats

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From left to right, illustrations of bánh tét, poon choi, and jian dui against a bright red background
Traditional foods for ringing in the New Year. Gudrun Wai-Gunnarsson / The Peak with illustrations courtesy of Alyssa Umbal

By: Nancy La, News Editor and Sara Wong, Arts & Culture Editor

Bánh Tét

Growing up in Vietnam, there is no Lunar New Year without some bánh tét in my house. My parents usually have them up on the altar as offerings for our ancestors before we consume them. I distinctly remember getting into trouble for being impatient and plucking bánh tét off the offering plate when I was a child. My memories of Vietnam are blurry, but all it takes is one bite of bánh tét to transport me back to my childhood home in Saigon.

Inside these long, grass-coloured cylinders lies what I believe to be the best savoury combination of flavours and textures. Fragrant glutinous rice, dyed green from the wrapping of banana leaves, envelopes a soft layer of mung bean paste. In the centre is a thick cut of pork belly and, occasionally, salted egg yolks. The mung bean paste melts perfectly with the fat from the pork belly, and the glutinous rice ensures the fatty flavours don’t get too overwhelming on the tongue. Thick slices of bánh tét are served with a side of củ cải, crunchy pickled radish. 

I would recommend taking it up a notch by pan frying the bánh tét slices so the glutinous rice can crisp up and some of the pork belly fat can render out. — NL

Poon choi

My family comes from an interesting mix of Vietnamese and Cantonese background, and I’m always reminded of my roots whenever we have poon choi on our table during New Year dinner. Poon choi literally translates to “dishes on a platter,” and is supposed to signify wealth and prosperity with its luxurious ingredients. It is served communal style in a wooden platter in Hong Kong and the Canton region, but nowadays metal platters are more commonly seen in Asian diasporas. 

Poon choi consists of various elements such as sea cucumber, abalone, taro root, mushrooms, fish maw, and, controversially, fat choy (that’s right, the same fat choy in the greeting “gung hei fat choy” you commonly hear). All of these elements are cooked separately, then arranged on the platter and simmered slowly in a thick broth. Usually, the more expensive meats, such as pork, abalone, and sea cucumbers are placed on top. Vegetables, such as taro root and radish, are placed on the bottom because they are not seen as “expensive.” But because they are at the bottom, they absorb so much flavour from the pork and various meats that they become little umami bombs. My sisters and I usually fight over the stewed taro because it’s so flavourful and creamy; I attribute this to why my chopsticks skills are on another level. — NL

Jian dui

When it comes to Lunar New Year, my grandma goes all out. Even in these past couple years, she’s prepared extravagant feasts (it was the most elaborate takeout scheme I’ve seen in my life). There are definitely some dishes I could do without, but as long as there’s a tray of jian dui at the end of the meal, I’m content. 

Jian dui, often referred to as “sesame balls,” are Chinese pastries made with glutinous rice flour. The filling can vary, but my family always uses red bean paste. The sticky dough balls are rolled in white sesame seeds then deep fried to crispy, golden perfection. 

In pre-pandemic times, the women on my mom’s side of the family would gather in my grandma’s kitchen and prepare dozens of these treats, so I always had access to straight-out-of-the-wok jian dui. The nutty aroma of sesame, permeating the house as more and more deep-frying occurred, signified how special the occasion was. There’s nothing better than fresh jian dui, with their slightly crunchy exteriors and warm, chewy centres cushioning sweet, gooey globs of red bean. I’ve shamelessly used the biaojie (older cousin) card to get dibs on the first batch.

For the third year in a row, my family will be celebrating Lunar New Year in separate households. While disappointing, I’m comforted by the fact that my grandma’s cooking can bring us together in spirit. — SW

The Peak’s January Player of the Month

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A photo of SFU track runner Alison Andrews-Paul with her arms crossed posing in front of the camera.
A positive attitude and living in the moment powers this SFU runner to new heights. PHOTO: Jacob Hall / SFU Athletics

By: Tamanna T., Staff Writer

Program: Master of Public Health in the Faculty of Health Sciences
Hometown: Ohope Beach, New Zealand
Fun Fact: Her dad was her coach growing up

Alison Andrews-Paul is The Peak’s player of the month after being ranked number one in NCAA Division II competition. She had a winning time of 02.08.61 in the 800m during her first meet of the season. In an interview for The Peak, Andrews-Paul discussed her passion for track and field, her interests, and her journey from Baylor University in Texas to SFU.

As a competitive child, running was Andrews-Paul’s favourite way to release stress. And once she started, she never stopped. 

“I have been training competitively since high school, but I have always run, so it’s kind of been a part of being me for as long as I can remember.” 

The junior runner mentioned her father, a former track and field athlete, has been a guiding force in her journey in addition to early competition success. Her mom, a track and field fan, has also been incredibly supportive and proud. Andrews-Paul shared a laugh remembering a time when her mom showed a client back home in New Zealand a video of one of her races.

When making the switch from Baylor University to SFU, Andrews-Paul was quickly motivated by SFU’s academics and track and field rankings. She also was impressed by head coach Britt Towsend’s personal accolades, who remained popular among the alumni of the program.

“To me, it said this is a place where people want to stay and keep running.” 

The middle-distance runner began her career in indoor track at SFU in 2019. She was sidelined after dealing with some health issues the year prior and trying to get familiarized with a new school. Despite the track season being cancelled due to COVID-19, Andrews-Paul kept a positive outlook on the situation and took advantage of the opportunity to train through the different circumstances

“If you’re enjoying the everyday, just don’t worry about the rest, it’ll happen or it won’t, and that has to be okay either way.” 

When speaking on her early success this year, Andrews-Paul explained it wasn’t always smooth sailing. Nagging health issues and injuries in addition to challenging moments forced her to question whether competing was worth it. She asked herself, “Do I still love this? Because it is really hard.” 

Ultimately, her passion for the sport outweighed the decision. “I still love going out the door for a run and going to practice with my teammates. No matter the outcome of success or failure, I want to do this because it is a really enjoyable part of my day.”

To keep busy before a game, Andrews-Paul makes a point of  keeping track of her bag as a stress mechanism to keep her mind on something she can control rather than worrying about the race in front of her.

“I am ready, I trust myself to do well — there is no point in stressing about it now.”

Andrews-Paul is excited to get back on the track after missing out on two seasons and is looking forward to seeing how her other teammates will do. This year, she has made it her priority to focus less on the numbers and more on the daily experience. 

“I want to run faster, [but] a big thing I wanted to do this year was be the best teammate I could — and I am sticking to that. Just focusing on the everyday enjoyment has worked for me.”   

SFU will be on the road for two meets against Washington State University on February 4 and 5.