SFYou: Get to know SOCA’s new student support coordinator

March 10, 2025

A photo portrait of Muna Mavhima — PHOTO: Kate Connor / The Peak

By: Yasmin Hassan, Staff Writer

Editor’s note: This interview has been edited for clarity and concision.

Muna Mavhima is the newly-appointed student support coordinator for SFU Students of Caribbean and African Ancestry (SOCA), a group on campus that creates space and community for Black students. The Peak spoke with Mavhima to learn more about him and the work he does with SOCA.

The Peak: Tell me about yourself. Who is Muna?

Mavhima: I am an immigrant to Canada, originally from Zimbabwe. I came here in 2011 to study at SFU. I did my undergrad in political science. Then, I got my postgraduate studies, got my permanent residency, and ended up back here. I worked at UBC as an administrator for the Mastercard Foundation Scholars Program, which provides full scholarships to students from sub-Saharan Africa. I’ve been working as a student support coordinator since January.

The Peak: What are some of your hobbies and interests?

Mavhima: Outside of work, I enjoy watching sports — soccer and basketball. I play them when I can — I recently joined a rec league. I do a bit of creative writing, a bit of poetry. I’ll be performing in March, which is new. I’m not much of a public speaker, but it’s gonna be a good experience with friends. I’m a big dog person. I’m always happy to try new things. For example, I’m not great at drawing, but it’s something I’ve always wanted to do and be good at. I’m also a really big fan of podcasts — history, sports, and comedy podcasts are my favourite. I listen to them more than music.

The Peak: I’m also a big fan of English and creative writing, so that’s really cool! Do you mind if I ask what kind of poetry you like to write?

Mavhima: I haven’t been asked to describe my poetry, but, I would say it is very rhyme heavy. Even when I try not to rhyme, there’ll be a bit of line rhyme or, you know, a certain stanza will rhyme even if the rest don’t, so I’d say kind of rhythmic. It’s very personal right now, pretty reflective, but I’m hoping to get into it and expand.

The Peak: What do you appreciate most about SOCA?

Mavhima: What I appreciate most, I think, is the history of the group and the fact they fought for their space. I was a member of the African Students Association back in the day, and we booked spaces around for events, but we didn’t really have a base. SOCA, through their advocacy — alongside the advocacy of the other Rotunda groups, which we’ve been working with since the ‘90s — were able to join and fight for space for Black students on campus. It’s something I wish I had as a student, but I definitely appreciate having it now, and hopefully continue improving on it.

I see my role as being a place where students can bring their problems so the SFSS and then the university, through me, become aware of these issues.

The Peak: Can you tell me a bit about your role as a student support coordinator for SOCA and what are your main responsibilities?

Mavhima: It’s a bit of an evolving role in that, unfortunately, SOCA hasn’t had a coordinator for a while. I’ve only been in the job a little over a month. I’m here to support SOCA initiatives; I’m basically a bridge between the student groups, SOCA, and the SFSS. So far I’m handling booking spaces, finances, and a lot of logistics, that’s kind of what I’ve been immediately dealing with. However, long term, my role will be involved with creating connections across the campus and the Lower Mainland. We’ve had a couple of meetings with the Black professionals at KPMG and I have a meeting next week with the Hogan’s Alley Society — these meetings are to discuss volunteer and internship opportunities for Black students. Additionally, we’re also connecting Black students at SFU with Black faculty and staff to help them understand the support systems for people who look like us. On the note of support, another big part of my job is to be a resource — to be able to be someone or to have the space be a place where people can come and ask about available supports and services, whether at or outside of SFU.

The Peak: What inspired you to join SOCA as a Student Support Coordinator?

Mavhima: I’ve been that student. I was a member of the African Students Association, during which I was involved with student clubs. The role is a great way to support students and it’s just something that I’ve always been passionate about. Being an international student, I understand the issues that international students face. It’s quite a unique situation international students find themselves in, and I think that understanding it is important to my role, and it’s often lacking in support positions. I think lived experience in any support position is important, which I think is something the SFSS does well in.

The Peak: How do you see your role addressing the unique challenges Black students face at SFU?

Mavhima: I see my role as being a place where students can bring their problems so the SFSS and then the university, through me, becomes aware of these issues. Issues that are common include: immigration, securing a job and a postgraduate work permit, and long term trying to get permanent residence for some students. Students deal with serious challenges like racism, microaggressions, sexism, homophobia, and transphobia. For Black students, these issues become very particular and difficult when intersected. I hope to connect with different departments at SFU — so, in case someone comes to me with a problem with multiple intersections, I’m not dealing with that by myself. I’m a big believer in collaboration. Helping Black students at SFU means recognizing the complexity of their problems and then working as a team to resolve them. We’re trying to bring back Black Study Hall in collaboration with the library. Studying alone is an option, but that can get heavy and hard. Studying together allows students to bring their problems, confusions, and questions and figure them out collectively. I’ve been talking with the Graduate Student Society to organize graduate school workshops to provide more information for undergraduate students to be prepared for and to have a realistic picture of what graduate school looks like.

The Peak: In terms of SFU as a whole, what do you think it could do better when it comes to supporting Black students and how does SOCA plan to push for those changes?

Mavhima: SFU could do a lot more in terms of funding considering the tuition for international students is quite high — international students are a large proportion of SOCA’s membership, both historically and currently. SFU is currently working on a Black Student Centre that will be in the Maggie Benston Centre. They just hired an associate director, so I’ve been speaking with him and we’ll be working closely to address the gaps in the services that Black students need. That’s one thing that SFU is doing under the stewardship of Dr. Yabome Gilpin-Jackson (vice-president of people, equity, and inclusion) and Jennifer Kandjii (director of equity, diversity, and inclusion). They’re determined to support Black students at SFU and expand those supports. I’m really happy to be a part of that and to hopefully grow as those supports grow as well.

The Peak: How can Black students get more involved with SOCA and the support services it offers if they’re not already?

Mavhima: Drop by the space, that’s the easiest way. I’m here daily; there are people in the space every day, we try to keep snacks stocked up, and it’s a very open space. You’re welcome to come by, hang out, study, and bring your friends. I’m happy to speak to you about the history of SOCA if you’d like to get more involved and go through our volunteer process and orientation. Ultimately, we’d like to get more students join SOCA’s executives and getting involved with the SFSS — having students involved in decisions that are made with them and for them. They’re also welcome to reach out via email. My email signature has an anonymous drop form, so if anyone has concerns and they don’t want to make them public, they can fill it out to get in touch with me as well.

What Grinds Our Gears: Vacation photography

Peak Web

March 10, 2025

one person taking photo, the other person doing a bunch of silly poses — ILLUSTRATION: Winnie Shen / The Peak

By: Dani Santos, SFU Student

There’s nothing my sister hates more than taking my Instagram photos on vacation. The poor girl has no choice but to follow me around like paparazzi, but I’ll tell you what: I hate it too. Finding an appealing background, selecting the best pose, and trying to make the right face is an experience more frustrating than any.

What’s supposed to be a quick and simple task ends up causing plenty of arguments, and I’m sure other perfectionists who notice every little detail can relate, too. Instead of looking forward to a getaway, even the mere anticipation of having to take pictures is exasperating — but when else am I going to have a scenic beach pic for my feed?

No matter how hard I try or how often I practice, getting “the perfect shot” feels impossible to achieve. I’m either too hot or cold, tired from standing up, or just start to lose confidence after a couple of shots. It all makes modelling so draining, but there’s no better feeling than finally getting one I’m satisfied with. In the moment though, I can’t help but wish for it to be over.

We must improve our media literacy skills

Peak Web

March 10, 2025

this is an illustration re-draw of the astronauts in space meme, with the first one (readers) asking “Wait, it’s all political?” and the other (opinions section editor) answers: “Always has been.” — ILLUSTRATION: Ashley Nguyen / The Peak

By: Yildiz Subuk, Staff Writer and Sofia Chassomeris, Opinions Editor

Media literacy is a person’s ability to critically analyze the media they consume. Media is a form of communication, and what constitutes media varies; books, films, music, and especially the news are common forms of communication. We engage with media on a daily basis, but to critically think about the content we consume is different from passive consumption. As the media is often rife with misinformation and disinformation, it becomes crucial to question the framing of the content we are shown and consider why the creator has done so.

Viewpoints about issues labeled as “politically controversial” can fall into the trap of bothsiderism (also known as a false balance), which occurs when two sides of an issue are presented as equal even though they are not. Also an instance of disinformation, which is when information is presented in a way intended to mislead, a clear example of bothsiderism can be found in the array of media coverage on climate skepticism. In a report published by Nature, the journal highlights a significant gap in climate communication between experts and the public. Many mainstream media outlets do not provide in-depth scientific evidence on climate change, but do tend to platform sceptics who express their concerns for how climate change may actually cause personal economic harm, or how climate goals are unattainable. Skeptical views often downplay the effects of climate change and the urgency needed to combat the issue.

In former BBC journalist Emily Maitlis’ lecture at the Edinburgh Television Festival, she criticizes the BBC and their journalistic approach, claiming that “journalists have failed to keep up” when reporting on political issues. She gives accounts of journalists providing unnecessary details that can lead to misinterpretation. In a news article published by the LA Times regarding the recent wildfire disaster that happened in Los Angeles, the reporter provides quotes from two parties. While the first experts (a research team) weighs in on how human-caused climate change contributes to the fires starting, the second party claims climate change “may be juicing it” and that its effects are not quantifiable.

“Critically analyzing media is a skill that should be honed throughout schooling, integrated into a dynamic and continuous approach to education that doesn’t just stop after graduation.”

This is an example of misinformation, when an opinion is presented incorrectly as fact without any factual basis. There is no evidence to back up his claim, aside from a level of uncertainty with the other, whereas the first party states that dried up plants are more likely to burn because of human-made conditions. Both opinions are provided, but only one offers actual evidence. There shouldn’t be a debate; climate skepticism completely omits scientifically-backed evidence to rely on conspiracy. However, when media consistently presents the empirical value of “both sides” which are not equally deduced, often relying on fringe deniers to back up their claims, it creates the illusion of controversy and debate between two valid arguments.

As journalists fall into the trap of platforming two opposing but imbalanced sides, it is important for consumers to analyze the language used, and most importantly, to verify the general consensus of experts within the field before forming an opinion on a “controversial” matter. As of now, nearly 97% of environmental experts agree that climate change is a pressing matter, which means there shouldn’t be debates on whether or not we need to take it seriously. Media literacy is one of the most crucial tools when it comes to understanding how political decisions and policy have major implications. When we vote for political parties, we generally vote based on the information we receive about issues we think are important. Policies and how they are advertised by politicians have a direct impact on us, and when consumers have difficulties critically analyzing their sources, it is easy to fall into traps of confirmation bias or become severely misinformed.

Critically analyzing media is a skill that should be honed throughout schooling, integrated into a dynamic and continuous approach to education that doesn’t just stop after graduation. This way people can learn how to identify biases within the news, science, and also economics through the changing contexts of their lives. Realistically, what needs to be taught is that most media is not objective or value-neutral; those who publicize have something to say, and before you listen, it’s a good idea to think about why they’re saying it in the first place.

Haida Nation gains legal recognition over Haida Gwaii

Peak Web

March 10, 2025

This is a photo of three Haida Gwaii totem poles with greenery in the background. — PHOTO: Courtesy of Alexandra Vlachos / Environment and Society

By: Lucaiah Smith-Miodownik, News Writer

The Haida Nation has been fighting for self-determination for more than 100 years. Now, a recent agreement between the federal government and the Haida represents a step towards autonomy. On February 17, the two parties signed and celebrated an agreement that affirmed the Haida Nation’s Aboriginal title over Haida Gwaii, a collection of islands (archipelago) located off the coast of BC. “Aboriginal title is an inherent right, recognized in common law, that originates in Indigenous Peoples’ occupation, use, and control of ancestral lands prior to colonization,” according to the Canadian Encyclopedia. The Haida people have been the original inhabitants of the archipelago since time immemorial.

The agreement, formally titled “Chiix̲uujin / Chaaw K̲aawgaa ‘Big Tide (Low Water)’ Haida Title Lands Agreement,” is federal law which builds upon the provincial agreement “Gaayhllxid / Gíihlagalgang ‘Rising Tide’ Haida Title Lands Agreement,” signed in spring 2024. The Prime Minister Justin Trudeau’s office reported that they signal “a significant milestone in the journey to reconciliation.”

For many, this agreement only reiterates that which has always been: “The title doesn’t come from them. It doesn’t come from the Crown, doesn’t come from the court. It comes from our ancestry,” Haida Hereditary Chief Guujaaw told CBC.

“The title doesn’t come from them. It doesn’t come from the Crown, doesn’t come from the court. It comes from our ancestry.” — Guujaaw, Haida Hereditary Chief

The Haida have traditionally been canoe builders. In Haida forests, partly-built canoes can be found, abandoned due to a deadly smallpox epidemic in 1862. Carvers like Jaalen Edenshaw, the son of Chief Guujaw, have used these unfinished boats to learn the craft and continue the tradition. The canoes also aid in environmental protection, securing injunctions to stop logging in some old-growth forest areas. These forests, along with all of the islands’ “lands, beds of freshwater bodies, and foreshores to the low-tide mark” are now the legal right of the Haida Nation.

The agreement includes “a five-year transition period” where details regarding land owned by the federal government or “other parties” will be worked out. The First Nations Leadership Council in BC stated, “The agreement does not affect private property rights.”

In April of last year, Haida Nation President Gaagwiis Jason Alsop spoke to the Haida’s “inherent right and responsibility to care-take for Haida Gwaii and all the realms of interconnected existence within Haida culture: the supernatural beings, all the beings of the forest, all the beings of the sea, humans, and that we all are interconnected.” He also stated that the Nation would be in charge of Haida Gwaii’s economy, “taking a sustainable rather than exploitive approach to the land and the sea.”

“We can begin a new era of peaceful co-existence knowing that we can look after Haida Gwaii and ensure the well-being of all who call these shining islands home.” — Gaagwiis Jason Alsop, Haida Nation President

Alsop concluded his speech by addressing the lawmakers before him: “In the spirit of this truth and reconciliation and hope, be part of making things right in the province and in this country.”

At the recent signing ceremony, Alsop said, “The recognition of Haida title to Haida Gwaii by Canada acknowledges historic injustices and illustrates the transformative possibilities of working together for what is right.

“We can begin a new era of peaceful co-existence knowing that we can look after Haida Gwaii and ensure the well-being of all who call these shining islands home.”

SOCA, SFPIRG, and CPSHR screen Black August

Peak Web

March 10, 2025

This is a promotional poster for the screening of Black August that features a photo of George Jackson. He is seen laughing joyfully in this photo. — PHOTO: SOCA, SFPIRG, CPSHR / Instagram

By: Lucaiah Smith-Miodownik, News Writer

Content warning: mentions of police brutality and homicides.

On February 24, SFU Students of African and Caribbean Ancestry (SOCA), Simon Fraser Public Interest Research Group (SFPIRG), and Canada-Phillipines Solidarity for Human Rights (CPSHR) joined together to host a screening of Black August. Beginning in the 1970s, Black August became a time when people commemorate “the lives and deaths of Black political prisoners killed by the state, bring awareness to prison conditions, and honour the radical tradition of Black resistance against anti-Black state violence systemic oppression.” The film follows the true story of George Jackson, an American Black man jailed at age 18 for the alleged theft of $70 from a gas station in the early ‘60s. Despite his original sentence of one year to life, he remained behind bars for over 10 years as a political prisoner due to his integral role in the Black Power movement. Jackson co-founded Black Guerrilla Family, a “radical political organization” intertwined with the Black Panther Party.

The Black Power movement, most prominent in the 1960s and ‘70s, emerged in response to white supremacy and emphasized “Black pride and self-determination” through cultural, economic, political, and legal means. The Black Panther Party, officially the Black Panther Party for Self–Defense, grew through the ‘60s as a prominent organization within the movement, dedicated to empowering Black people by combatting police brutality through self-defence, while also promoting ideas of socialism and Black nationalism. The Black Guerilla family, while espousing many similar ideas to the Black Panther Party, operated primarily within the confines of prison.

Muna Mavhima, Noëll Cousins, and Luthfi Mawarid were at the screening representing SOCA, SFPIRG, and CPSHR respectively. SOCA is committed to providing a “welcoming space for people of the varied African and Caribbean Heritages and their descendants,” while also welcoming all students to advance their fight against oppression and systemic racism. One of their more recent efforts was in 2021 when they “helped advocate for the Black Faculty Cluster Hiring of at least 15 Black Faculty, the first institutional SFU-Black Student Center, more Black mental health resources on campus, and also the signing of the National Charter Anti-Black Racism.” SFPIRG is “a student-funded and student-directed resource centre dedicated to social and environmental justice.” One initiative they are involved in is “Letter for the Inside” — “a nationally-recognized project where student researchers respond to research requests from prisoners.” CPSHR is a “Vancouver-based anti-imperialist organization in support of National Democracy in the Philippines,” not connected to SFU. They recently advocated for the release of Marklen Maojo (Maoj) Maga — a political prisoner — and all 755 other Filipino political prisoners on the seventh anniversary of Maga’s “wrongful incarceration.”

In a joint Instagram post, the three organizations wrote that Jackson “was a brilliant revolutionary whose legacy is too often forgotten on the imperialist airways.” According to Cousins, the director of engagement at SFPIRG, Black August isn’t streamed on many platforms, “which is intentional” as Jackson’s “ideas were very threatening to the state apparatus.” The film is co-directed and produced by the late TCinque Sampson, whose family granted permission for the SFU screening.

“A brilliant revolutionary whose legacy is too often forgotten on the imperialist airways.” — SOCA, SFPIRG, and CPSHR

The film chronicles the last 14 months of Jackon’s life in Soledad Prison, California while also exposing events on the outside involving those close to him. From 1896, “Plessy v. Ferguson,” a US court decision, segregated Black and white people by law, with racial segregation in prisons continuing today. On January 13, 1970, when a racially mixed group of prisoners at Soledad Prison were brought to the prison yard together, an altercation quickly ensued. Prison authorities “made no moves to prevent violence.” One guard stationed above in a gun tower fired into the yard, “killing three Black prisoners and wounding one white.” Three days later, the guard was found innocent and the murders were deemed “justifiable homicide.”

Later that day, a guard in Soledad Prison was found dead. Jackson, along with prisoners Fleeta Drumgo and John Wesley Clutchette were accused of the murder, despite a lack of evidence. The three came to be known as the Soledad Brothers. Six months later, with the case still ongoing, Jackson’s younger brother Johnathon Jackson was shot and killed by law enforcement in a botched hostage attempt designed to force authorities to free the three men.

Soon after, George Jackson’s book titled Soledad Brother: The Prison Letters of George Jackson was published with the help of Gregory Armstrong, an editor with Bantam Books. The work contains letters from Jackson from 1964–70 and is “an outspoken condemnation of the racism of white America and a powerful appraisal” of the prison system he was in. Soledad Brother includes writings to Angela Davis, who was also heavily involved in the Black Panther Party. Today, Davis remains a prominent political activist and scholar whose writings on intersectional feminism laid the groundwork for current activism. She also founded Critical Resistance, “an organization working to abolish the prison-industrial complex.” Less than a year later, in 1971, Jackson himself was shot and killed by a guard in an alleged attempt to escape prison.

After the film screening, the hosts led a brief discussion of Jackson’s legacy. Cousins spoke about how the aftermath of Jackson’s death saw prison riots, notably the Attica prison uprising. Inmates, inspired by Jackson’s revolutionary thoughts, revolted against inhumane conditions. Arthur Harrison, an Attica inmate “sentenced to five years in Attica in 1971,” told NPR that “Black prisoners were treated especially severely,” reminding him “of the things [he] used to hear about on plantations in slavery.” She also explained how the film preceded the War on Drugs that began in the 1970s, a federal initiative which utilized law enforcement and the legal system to penalize those in possession of drugs, disproportionately affecting Black communities.

For more upcoming events, you can visit SFPIRG, SOCA, and CPSHR on Instagram.

SFU Ukrainian Student Society reflects on three years since Russia’s invasion of Ukraine

Peak Web

March 10, 2025

This is a photo of four Ukrainian students standing around a cardboard cutout of President Zelensky. One of the students has her arm around Zelensky. — PHOTO: Mason Mattu / The Peak

By: Mason Mattu, News Writer

Content warning: mentions of genocide.

On February 26, the SFU Ukrainian Student Society (USS) held an event in Burnaby’s Student Union Building to commemorate three years since Russia’s invasion of Ukraine.

Anastasia Sokolova, president of the USS and psychology undergraduate student, began the event with a presentation highlighting key responses to disinformation that have been ongoing since Russia’s invasion of Ukraine. One example of this is Russia’s claim that they only “target military buildings or military objects.” Sokolova stated that this is not true as many civilians have died — over 12,654 since the invasion began, according to the UN. She also showed before and after photos of Ukraine’s cities, descriptions of war crimes perpetrated by Russian soldiers, and how Ukrainians are using artistic means such as music to express their sorrow and resilience during this time.

Sokolova, whose home country is Ukraine, told The Peak her family and friends reside in Ukraine. “When I am talking to my family and friends [ . . . ] I can hear sometimes shootings and explosions,” she said.

A recent development surrounding the invasion is peace talks led by the Trump administration. According to the Associated Press, Trump made a false statement blaming Ukraine for starting the conflict with Russia and called Ukrainian President Volodymyr Zelensky a “dictator.” US-Russia peace talks earlier in February did not include Ukraine. More recently, the US halted their military aid to Ukraine after Trump and Zelensky’s Oval Office clash. “Ukraine should have their rights in the negotiations about the peace claims,” said Sokolova. “We want our country to be independent and we want all of our occupied territories to be under Ukrainian control.”

One subject Sokolova dove into during the presentation was the transfer of children from Ukrainian families to Russian families. She explained since Russia’s annexation of the Ukrainian territory of Crimea in 2014, “more than 19,000 [Ukrainian] children” have been forcibly taken to Russia as hostages and scattered across the country, making them difficult to track down. According to the Parliamentary Assembly of the Council of Europe (PACE), the “transfer and Russification of Ukrainian children shows evidence of genocide.” Russification — a set of policies that encourage the adoption of Russian culture — has been prominent in Ukraine since the invasion. Human Rights Watch has shed light on the fact that “Russian curriculum and Kremlin propaganda” have appeared in Ukrainian schools in Russian-occupied areas. The organization describes this as a violation of the laws of war as set forward by the Geneva Conventions of 1949.

“I definitely think it is a genocide because they target our civilian structures,” said Sokolova. “They are destroying our cultural heritage. They [are targeting] UN Educational, Scientific, and Cultural Organisation-protected objects like churches and other places.”

“Human life is in crisis, and the quality of human life is very important.” — Svitlana Kominko, founder and CEO, Maple Hope Foundation

Directly following Sokolova’s presentation, Svitlana Kominko, founder and CEO of Maple Hope Foundation and BCIT faculty member, delivered a presentation. Maple Hope Foundation is an organization offering “medical and humanitarian aid, settlement assistance, advocacy, and community engagement.”

Kominko, who has a PhD in developmental psychology, described her current work as a grief counsellor, helping mothers and widows who lost their sons and husbands while fighting for Ukraine. She also spoke of the initiative between Helijet and Maple Hope Foundation which involved Helijet donating a Sikorsky S-76A helicopter for medical purposes in Ukraine.

“If you’re going to make a difference in the life of one human being, one child, one veteran [ . . . ] go for it,” said Kominko, referring to how non-Ukrainians can advocate for the country. “Human life is in crisis, and the quality of human life is very important.”

During the event, donations were accepted for Ukrainian Patriot, an organization working to “aid volunteers defending Ukraine and civilians caught in the crossfire.” Anastasiia Bobrovska, the marketing director for the USS and Beedie undergraduate, proudly wears a badge to indicate her volunteerism with Patriot. “I work on a volunteer basis to help people, specifically children and women in war,” said Bobrovska, who tries to return to Ukraine every break between semesters from school. Most recently, she was in Ukraine during reading break. “When I come back to my home country, to Ukraine, I help pack first aid kits and essentials for the battlefield. I also help with organizing some rehabilitation events for kids who survived Russian occupation.”

Sokolova is hopeful for a better tomorrow in Ukraine: “I still have hope and I’m not giving up because I really hope that one day, our country will be independent, the war will end, and no one will attack us again.”

According to Sokolova, SFU students looking to better advocate for Ukraine can start by learning more by attending events held by the USS, stating anyone can attend. “Read the news and don’t be indifferent about what’s going on.”

To make a donation to Ukrainian Patriot, you can visit ukrainianpatriot.org/donations-page. To make a donation to Maple Hope Foundation, you can visit maplehopefoundation.org.

The closure of Vancouver Mural Festival leaves a gaping hole in Vancouver’s art landscape

Peak Web

March 6, 2025

A blue, turquoise, and off-white mural lines one side of a tall building. Painted on the wall is a globe held up by two hands, surrounded by flower-like petals. — PHOTO: Amirul Anirban / The Peak

By: Osna Hadef, SFU Student

On January 24, 2025, the Vancouver Mural Festival (VMF) team announced their closure after nine years of contributing enormously to the public art scene in Vancouver. In their announcement, the team explained how they “have faced growing financial challenges in the past years.”

VMF, a non-profit arts organization, was founded in 2016 with a mission of connecting art and people. Initially starting as a summer festival, the organization transformed into an agency that organized several events yearly. Aside from murals, their portfolio includes many community events, commissions, and projects.

One of Vancouver’s visible characteristics is its collection of murals and public art pieces. Painted walls of buildings, alleys, basketball courts, or stairs are not unusual sights for residents of the Lower Mainland. Metro Vancouver is home to over 400 murals and public art pieces that VMF has produced across various locations in its period of operation.

“Public and mural art is more than just for decoration; it echoes the stories of its residents and what they want to communicate through the art.”

Among the best-known artworks created by VMF is The winds and the waters will always call us home by Ocean Hyland, which is on display at Canada Place. This piece uses Coast Salish art influences and elements of nature to depict the interconnectedness of all life, as well as of the ocean with the people. Another is Earth Justice by Shepard Fairey, a 20-story mural located near Burrard SkyTrain station bringing awareness to climate justice and reminding Vancouverites to protect the environment.

A person with long black hair, decorated with formline-drawn fish, stares out at blue waters. In the waves, two orca whales rise. — PHOTO: Amirul Anirban / The Peak

VMF has contributed significantly to the development of art and community building in the Lower Mainland. They served as a platform for artists from traditionally marginalized groups by employing Muslim and Indigenous artists. This can be seen in the Blanketing The City project, a mural reconciliation process process created in partnership with Debra Sparrow, a “xʷməθkʷəy̓əm (Musqueam) weaver and designer.” As part of the project, Sparrow produced five murals as well as a series of light displays illuminating iconic landmarks of Vancouver (Canada Place, Science World, and BC Place) and showcasing Coast Salish weaving patterns and stories.

Two concrete pillars are decorated with red, black, blue, and yellow triangles arranged in downward-pointing columns. Red, black, and yellow swirly and triangular patterns wrap around the pillars in thick bands. — PHOTO: Amirul Anirban / The Peak

Another project is Why Can’t They See Us?, a collaboration between VMF and SFU’s Centre for Comparative Muslim Studies (CCMS). Painted by Doaa Jamal, a graphic designer and photographer, the mural was a multicoloured calligraphic Quran verse beneath the R-Space Gallery in Vancouver. The project, which was pitched in 2018, intended to address Islamophobia and convey a message of pluralism while introducing Arabic calligraphy and Islamic geometric designs to public Vancouver spaces.

Yellow, green, white, orange, and blue Arabic calligraphy and geometric patterns trace a maze-like pattern against a red background. — PHOTO: Courtesy of Vancouver Mural Festival

Public and mural art is more than just for decoration; it echoes the stories of its residents and what they want to communicate through the art. The closure of VMF leaves a noticeable gap in the art scene and communities of Metro Vancouver. VMF’s absence will be highly felt this summer; however, their legacy will not be easily forgotten after the service it has done for artists and community members alike. It will inspire the creation of and guide many more art organizations to come.

Get the Vancouver Mural Festival mobile app for free access to 400+ murals and to find all the information about the artists and the artwork as well as their locations.

WWE’s continuing decline after deal with Netflix

Peak Web

March 5, 2025

Men and women wrestlers stand dramatically against a striking blue backdrop. — IMAGE: Courtesy of Netflix

By: Mason Mattu, News Writer

“Are. You. Ready?”

These are the words World Wrestling Entertainment’s (WWE) chief content officer Triple H asked a Monday Night Raw audience on the company’s first ever Netflix broadcast. In January of 2024, the two companies announced a deal in which Raw would exclusively air on Netflix around the world. Alongside this, Friday Night SmackDown, NXT, and “premium live events” (pay-per-views) would stream live on Netflix in countries outside of the US.

Triple H has been in charge of WWE’s creative processes since July of 2022 following the infamous retirement of Vince McMahon. Triple H’s booking strategy has always focused on “long-term storytelling” with lots of room for younger WWE talent to develop. However, one of the major criticisms that has been levied against him is that the company’s product has become too predictable.

Following WWE’s recent Royal Rumble event, Triple H stated that “predictable can be good.” This comes as returning WWE superstar and 13-time women’s champion Charlotte Flair recently won the Royal Rumble in a move deemed unpopular by WWE’s fanbase. Talk about predictable.

This is an example of the decline in WWE’s quality in the Netflix era. I remember watching the first WWE Netflix episode of Raw on January 6, 2025 and thinking, “This is going to be great.” About an hour into this ordeal, I realized something was distinctively different from previous WWE shows. Something had totally changed.

Matches on Raw now feel painfully slow-paced and drawn-out.

There used to be something special about sitting down, flipping over to Sportsnet, and watching some entertaining WWE matches. In a world that’s becoming more dominated by streaming giants, I am truly concerned that the quality of professional wrestling is continuing to erode.

As WWE moves to an online streaming platform for almost all of its international weekly content, there have been some very obvious declines in the product. Matches on Raw now feel painfully slow paced and drawn out. Wrestlers take more time than before to walk down to the ring, and deliver awkward promos. Although Raw moved from a three hour time slot to a roughly two hour slot on Netflix, it feels as though WWE writers don’t know what to do with the time they have. If anything, I feel as though it’s more of a burden to watch two hours of Raw on Netflix than the traditional three hour slot. This is mixed in with streaming issues, glitches, constant commercial breaks, and Netflix’s streaming audio being undeniably crappy.

While the shows that are directly aired on Netflix are clearly taking a hit in quality, so are WWE shows that don’t exclusively air on Netflix. Friday Night SmackDown, airing on the USA Network, has faced the trickle down impacts of the new Netflix era in WWE. It seems as though management is trying everything in their power to change the product to reflect the “innovating” time that the company is in. This means that on SmackDown, you are finding the same issues as on Raw. One user on r/greatnessofwrestling put it best: “This shit is like watching a super long ad with a little wrestling thrown in.”

It is hard to deny the fact that the WWE raked in the big bucks with this new Netflix deal — and we are in no doubt in a new era of WWE. However, this new era is proving to be extremely crappy.

Suspicious coughing in the classroom

Peak Web

March 5, 2025

Students sitting in a dark lecture hall. There are only two masked students and most of the rest are coughing or sniffling. Germs are visible around them as though a UV light is being shone on them. — ILLUSTRATION: Fernando Valdivia / The Peak

By: Phone Min Thant, Staff Writer

People like to boast about ditching class, and honestly, why not? Why would you spend two to three hours of your life — that is 180 minutes — stuck in a room with people you don’t know and will never remember again after four months of forced academic camaraderie? But now, what if they start coughing? Maybe add a sneeze here and there? The academic struggle-buddy next to me right now is coughing and wheezing so much it reminds me why I was awarded the “you visit often” title on WebMD’s COVID-19 symptoms page.

Before you say, “It’s just a cold,” please show me proof first. Why do you have the good old COVID-19 test tucked in your photos to send to your TA before missing tutorials but never get your coughs tested? Also, talking about ditching class, maybe don’t lie about your sickness when you are not sick. Now, you are forced to come on campus when you are actually in need of bed rest and Advil lest you risk failing your class discussion grades. I can’t tell you what to do, but maybe it is time to replace that vape in your pocket with a bottle of hand sanitizer.

Stuck next to someone possibly having some unknown contagion and having to bear the weight of paving the way for a better future (a dreadful lecture), what am I to do? Wait, why is everyone getting up and leaving? The class is over? In my quest to find answers to my classmates’ cough, I have sacrificed my wonders about my participation grades or the date of the midterm.

The next class is walking in but I’m not finished with my little reflection. For example, has enough time passed since Valentine’s Day for me to stop worrying about the spread that might have happened when people visited a bougie fine-dining place on a date? What lovers do in the bedroom is none of my concern but perhaps reconsider doing a study date if you feel a tickle up your throat. It’s already bad enough that I am seeing lovey dovey scenes at a library (seriously, I know it is a tight competition but try to book a library room ahead), I don’t want to get some disease because some couple couldn’t wait to charm each other until they get back home.

Oh, the next lecture has begun and I’m not sure if I should go or stay. I’ve never learned about organic chemistry before . . . Maybe I could make friends with the person who just sat next to me. They have really cool stickers on their laptop and — NOPE! Was that a sniffle? I’m out. Catch me in the class Discord asking if anyone can send me the notes from week five’s lecture. No, I didn’t miss class; I just forgot to listen to the professor while figuring out if the guy next to me had too much to drink last night or got the flu.

MAUVEY TO A BAWAH: A name, legacy, and cinematic journey

Peak Web

March 5, 2025

Four photos of BAWAH: top left is of BAWAH standing by a window wearing a chromatic purple top. Top right is of BAWAH standing in front of water and mountains with his arms up wearing a patterned top with long sleeves that billow in the wind. Bottom left shows BAWAH sitting in front of a fireplace and brick wall. In the bottom right, BAWAH balances a basketball on his knuckles and stands in front of a basketball hoop outdoors. — PHOTOS: Courtesy of @lovemauvey / Instagram

By: Yasmin Hassan, Staff Writer

On a bone-chillingly cold Friday night, I made my way down to the VIFF Centre to watch the film premiere of MAUVEY TO A BAWAH. It’s directed by Andrew Huculiak and shot by Joseph Schweers. Most importantly, it’s about the man, the myth, the legend — BAWAH, or, as some know him, Mauvey. Recently, in honour of his family and his Ghanaian heritage, he decided to change his name to BAWAH, his family name.

This project as a whole is “a four-part album series, a film series spanning 48 episodes, and a 48-chapter book.” This premiere is just the tip of a purple-coloured iceberg — his outfits in the film prove it’s not just a choice, but a statement. These jaw-dropping ensembles were made by his wife, Bree Laryea, in collaboration with her brand, BREEFORD.

BAWAH has lit up stages across the globe, delivering riveting performances and sharing the spotlight with artists like July Talk and Snotty Nose Rez Kids. Though I would give you a genre, as he says, “With all due respect, I’m not a rapper. I am not an R&B singer. I am not a soul singer. I am not ‘urban’ or someone making ‘Black music.’ I make music and I am Black!” I couldn’t agree more, and you’ll see why.

The theatre was packed. BAWAH was out greeting everyone which made the screening feel personal. He gave me a big hug and a hearty handshake, which immediately warmed my heart and made me feel so welcome in the space. Everyone was extremely excited, hyping him up for the big turn out. Surrounded shoulder-to-shoulder with creatives, close friends, and artists who knew BAWAH was a bit intimidating because they all looked so cool.

“With all due respect, I’m not a rapper. I am not an R&B singer. I am not a soul singer. I am not ‘urban’ or someone making ‘Black music.’ I make music and I am Black!” — BAWAH

This first film lasted one hour and consisted of 13 episodes, each with their own accompanying song. My favourite aspect of these episodes was the preamble before they started being narrated by BAWAH’s father. Knowing that he changed his name to honour his family and his history only made that aspect shine even more. The episodes take viewers through the story of two days in the life of BAWAH’s journey as an independent artist, which he describes as a rollercoaster. “From looking forward to the biggest show of your career, to the show being cancelled and instead, finding yourself performing at a local dive bar on karaoke night,” this short film shows audiences the oscillating dynamics of “picking yourself up, only to feel worse moments later.” The scenes range from realistic everyday happenings, but others enter a sort of surreal or absurdist fashion of dreamlike states that captivate you with the intense and varied shots. The film portrays the stages of grief, humour, love, self-doubt, and dissociation, in a way that blends beautifully with unique songs fitting each scene.

They shot this film in three days, all in Chilliwack, so viewers get a real local scene from beautiful shots of nature to neighbourhood businesses there.

“We kept the crew super small,” Huculiak said in a statement to The Peak, explaining that, as a self-funded project, they made it work with a limited timeframe and budget. “I truly feel like small crews are the most invigorating, the most active, the closest to ‘truth’ so even though it’s ambitious it also feels within reach.”

Keep your eyes peeled for more of BAWAH’s stuff by joining Club BAWAH, giving you exclusive access to music and events. There’ll be new music on Fridays, new episodes on Mondays, and new book chapters on Wednesdays. All of this will be accessible on his website and streaming services. MAUVEY TO A BAWAH: THE FIRST 13 will be out May 1, 2025.

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