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Bangladesh Students’ Alliance’s Shoroter Mela celebrates the fall spirit

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Seven men stand together and smile for the camera in traditional Bangladeshi attire in a brightly lit room with big windows.
PHOTO: Bangladesh Students' Alliance

By: Heidi Kwok, Staff Writer

On October 25, the SFU Bangladesh Students’ Alliance (BSA) celebrated the fall season with a Shoroter Mela event in the Student Union Building ballroom. In Bengali, Shoroter Mela translates to “autumn fair.” The cultural event featured traditional Bangladeshi street food, fair games, vendor stalls, live music, and performances. Attendees also came dressed in traditional attire.

In Bangladesh, both rural villages and cities alike host over 5,000 festive fairs or “melas” throughout the year. A Shoroter Mela, in particular, is a seasonal fair that’s held during Sharat, the autumn period that lasts between Bhadra and Ashvin (mid-August to mid-October). The Peak was unable to attend the event, but spoke with BSA vice-president Md Rownak Abtahee Diganta to learn more.

Diganta shared that during a meeting to plan future events, BSA members reflected on what they missed most from back home and decided on the mela. “We never had melas in Canada that much or that often, none of the [SFU] cultural student associations ever did that. So, we thought, you know what, let’s organize our own mela.”

The mela featured traditional Bangladeshi fair games like darts, Ludo (a popular board game), pen fight, Panch Guti, and other classics. “I thought, let’s remind all our people about their childhood so they can be a little nostalgic,” Diganta said. Attendees also had the opportunity to purchase a variety of traditional handmade arts and crafts created by vendors. A free Mehndi station was also on-site, decorating attendees with intricate pattern designs.

Diganta and BSA president Abrar Shahriar reached out to small, local food businesses to bring the event catering to life. To emulate the atmosphere of an outdoor mela, food vendors, including Gulshan’s Cuisine, Nimontron Bari, and Sharmin’s Kitchen, were recruited to serve popular traditional Bengali street foods. The mela featured delicious treats like Chop, Fuchka, Jhal Muri, Samucha, Biryani, and Pitha, a cake-like delicacy that’s both sweet and savoury, as well as Chotpoti, a spicy dish made with chickpea and potato.

The latter half of the evening featured a live music and singing segment. The night ended with an original BSA stage drama written and directed by Diganta that drew inspiration from Meena, a cartoon character from a UNICEF film series. Diganta told The Peak that Meena is beloved by children across South Asia, “so it’s really close to our heart.” He decided to bring Meena to Canada, dramatizing her life as a newcomer and a student at SFU. The drama was well-received by the audience.

Diganta said the BSA organized the event to cure homesickness, as attendees “can commemorate what they used to do back in the country.” He said these events are a “good way of gathering a lot of people,” so the event turns into a reunion, and bonds “become stronger because these events give us some good memories to share together.”

He also said he hopes that by attending a mela far from home, attendees will realize that

“Home is not made of bricks. Home is the people around you — home is the small moments or experiences to enjoy.”

— Md Rownak Abtahee Diganta, vice-president of the Bangladesh Students’ Alliance

“[I hope] they felt, for a little bit of a moment, they feel like they’re at home, enjoying with their loved ones.”

 

SFU’s contracted food service workers stage demonstration

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A crowd of people in jackets surrounds the entrance to a building, with the building’s sign being displayed near the entrance (“Strand Hall”). The person closest to the camera is waving a large red flag that says “UNITE HERE Local 40,” while others hold a few signs here and there as well. Another sign says, “ONE JOB SHOULD BE ENOUGH.”
PHOTO: Mason Mattu / The Peak

By: Mason Mattu, Section Editor 

On November 5, SFU’s contracted food service employees took their lunch break collectively to stage a demonstration, demanding a living wage and improved working conditions. Employees from Tim Hortons, Starbucks, Mackenzie Café, the Dining Commons, and catering participated, holding signs and banging drums as they walked around the perimeter of strand hall, SFU’s administrative building.

Workers delivered a letter asking SFU president Joy Johnson to meet with them on November 10 at 6:00 p.m. to hear their concerns. The workers’ union, UNITE HERE Local 40, said they are open to arranging another time with Johnson, for now just wanting to hear from her by Monday. 

They added that if they don’t hear back from Johnson or SFU by Monday at 6:00 p.m., they would initiate a full strike. “Today was just a strike action. An actual strike is pending,” said Preet Sangha, Local 40 union representative. 

On Friday, November 7, SFU stated that “the university has responded to their letter and declined their offer to meet. Terms and conditions of their employment, including rate of pay, are matters between employees and their employers.” They added, “It would not be appropriate for SFU leadership to discuss those matters, or to comment on ongoing collective bargaining between an SFU-contracted vendor and their employees.”  

In terms of the living wage, SFU stated “the university negotiates contracts with its service providers to ensure contract workers earn a living wage, based on living wages for Families BC’s rate at the time of negotiation. ”

SFU does not directly employ food service staff — they are employed by a third-party contractor, Chartwells (a sector of Compass). However, union representatives and community members have argued that the university has a responsibility as a living wage employer to either uphold their values and pay a living wage, or bring the food service employees in-house. Living Wage BC sets the living wage for Metro Vancouver at $27.05. At SFU Burnaby, the highest wage listed in Chartwells’ food service job postings at the time of publication is $23.58

Mitch Hoganson, a senior supervisor in the dining services and catering department who was present at the rally, told The Peak that although the contractor had offered to go to mediation with the workers, none of the proposals were in good faith.” 

“Our real fight is with SFU.” He added, “UVic, UBC, and even the government of BC have brought food service workers in-house.”

“SFU has the opportunity to do the right, ethical thing. They can showcase to the world that they are the university they claim to be, instead of being a university of hypocrisy.”

 — Mitch Hoganson, senior supervisor of dining services and catering 

“We want a living wage,” one striking worker said. “Some summers, we get laid off. December, we get laid off. The benefits are not good.” 

“When inflation continues to rise, people’s wages are standing at a standstill. How do people survive? How do people [take care of their] kids and families? How do people pay their bills? The majority of workers here probably have two to three jobs and barely sleep,” Felisha Perry, an individual in attendance, told The Peak. “So, yeah, I think [food service employees] frickin’ deserve a liveable wage! 100%.”  

In the case of a food services strike, SFU stated Chartwells “has contingency plans in place to ensure essential services can operate, such as reduced service for meal plan holders in Dining Commons.”

 

Putting celebrities on pedestals amplify their harmful views

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thin-framed round eyeglasses, on top of a paper. The Paper has a Hogwarts letterhead.
PHOTO: Tuyen Vo / Unsplash

By: Heidi Kwok, Staff Writer

This fall, the Vancouver Park Board announced the replacement of Stanley Park’s Bright Nights, an annual holiday staple and charity fundraiser, with Harry Potter: A Forbidden Forest Experience. The outdoor walkthrough installation will reportedly feature immersive lights, sounds, and animatronic displays, modelled after the original films’ scenes. By partnering with Warner Brothers, proceeds from the experience trickle back into the pockets of Harry Potter’s author, J.K. Rowling, who uses her profits from the franchise to fund anti-trans groups and legal cases. This decision reflects a broader failure, by our societies, to recognize the ethical element of our cultural and financial endorsements. Simply put, it’s unethical to continue supporting Rowling’s work, and if you choose to purchase tickets to the Forbidden Forest Experience, you’re directly undermining the rights of 2SLGBTQIA+ people. 

As much as I loved the Harry Potter novels (apart from its questionable representation of minorities), we should not put its creator on a pedestal — nor should we excuse her harm under the guise of nostalgia or creative input. To put someone on a pedestal is to worship them as if they are incapable of causing harm.

In over-idolizing celebrities, we inadvertently downplay and overlook their more problematic beliefs.

We likewise run the risk of enlarging the platforms on which people like J.K. Rowling weaponizes to target and harm marginalized communities. 

The world has very plainly put Rowling on a pedestal, and in doing so, amplified her hateful, transphobic rhetoric. Why do we continue to grant the author this undeserved exposure? In fact, why grant her relevance at all? It’s practically impossible to escape Rowling’s shenanigans when news outlets and internet users jump at every opportunity to broadcast and publicize her latest contentious actions or remarks. Understandably, people are pushing back against her diabolical views, but in engaging with her provocation and taking the bait, the issue of trans rights is dragged back into controversy — when it really shouldn’t be up for debate in the first place. This continued circulation of her name and legacy reinforces the harm that her tirades have on plenty of people. 

The Vancouver Park Board and other public institutions have a duty to make ethical decisions about the events and figures they choose to endorse — as do we as individuals. The Board’s late apology is meaningless considering Rowling’s long-standing harmful stances on human rights issues. It simply feels cheap, considering that they hadn’t initially prioritised the well-being of 2SLGBTQIA+ folks. As consumers of art and media, we must consider our own social responsibility and the accompanying repercussions. We must resist the pull of childhood nostalgia or the allure of a night of “harmless” fun and magic, when doing so makes us complicit in the further marginalization of trans individuals. True allyship demands that we act with awareness of how our daily decisions decide just how much injustices persist to exist in this world. This mindset should extend to all public figures that we admire. After all, celebrities are flawed human beings who should be held accountable for their actions, and our endorsement could make or break their views’ relevance.

Investing in mail service is a nation-sustaining project

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a photo of three Canada Post mailing boxes.
PHOTO: Prerita Garg / The Peak

By: Sofia Chassomeris, Peak Associate

Like many of us recently, Canada Post has a money problem: they don’t have enough. On September 25, the Canadian Union of Postal Workers’ (CUPW) strike resumed in response to a statement by the minister of government transformation, public works and procurement. Minister Joël Lightbound declared that Canada Post would end door-to-door delivery and restructure to sustain itself financially. As a reminder, the strike began in November 2024 and was forced to halt by the government a month later. This pause, along with unresolved negotiations over key bargaining issues, surrounding wages, safe working environment, among other issues, ultimately led CUPW to adopt a rotating strikes strategy. This strategy is used to maintain pressure on Canada Post, while minimizing disruption to the public.  

As a public service, it should only need to break even, but the company claims it hasn’t been able to in eight years. Canada Post is a Crown corporation, which is a government owned entity that seeks profit like a business, while under orders of the federal government. The introduction of the Canada Post Corporation Act in 1981 outlined “the need to conduct its operations on a self-sustaining financial basis,” which severed the service from government funding in exchange for a nationwide monopoly on letter mail. This means Canada Post, as we know it, does not run on taxpayer money; it uses the money it makes from stamps sales and parcel delivery to cover the cost of delivering mail. Of course, there’s been a notable decrease in letter postage since the dawn of the digital era. Competing retail and delivery services are also able to offer cheaper shipping by mistreating their workforce. Canada Post is noted to be mistreating their workers as they are negotiating for better safety protocol and healthcare benefits. And yet, according to the corporation, the revenue can no longer cover operating costs or offer the union wages that match inflation. 

The interests of the CUPW are principally at odds with the interests of the corporation. For example, one of the union’s key demands is improved wages for the employees, considering the overall rising costs of living, and the lack of reciprocal rise in wages by Canada Post. Unsurprisingly, they had most recently tabled a worse version of previous offers to the union. In an open letter to the minister of labour Patty Hajdu, the national president of the CUPW, Jan Simpson, expressed that the announcement is dismissive of significant negotiations while maintaining unaccountability for its negligence. She clarified that calls to restructure are intentional ways to discourage employees and shift the public’s blame onto them. 

Mail has been a fundamental Canadian service for correspondence since the 19th century. These days, anything slower than instant is inconvenient, and the implications of a dying postal service are cause to worry. 

Prior to 1981, mail delivery was run through a branch of government called the Post Office Department with a Cabinet Minister overseeing its finances. Nearly 45 years later, we’ve come back to the government using loans from tax dollars for the postal service. Instead of acknowledging the service’s necessity and the dignity of thousands of Canadian workers, the federal government has decided not to fund Canada Post beyond a $1 billion “bailout” loan earlier this year to keep the company afloat. It’s here we see that Prime Minister Mark Carney’sspend less and invest more” mantra translates abysmally to policy that actually benefits Canadian workers. This struggle reflects a broader shift in Canadian governance; one that increasingly prioritizes corporate profit and state surveillance over public welfare and workers’ rights.

Following his party’s federal win in March, Carney has flaunted several “nation-building” projects, such as doubling LNG production here in Kitimat, BC. His framing is: spending equals loss, and investment equals gain.

I can’t help but feel this is a sinister abuse of the fact people think “good economy” equals “personal survival.” Inflation’s going down, and groceries still cost more than ever.

But it’s easier to blame your mail carrier than it is to imagine a government that cares.

Bill C-12 (the newest iteration of the Strong Borders Act) has already completed second reading in parliament. When it was introduced, the bill allowed warrantless mail searches. Written into the Canada Post Corporation Act are the guarantees of security and privacy — it’s currently illegal to open, keep, or hide someone else’s mail, save for a few cases under an Act of Parliament. Even though this has been removed in amendments, it’s disturbing that this was even proposed because mail is the most secure communication we have. 

Bill C-12 threatens how we communicate online. If passed, the bill could allow police and the Canadian Security Intelligence Service (CSIS) to obtain “lawful access” to internet providers’ client account data without a court order. The amendments put forward in C-12 are a breach of privacy hidden behind the flimsy pretext of safety. If the government can do something without a warrant, in this case intercept communications, then they will create grounds for suspicion to do so. 

Criminalizing political opposition is not new within the Canadian context; it has always been an integral aspect. Just as the government forced CUPW workers to stop the strike, this shows how the Canadian government cares more about profit than its people. For example, three Indigenous land defenders (Sleydo’, Shaylynn Sampson, and Corey “Jayohcee” Jocko) upholding ‘Anuc niwh’it’en (Wet’suwet’en law) were given suspended sentences to be served if they continue to defend their land from construction of the Coastal Gaslink pipeline. According to Amnesty International, land defenders are consistently, continuously, and aggressively surveilled by police.

Carney’s “nation-building” is not only premised on economic growth that won’t help us, but it also manufactures the “need” for increased suppression as a solution to silence the voices raised in opposition.

It positions First Nations as obstacles instead of allies, perpetuating colonial violence and barrelling further from real truth and reconciliation. 

If the Liberal government wants to take seriously its claim to “build Canada strong,” it should invest in Canada Post instead, and by extension, their postal workers, connecting and actually resourcing out-of-reach communities. Postal workers have already been planning how the service can grow and adapt with us; the government could take initiative to have delivery trucks replaced with electric vehicles and invest in domestic manufacturing for them. It could create jobs building facilities and a coast-to-coast system of charging stations. To compete with private delivery services, the government could grant the corporation a monopoly on small parcels as well, which would lessen Canadian dependence on giants like Amazon. In addition to expanding CUPW positions, this would employ many Canadians with livable wages and job security that has been so scarce. The only thing stopping this from being a feasible reality is that it will not make CEOs or their investors disgusting amounts of money. But Carney, employing Canadians is only a waste of money if you don’t care about them.

Email your MP and the Minister of Labour in support of the CUPW at cupw.ca/en/campaign/resources/take-action-stop-attack-canada-post

Support the Wet’suwet’en land defenders legal fund at chuffed.org/project/yintahlegal

 

Student journalism’s role in our media cycle can’t be ignored

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a collage of various news articles from different student-led publications.
COLLAGE: Gudrun Wai-Gunnarsson / The Peak

By: Niveja Assalaarachchi, News Writer

The media landscape we live in is diverse. From social media platforms, to traditional news sources like cable news, there are many different ways in which we can consume media. However another form stands: the iconic newspaper. Once, it was the main way Canadians interacted with the news cycle — but has since seen a precipitous decline. According to a CBC article, 11% of  independent newspapers and other media outlets have closed since 2008. 

As The Peak celebrates its 60th anniversary, it might be relevant to revisit, what makes  celebrating a dying form of media important? Especially since this publication is student-run. I mean, really, what is the point of relying on student journalists like us, who might not have prior formal training? I might have the answer to that. Simply put, with the decline of traditional news media, student journalism fills the gaps left by mainstream media, shapes student identity, preserves local voices, and stands as a resilient symbol of free expression and accountability. In many ways, student journalism is a fantastic source of information due to its connection with the members of its community.  

Currently, student journalism is a vital media platform. Through its coverage of underrepresented stories and keeping authorities accountable, student journalism not only stands as a symbol of their school, but as a symbol of free press in this country. Student newspapers have historically helped to highlight issues that matter to students and help shape the image of the institution it represents. They have reported on issues like student governance, local controversies, and unique insights into life here on campus and the Lower Mainland. The Peak is one among many other student publications that does such work. Other student newspapers like The Ubyssey, and high school publications like The Griffins’ Nest have contributed to the coverage of community relevant stories. 

Student newspapers also play an important role in reporting issues that often go unnoticed by bigger media organizations. Due to news deserts, which are particular geographical locations with little to no coverage, some stories go unreported. They often come as a result of bigger outlets leaving areas they deem to be unprofitable. In this void, student journalists help report on issues that impact people on a daily basis, that might otherwise not get reported on. Moreover, student journalists help uncover stories that can later get picked up on by larger media institutions, and thus can occasionally serve as a primary source. 

The relevance of student journalism does not always exist unobstructed. For example, slightly less than a hundred years ago, the student journalists of The Ubyssey, in 1931, faced threats from their university administration to cease publication. An order that was denied, leading to the then editor-in-chief being suspended due to his comments regarding the government’s short-staffing. 

It is clear that student publications have remained vital for decades because they have served as an outlet where students can contribute and document their communities’ issues. In an age where media outlets are under attack from authoritarian governments throughout the world, or face severe financial issues, student journalists stand strong and send a strong message: we aren’t leaving.

We will persist to bring stories to the attention of readers, not just on our campuses but throughout our local communities.

 

SFYou: Kelly Chia discusses Memories of Home zine

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A headshot of Kelly Chia, next to the cover of her zine, which has beautiful purple pastel flowers.
PHOTO: Euan Secaluya IMAGE: Courtesy of Kelly Chia

By: Michelle Young, Co-Editor-in-Chief 

Memories of Home is a vivid and tender zine written and illustrated by SFU alum, Kelly Chia. It explores identity, and interrogates the dominant narratives that outline history. The zine’s opening is striking: “I am Malaysian-Chinese. There is so much this hyphen is carrying.” Memories of Home also features colourful hand-drawn illustrations of durian, starfruit, the Tambuakar (a water dragon), and more. Chia writes, “Home in the sense I’ve been exploring in this zine, is the stories we continue to tell, to listen to, and to learn from.” Memories of Home is filled with emotion, imagery, and crafted with care. The Peak sat down with Chia to learn more about her work. 

This interview has been edited for concision. 

 

Can you tell me more about what it means to you to be “Malaysian-Chinese” and how you view your identity in the context of being part of the diaspora? 

It’s really interesting to hyphenate my identities to explain who I am. Like, when I’m speaking in Chinese, there isn’t that sort of nuance. But because I’m speaking in English, the most succinct way I can summarize my identity is by using “Malaysian-Chinese.” I feel like I have to explain a bit more when I use this term because I’m not Malay. I’m Chinese, born in Malaysia

I was also living in Singapore for a number of years before I migrated to Turtle Island. I wanted to explore a bit more about what that meant to me — it was a lot of conflicting feelings because I haven’t lived there in such a long time. Having political opinions about Malaysia and Singapore feels difficult because I don’t feel like I have as much knowledge as I need. I also don’t have the lived experience that I would have had if I were raised as an adult in Malaysia. 

Sometimes, there’s an outpouring of love I feel towards where I came from”

— Kelly Chia, author of Memories of Home

“That I can’t otherwise express, except in writing. Memories is a way to say, “This is the way I’m engaging with my countries.” I’m entering my home through my memories.  

 

What inspired you to create this zine and what was the process of creation like? 

Among my small friend group of artists, they invited me to join a zine group. It’s something I’ve wanted to do for a while because of the qualities that make a zine great: it’s affordable, it’s often made by one person, and a way to connect with your community. I’ve sort of been burnt out of writing over the last few years. It was about Malaysia and Singapore specifically because the original prompt was “folklore,” and I remembered a lot of stories growing up. Ironically, the original folklore part is contained to a two-page spread. As I started writing it, I had a lot more to say. 

It’s always challenging to write about diasporic experiences, because like I said, I haven’t lived in Malaysia and Singapore for a while. Whenever I’m talking about Singapore, I feel like I have to talk about the nuances of it being a strong economy. It’s a great country for its size, but it also has a very militant governance and you can’t talk about one without the other. I don’t have those same feelings about Malaysia because I was six when I left the country. Though, I was also pretty young when I moved out of Singapore. 

As an immigrant, when you’re discussing your own experiences, you’re like, “Am I making my countries, am I reducing them for someone else’s experience? Am I compartmentalising these very complicated and nuanced histories just to be like, ‘Hey, this is the place I came from?’”

As a creative person, I think you always worry about whether you’re being authentic or packaging your authenticity. 

 

You wrote about complex feelings on how your education covered Singapore’s Japanese occupation in-depth, but didn’t discuss pre-colonial history. Can you tell me more about what particular aspects of history you’d like others to engage in?

This is tough, because as a Chinese person growing up in Singapore, it’s a lot of acknowledging that I’m Hakka. I don’t speak Mandarin as well as I speak Hakka, but other dialects get subsumed into you having to learn Mandarin in schools. There’s this perspective that Chinese history and immigration feel the most important, even though it’s not what’s said, it just feels like it’s “economically important” to learn Mandarin.

I had a few friends who were from Myanmar, or who were Filipino, and there was no option for them to learn Tagalog or other of their so-called mother tongue languages in school, so oftentimes they’d be assigned to learn Chinese instead.

So much of what dominates my thought of the history of Singapore has to do with the Japanese occupation, that even the founding story feels almost mythical — it’s very real. In the zine, I mention that the founding story includes a slim mention of Sang Nila Utama and primarily focuses on Singapore after Sir Raffles comes and sets up a post, but that there’s 500 years of respectable history prior to this, when Utama named Singapore “Singapura.” I had to step back and reexamine my privilege and history, to be like, “I never learned this part.” 

There’s a narrative that our national history starts in 1819, when in 1299 we already had years and years of trading history and it would be cool to elevate it to the same amount of importance.  

 

Having graduated with a Bachelor’s in English, and also being a previous Peak Editor-in-Chief, how did your experiences at SFU inform your work?

I feel like what I enjoyed most about working at The Peak was that SFU stopped being just a building, but became communities I connected with. A lot of my work was informed by speaking with the fellow people around me. A lot of these experiences, and thinking about what’s important when you put out a work that other people are going to read, plays a lot into how I write. It’s been a long time since I felt that writing was just for me. Working at a small news publication, knowing who can read it, who might be impacted by it, has infinitely impacted how I approach my work. I always hope that they either feel seen by it, or can engage with it in a way that makes sense to them. Overall, I would say my SFU experiences made me more community minded.

 

Read Memories of Home at heyzine.com

 

Monday Music: Gloom and grey

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PHOTO: Alina Chernii / Pexels

By: Lucaiah Smith-Miodownik, News Writer

Past Lives by Jay Som & Hayley Williams

“I’m stuck in the mud, I’m spiraling up [ . . . ] it’s falling apart.” Som and Williams come together on “Past Lives” to deliver a beautifully sorrowful ballad that puts words to a mind wrought with anxiety. “An open echo,” not all too different from the constant sound of raindrops, reminds the listener of those moments where peace seems out of reach. 

 

Nights in Armorby Water From Your Eyes

Water From Your Eyes blends the line between lyricism and internal dialogue, crafting a song that could easily pass as a journal entry. With lines that evoke a certain directionless anger, the band perfectly captures the cold, wet, and damp feeling that listeners likely know all too well — “I just wanna fight you ‘cause I’m tired [ . . . ] Spite me, I’m on fire.”

 

Vacationby Florist

Gloom begets internal reflection, as wet socks and windblown leaves cause us to sink deeper into our own thoughts. “I don’t know how to be what I wanted to be when I was five,” Florist writes. “Maybe I just want to get married, or maybe I just want to fall asleep,” they add. Faced with such uncertainty, we often take refuge in that which we hold true. “At least I know that the world is spinning when we’re tangled in the bedsheets,” the artist sings.

 

jenny’sby WHATMORE

“I know why she could make it big time, but she’s scared to try again.” With a gravelly voice that cloaks the listener’s ears like the comfort of a weighted blanket, WHATMORE delivers a uniquely avant garde rap style that perfectly encapsulates that feeling of being stuck. Whether you are glancing longingly at the window wishing for sunnier days or scared to take the next step in life, this song is there for you to lean on in the meantime.

See Red at the Cultch

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PHOTO: Consuelo Kanaga / Wikimedia Commons

By: Noeka Nimmervoll, Staff Writer

From November 27 to 30, Just B Productions will present the Tony-award winning play Red, by John Logan, at The Cultch Theatre. The play tackles themes of legacy and the inherent conflicts of meaningful commercial art, in a conversation between the acclaimed abstract artist Mark Rothko and his assistant, Ken. Directed by Stephen Heatley, the play will be the debut production of Just B Productions, a theatre and film production company founded by actor and producer Blake Buksa. The Peak spoke to Buksa and Gabrielle Nebrida-Pepin, stage manager and producer of Red, to learn more. 

“It’s based off of the real life artist, the expressionist painter Mark Rothko. He is painting a series of murals for the Seagram Building, which is the fourth of Four Seasons restaurants that was opening back up in [1958], in New York City. And so then the fictional point is that he brings on this assistant by the name of Ken,” explained Buksa. Rothko, played by James MacDonald, is a renowned painter of the 1930s1970s and is credited as a key figure in the art movement Abstract Expressionism, as a spearheader of the style called colour field painting. Ken, played by Buksa, listens and challenges Rothko as he grapples with his ideas about the role of art: to please the viewer, or to stir intense human emotion.

“One word that always resonates with me with this show is legacy,”

 — Blake Buksa, executive producer of Just B Productions and actor

“It is really this passing down to new artists.” The transfer of legacy is not so simple, however, and creates tension between the master and his pupil.

Both Buksa and Nebrida-Pepin are graduates of the UBC acting program. In January, the play’s initial steps began with “pitching the show to Stephen Heatley, who is our director, and also [was] our teacher back at UBC,” shared Nebrida-Pepin. MacDonald, the lead actor, was also Heatley’s student in the late ‘90s. The beginning and end of the professor’s career marked significant times in his students’ lives. “It’s very intergenerational,” shared Nebrida-Pepin. 

Just B Productions started out as a shared ambition between Buksa and Nebrida-Pepin during their studies that developed later into Buksa’s production company. “I always just kept seeing [the message that] if you want to be that working actor and stuff, you have to create your own work.” He spent some time post-university as an actor waiting for opportunities to come, and decided, “it’s time to start pulling up my socks and get things going.” His goals for the company include paying his people well, casting talented friends in their dream roles, and creating a platform for underrepresented talents in the industry, actors that are constantly auditioning without landing roles — a reality for many in this line of work.

This mission is already having impacts. Nebrida-Pepin shared, “As a new time producer, what’s made this really exciting for me is the prospect to [ . . .]  to step into a role that I know I probably would have otherwise had to have worked for nothing and then make my way up into becoming an associate producer for a theatre company.” Now, with this production and stage management experience, Nebrida-Pepin is able to bring her skills to other companies in the arts. 

Follow @JustBPro on Instagram to stay up to date on show details and upcoming fundraising events.

Powwow meets the Blues in Get Your Feathers Ready

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Courtesy of Susan O'Grady

By: Heidi Kwok, Staff Writer

Blue Moon Marquee, a swing blues duo from British Columbia, have collaborated with Northern Cree: a Powwow, round dance drum, and singing group hailing from the Cree Nation based in Treaty 6 (traditionally known as Maskwa cîsihk, Alberta). Together, they produced Get Your Feathers Ready, an alluring album that pulls listeners in through an infectious blend of bass, electric guitar, and Cree drumming.

Created in a single eight-hour recording session, the album was inspired by the monumental contributions of Indigenous Peoples on contemporary North American music and pop culture, as well as by the documentary, Rumble: The Indians Who Rocked the World.

Blue Moon Marquee’s bass and guitar arrangements are hallmarks of the swing blues genre, creating melodies with a natural lilt and rhythmic looseness that bring a touch of emotional nuance and vulnerability to the entire record. The leading vocals from the group’s A.W. Cardinal and Jasmine Colette, are grounded and unfiltered. Cardinal’s soulful and smooth singing commands instant attention, charging out without hesitation like a burst of a firecracker. His voice aches with troubled yearning in “Soul of a Man,” a gripping track about self-identity and discovering oneself. “I travelled different countries, I travelled foreign lands, ain’t no one could tell me, just what is the soul of a man.”

Northern Cree’s drumming reverberates through Cardinal’s rich vocals in a varied and upbeat rhythm. The group enriches each track with their raw and synchronized chorus in the background, their registers soaring effortlessly like an eagle — from impossible highs to mournful lows — driving forward an electrifying energy. Their joyous whooping and powerful cries in “Rollin’ and Tumblin’” were captivating, as if reaching out across multiple generations through sound, while simultaneously blending old musical traditions with the new. 

The lead track “Put Your Feathers On,” is a call to dance and celebration. It begins with a steady heartbeat of drumming that gradually builds before ushering in a laid-back but catchy swing-style guitar melody, infusing the tune with warmth and groove. “Come on baby, put your red dress on / We go dancing ‘till the morning sun.” I couldn’t help but nod my head, tap my feet, and sway my body along with the contagious rhythm.

What I also found unique about this album were the interlude tracks that served as momentary outtakes, giving listeners a glimpse into the studio recording process. These quiet disruptions are a welcoming break — providing a window of reflection to appreciate the preceding song before preparing listeners for the next banger.

 

The Luddite Land Assembly weaves together craft, land, and music

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PHOTO: Quang Nguyen Vinh / Pexels

By: Ashima Shukla, Staff Writer

In the age of instant everything, what if creativity could slow the world down? This is the ethos behind the Luddite Land Assembly, taking place from November 8 to 9 at The Roundhouse. This multidisciplinary slow art and music experience is part of the internationally celebrated 2025 Modulus Festival, inviting participants to connect deeply with land, culture, and creativity by partaking in two days of social gatherings and performances. Curated by Barbara Adler, an interdisciplinary artist, SFU alum, and artistic director of The Only Animal. The Only Animal is an interdisciplinary arts company that places artists at the centre of the ongoing climate crisis. Adler’s curation draws inspiration from the “Luddites,” textile workers who resisted the automation of their craft during the Industrial Revolution

Keeping this spirit of resistance alive through craft, visitors can join several hands-on sessions exploring natural dyeing techniques on November 8. These sessions allow participants to come together and slow down in transforming fabrics using plant-based materials as they listen to live personal stories of artists and recorded sound. The goal?

Over the two days, participants will learn how to co-create a large plant-dyed textile while learning to dye, eco-print, and embroider.

The natural dyeing process reveals hidden prints by artist Keely O’Brien, while the facilitators share stories of land, memory, and care. In the first session, Daphne Woo, once part of the fast-fashion world as a garment developer for 20 years, reflects on her transition to a mindful relationship with natural materials. Through logwood, she explores the legacy of her family as a second-generation Chinese settler. Session 2 is led by Rita Point Kompst, a xʷmәθkʷәy̓әm Elder and artist, teaching audiences to use mushrooms for natural dyeing while she narrates her experiences of healing through weaving with cedar and wool. Bernarda, founder of The Batik Library, leads the next session using marigolds, sharing stories to raise awareness of Indonesian culture and traditional Batik making techniques. Finally, Valérie d. Walker, a “Indigo Griot,” concludes the day with stories from her “decades-long collaborations with bio-fermented indigo vats,” teaching simple shibori techniques. 

On Sunday, November 9 at 7:30 p.m., the event culminates in the Luddite Land Assembly Concert, presented by Music on Main, programmers of classical and contemporary music who aim to reshape the concert experience by connecting musicians and audiences in a more intimate way. As you listen to Tsimka and Michael Red, whose collaborations merge the Tla-o-qui-aht ƛaʔuukʷiʔatḥ language with field recordings from Tsimka’s home, you are invited to stitch together the various dyed textiles into one. Joining them is Caley Watts, a Cree singer-songwriter whose folk and roots music traces the movements of rivers and the cadence of mountains. Her songs draw from the rhythms of the forest, bringing the weekend’s theme full circle: art, like nature, thrives with attention and reciprocity.

Together, these sessions and performances invite the audience to slow down and create with intention. Tickets are from $10 for the dyeing sessions, and $25 for the concert. Come dye, stitch, listen, and co-create. This is a public sphere that comes alive with care.