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From Coxinhas to Pastéis: Brazilian Delicacies in Vancouver

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From Coxinhas to Pastéis: Brazilian Delicacies in Vancouver Bilingual and intercultural FREE Version française au verso Since 1999 Exhibition explores Bill Reid, the man Page 4 Vol 21 No 13 | July 7–August 18, 2020 www.thelasource.com From coxinhas to pastéis: Finding sweet light in a shadowed world Brazilian delicacies in Vancouver by liam SFaxi by Felipe Câmara ery and catering service Gimme hat can we do now that Coxinhas and Cunha from Wanyone around us might In a country with continental WhataFood, intend to meet. be the vector of a deadly dis- dimensions like Brazil, each ease? We have to continue to live region has its own cuisine and Bringing people together our lives. I’m a college student typical dishes. Local business through coxinhas at UBC and in the Before Time owners Cassia Ribeiro from Gimme Coxinhas began its opera- (that’s what I call the time be- Brazilian bakery and catering fore this pandemic) I had a won- service Gimme Coxinhas and fried or frozen coxinhas and briga- derfully full student life. There Carolline Cunha from Whata- deirostions ,in (desserts April 2020. made They with deliver con- were parties every weekend; Food are bringing those fla- densed milk). After the govern- I would study with my friends vours to the Metro Vancouver in packed libraries; and most area. they began to offer catering ser- importantly, I wouldn’t think vicesment forlifted small COVID-19 gatherings restrictions, as well. twice about going to the super- The South region is famous for “The idea is to serve appetizers market or shaking hands with its barbecues and dishes de- and desserts for these occasions rived from Italian and German and also offer our products for colonizers cuisine. In the coastal But that’s the thing Northeast region, the cuisine is our rich and beloved cuisine”,” about the Before Time: based on seafood and recipes sayspeople Ribeiro, who miss who the has flavours been inof- it was a more carefree with palm oil, while the Ama- volved with restaurants since world, unmarred by zon River basin provides a great an early age, as her mother and “ the shadowy killer, grandmother owned their own derived from the manioc root, businesses in Brazil. COVID-19. variety of fishes and productstucupi, Ribeiro has a degree in Busi- ness Management and more my friends. But that’s the thing suchprawns as orits duck). flour and the than ten years of experience about the Before Time: it was a (maniocBecause sauce of servedBrazil’s withcolossal fish, working in restaurants, three more carefree world, unmarred size, the miscegenation of its of them in Vancouver. Her back- population has made Brazilian Photo courtesy of WhataFood ground combined with the no- When the pandemic began, I cuisine even richer by mixing table lack of representation and startedby the shadowy thinking killer, of the COVID-19. fear and elements of African, Indigenous chicken covered with dough and - variety of Brazilian food in Van- apprehension that I felt daily. and European cuisine. Feijoada, fried), pão de queijo, (Brazilian ians have obtained Permanent couver, despite the numerous These emotions reminded me of one of the country’s most fa- cheese bread) and pastel, (fried CitizenshipResident status Canada, and immigrated1275 Brazil communities in the city, has mo- an episode of a TV show I used mous dishes, is inspired by the to Metro Vancouver, which puts tivated her to start this business. to love watching as a kid, Doctor French cassoulet, adapted with These delicacies are considered Brazil in the top six countries of Ribeiro says the acceptance of Who. This show tells the story Brazilian ingredients under the comfortpastry withfood, variousespecially fillings). from origin for immigrants moving Gimme Coxinhas’s products has of an alien named the Doctor Brazilians who live abroad and to this region. With that, comes been positive, exceeding expec- who travels through time. On spite of these differences, there - the demand for products origi- tations within and outside the one of the Doctor’s adventures, influenceare elements of Africanfound allslaves. across In minds them of their homeland’s nated from this part of the world. Brazilian community. The main he travels to the biggest library the country that are considered wish to find something that re And that is a demand that entre- as symbols of Brazilian cul- preneurs Ribeiro from Metro the high demand while main- its stacks have been infested ture, such as coxinhas, (chopped flavours.from Immigration, Refugees and Vancouver-based Brazilian bak- challengeSee “Brazilianthey face cuisine” is fulfilling page 6 inby theshadow universe creatures and findscalled thatthe According to 2019 statistics Vashta Nerada. These micro- scopic creatures live in swarms Also in this issue in any shadow cast by the sun. Those who have the bad luck of accidentally stepping into one of Film looks at the Vashta Nerada’s shadows are love and joy, immediately devoured. The Doc- the Queer way tor spends that entire episode Page 4 running from the darkness and the shadows, fearing something A poetic take he cannot see. on identity What are the shadows? Page 5 The darkness and danger that the Doctor dealt with is See “Verbatim” page 6 2 The Source Vol 21 No 13 | July 7–August 18, 2020 Cultural Spotlight Storytelling for change: a filmmaking contest for Canadian youth by Dan Walton The UBC School of Public Policy and Global Affairs is inviting Canadian youth to produce their own short film this summer for submission to the Storytelling for Change campaign. There’s no cost to enter, big prizes to be won, and invaluable connections to make with mentors from around the world. - makers to create a story that embracesThe contest diversity asks youngand belong film- ing, in times of crisis or peace. The message could be one that Photo courtesy of UBC Migration stands against injustice and There is no need for fancy video equipment to enter Storytelling for Change. racism, or one that shares wis- it becomes boring,” says proj- what you are going through – dom and growth that came from ect coordinator Rama Hamid. it’s very easy to connect with a personal journey. “Enough time for exactly what the audience and capture their - you want to tell the audience.” attention.” ing equipment such as a camera, No fancy video equipment microphone,Prizes will lights,include tripod, filmmak and is needed to enter Storytelling Connecting with software licenses, or time with for Change. Videos can be made experienced mentors with a smartphone, computer A range of established pro- webcam, tablet, animation tool, fessionals with backgrounds an established filmmaker, up or any programs online. An - to a total value of $1,000 ($500 equipment fund is available for telling, and community en- Thefor first deadline prize, for $300 submissions for second is anyone lacking access to the gagementin filmmaking, are leadingmedia, virtualstory prize, and $200 for third prize). equipment they need to make mentorship sessions for partici- The Storytelling for Change pants. The webinars offer guid- campaignAug. 1. is coordinated and The criteria for awarding - funded by the Community-UBC prizestheir film. include whether the sub- making process, including Refugee & Migration Work- instructionance on all onaspects storytelling, of the film pro- ing Group, a collective of UBC the campaign topics, creativity duction, directing and editing, staff and students and staff andmission clarity, reflects and attention one or more to de of- and a Q&A session. from settlement organizations tail in storytelling, production, Lama Alrakad is one of the direction, and editing. Accord- four mentors volunteering for ing to Hamid, the judges’ as- the project. Alrakad grew up in sessment will put more weight Syria and moved to Russia at the on the choices the director has - made, and on the way their sto- ture in St. Petersburg. Six years laterage of she 19 toreturned study artshome and to culbe- gin her career in Syria where she found work in theatre and television, shortly before the outbreak of civil war. Filmmakers – no matter how - ing on the intentions behind Photo courtesy of UBC Migration theiryoung work, – can says benefit Alrakad. by reflect “They Lama Alkarad, one of the mentors should be asking themselves, in the Other Storytelling for ‘what is the purpose of my mov- Change campaign. ie? What am I going to put in it? in Metro Vancouver interested Who is my audience?’” in amplifying youth voices to Photo courtesy of UBC Migration Other Storytelling for Change Rama Hamid, coordinator of the broaden narratives of diversity, Other Storytelling for Change mentors include digital mar- immigration, and settlement in campaign. keting expert Suparna Gupta, Canada. movie and content producer Ad- ries are told, rather than on pro- etola Tamunokubie, and media All you need is a cell phone duction value. Although he did not have a youth, outside of Quebec, is much experience making com- Toanthropologist enter the contest, Lara connect Şarlak. eligibleAny Canadian to enter. who Video identifies submis as- mercial productions until he with a mentor, or learn more, sions must be brief – between moved here from Kenya in please visit: https://sppga.ubc.ca/ news/storytelling-for-change-a- – so that they are “not so long understanding of storytelling filmmaking-campaign/ 30 seconds and three minutes to2017, Canada. Hamid “The brought way toa makedeep something interesting, you got For more information on the to do it from the heart,” he ex- Community-UBC Refugee & plains. “Tell a story about how Migration Working Group, you feel. Don’t sugar coat it. Be visit: www.migration.ubc. honest about it and if you’re be- ca/community-university- ing truthful, then for the many partnerships/community-ubc- people who are going through refugee-migration-working-group the source newspaper Founding Publisher and Editor-in-Chief Website Sepand Dyanatkar, Vitor Libardi, Photo credits for front cover legalities Mamadou Gangué Silvia Pascale Page 4 (bottom left): Bill Reid, Killer Whale on The Source shall not be liable for slight changes Mailing Address Associate Publishers Saeed Dyanatkar (Digital), Social Media Nathalie Astruc, Harry Jing Wave Base, 1984, bronze, 132cm.
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