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 or its 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 . 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 , (fried CitizenshipResident status Canada, and immigrated 1275 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 all slaves. 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 “Brazilian they 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 firstdeadline prize, for $300 submissions for second is anyone lacking access to the gagementin filmmaking, are leading media, virtual story 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- anthropologistTo 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 to a make deep 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. SFU Bill Reid or typographical errors that do not lessen the Denman Place PO Box 47020 Monique Kroeger (Print) Editorial Content Advisor Denis Bouvier Collection. 2002.1 37. Gift of Dr. Martine Reid. value of an advertisement. The Source’s liability Vancouver, BC V6G 3E1 Art Director Laura R. Copes Contributing EditorSimon Yee Photo by Kenji Nagai. for other errors or omissions in connection to Office Senior Editor (English and French Sections) Page 4 (bottom right): Photo courtesy of Iftar any published advertisement is strictly limited 204-825 Granville St., Vancouver, BC Monique Kroeger Layout Artist Helen Luk Productions to the repeat of the advertisement in future Copy Editors (English) Frank Abbott, Colleen Illustrator Joseph Laquerre publications or for the refund of any monies Telephone (604) 682-5545 Addison, Andrea Baedak, Deanna Choi, Andrea Writers Nathalie Astruc, Felipe Câmara, Xi Chen, paid for the advertisement. We welcome ap- Email [email protected] Keen, Annette Gingrich, Thierry Maout, Cheryl Anindita Gupta, Kylie Lung, Laury-Ann Mahieu, propriate, unsolicited editorial submissions www.thelasource.com Olvera, Melodie Wendel-Cook, Lauren Wolf Jake McGrail, Tina Qu, Andreina Romero, Curtis if accompanied by the author’s real name, Senior Copy Editor (French) Louise T. Dawson Seufert, Liam Sfaxi, Audrey Simon, Dan Walton, address and telephone number. The author Page Editor (Francophonie) Simon Yee, Robert Zajtmann, Rafael Zen should retain the original as we cannot return Jean-Baptiste Lasaygues submissions without prior agreement, nor does Executive AssistantKevin Paré Translation Barry Brisebois, Louise Dawson, submission guarantee publication. Website Coordinator Pavle Culajevic Monique Kroeger Distribution Joseph Laquerre, Kevin Paré For advertising call: (604) 682-5545 Vol 21 No 13 | July 7–August 18, 2020 The Source 3 An invitation to learn the story of Chinese Canadians in BC

by Jake McGrail

An upcoming two-part exhi- bition with a focus on its sur- rounding community, A Seat at the Table takes both a histori- cal and a contemporary look at the stories of Chinese Cana- dians in BC.

The exhibition, a collaboration between the Museum of Vancou- ver and the University of Brit- ish Columbia, aims for a more dynamic way of engaging with the public. Its title functions as

a double meaning, as it examines Photo courtesy of Yayoi Hirano this history through the lens of something that everyone has a Women of Vancouver strong connection with: food. A BC story Yayoi Hirano and the Yayoi Theatre Movement Society “The title of the exhibition refers to this long history of discrimi- by Anindita Gupta of Drama was to mime. Even explains, “Mime is not just clown- and her group. It was per- nation,” says co-curator Henry though Hirano knew nothing ing but telling a story or even shar- formed in February this year Yu, University of British Colum- Yayoi Hirano was honoured ing philosophy without words.” at the ScotiaBank Dance Cen- bia (UBC) associate professor of at Vancouver Asian Heritage arts, she learned it to get into tre in Vancouver. Fortunately, history and principal of St. John’s Month’s (VAHM) Virtual Rec- college.about this After field completing of performance her ed- A global connection this was performed before CO- College. “Fighting for a seat at ognition Awards Ceremony ucation, she found herself teach- Hirano came to Vancouver for the table has been a crucial part 2020. VAHM’s vision is to rec- ing this lost art form. Hirano’s - For these performances, she of the history of Chinese Cana- ognize and promote the inclu- favourite thing about this style formance tour with a few of her VID-19 affected everyday life. dians in BC. And the exhibition sion and social integration of the first time in 1986 on a per is not just about what was done Pan-Asian Canadian commu- has made 20 unique Noh-style to Chinese Canadians, but also nities in Canada. No matter the language you speak or your nationality, what they were doing to force BC and Canada to become more just, Born and raised in Japan, Hirano inclusive societies.” - you can express your feelings and tell a story. ter spending a number of years Yayoi Hirano, Yayoi Theatre Movement Society settingmoved toup Vancouverher theatre in company, 2002 af “ the Yayoi Theatre Movement So- of art was that messages can friends. She was also offered a masks herself which have Even as a child, Hirano was al- be conveyed without uttering a fellowship in Cologne, Germa- been used in most of her ca- waysciety sincevery active1990. and interested single word. ny to work with artists Milan reer’s performances. Noh is in performing for an audience. “No matter the language you Sladek and Maria Formolo in a form of classical Japanese “Since kindergarten, I often speak or your nationality, you Canada. After studying in Ger- dance-drama that has been called my friends home where I can express your feelings and many, she happened to perform - made up stories and we played tell a story,” she explains. at the Edmonton Fringe Festival, tury. These masks signify the together,” she says. Miming may be a lost art and, replacing a show. character’sperformed sinceage, thegender 14th andcen Hirano began performing in contrary to popular belief, Hirano It was after all of these expe- social ranking. front of a much larger audience riences and the many positive -

Photo courtesy of Henry Yu reviews of her performance at fect some of the Movement Henry Yu. school plays. For a play in her the Edmonton Fringe Festival, Society’sHowever, plans. COVID-19 Every did year, af From the start, A Seat at the from Grade 2 and onwards, in that she established her theatre they perform in the Vancouver Table has been a collaborative she managed to memorize all movement. After the establish- Cherry Blossom Festival and, project, with three co-curators, firstthe lines year of of her junior school’s high annual school, ment of her group, Hirano went - two different locations, and the play – every character’s lines – on to collaborate with various ticipating in the Canada Day work of numerous community and had the luck of playing the Asian, North American and Eu- sinceparade 2011, where they they have present been par a members and students. Yu has - ropean artists. traditional Japanese festival worked with many of his UBC nal performance. During high Along with her current hon- dance, Vancouver Ondo, with students to gather stories and school,main character in Osaka, during she went the to fi our, Hirano has also won various make videos with those in the watch the Royal Shakespeare awards globally, including the Even though the global cli- community. All those involved Theatre Company and their Experimental and a Vanguard overmate 200 seems dancers. unsure, Hirano’s have worked for the same goal: rendition of the Merry Wives of Art award from the Annual Prize spirits are not dampened. to share stories of the Chinese Windsor. Thereon, she was even of the Union of Bulgarian Actors “Now is a good time to plan,” Canadian experience, which more fascinated with theatre for The Daughter of the Snow. she says, taking the time off dates back well over a century. and the performing arts. now to envision the future of The Yayoi Theatre Yu has a personal connection her Movement Society. Movement Society today to this history, as his great- Miming requirements was the latest perfor- grandfather came to BC in the One of the prerequisites to qual- Photo courtesy of Yayoi Hirano Comedia For more information, please visit See “A Seat at the Table” page 7 ify for the Toho Gakuen College Yayoi Hirano. mance put together by Hirano www.yayoitheatremovement.ca. 4 The Source Vol 21 No 13 | July 7–August 18, 2020 A golden voice – one man’s legacy

by Tina Qu tic. Reid is famous for his gold work. The Bill Reid Gallery of North- “A lesser-known piece of Reid is west Coast Art reopens July 16, his wonderful voice, and Canadi- and the exhibition To Speak ans enjoyed it during his time as with a Golden Voice kicks off a voice on the Canadian broad- celebrating the centennial casting corporation,” explains birthday of Bill Reid (1920– Edenshaw. “Not to mention that 1998). at one point he carried the name ‘Kihguulans’ which means ‘Gold- “Here at the Bill Reid Gallery in en Voice.’” Vancouver, we wanted to show some of the classics but particu- Legacy of a giant among larly some of those pieces that Indigenous artists haven’t seen a lot of light,” says According to Edenshaw, Bill Reid Gwaai Edenshaw, guest curator. “We also wanted to exhibit more pantheon of Haida artists. He is of Bill Reid, the man. To this end, wellis a very known significant for his persongiant sculpin the- we have solicited and unearthed tures like the Chief of the Sea, at different thoughts on the man the Vancouver Aquarium, and the by a few of the many people he Spirit of Haida Gwaii, at the Van- impacted. We have gathered up couver International Airport. a serious trove of photographs “Reid engaged the art of our that can help paint a picture and people when there was limited humanize this legend.” interest in the art and even less The title of the show, To Speak understanding amongst the Ca- with a Golden Voice, is a pun tryp- nadian public,” says Edenshaw. Photo courtesy of the Bill Reid Gallery of Northwest Coast Art “His access to markets, scholars, Portrait of Bill Reid, c.1976. Painting by Chris Hopkins in 2005. and his CBC colleagues was a big part of bringing the art from sembly, a Haida institute that “It would be on account of my “I am most apprehensive being the Surrealists’ secret to allows the citizens to steer history with Reid that Beth Cart- about whether we have done what it is today as a viable career policy. I had just come to un- er, the curator of the show, ap- justice to Reid’s sense of hu- option for any ambitious young derstand that I had been wast- proached me last August to start mour with this show. At the Haida.” ing my time in school, coasting very least, he might be looking “Through his years in Vancou- along and just barely coming adds Edenshaw. “I look forward over from the beyond and know ver, many of the most well-known to grips with the basics. So, toworking seeing onthe hispieces 100th being birthday,” up and that we are still thinking about artists on the Northwest coast like a good teenager, I blamed hung, and getting back to carv- him,” says Edenshaw. “Ulti- have moved through his studio. the system, loudly,” says Eden- ing a little more after, but it has mately, our biggest hope is that shaw. “Reid happened to be been wonderful to have a little people will leave with a broader them to every corner of our little sitting at the back on that day, incentive to talk to people about sense of Bill Reid.” cornerHis influence of the art passesworld.” through and happened to agree with Reid. I particularly liked head- me, so he took me in as his ap- ing out to Robert Davidson’s and For more information, please visit Photo by Kenji Nagai A personal connection Bill Reid, Raven Brooch, 1962, 22k gold. prentice. I spent a year with hearing all of his stories about www.mpmgarts.com/media/ 6.3cm x 5.4cm. SFU Bill Reid Collection “When I was sixteen, I was him and his wife Martine liv- Reid, as well as talking to other campaigns/bill-reid-gallery-to- 2002.1.6. Gift of Dr. Martine Reid. at our national House of As- ing in Vancouver.” artists.” speak-with-a-golden-voice.

Vancouver Queer Film Festival Need the skills to find a job? We can help!

Breaking Fast portrays love and joy as an act of resistance Design a fantastic resume and cover letter, fine tune your inter- By Rafael Zen ent than any other kind of love view techniques, learn valuable and it shouldn’t be seen as differ- skills to succeed in the Canadian As an inside voice of the queer ent. We all want it; we all want to workplace, gain insight into the Muslim community, Van- job market, access special ser- couver Queer Film Festival are beyond identity. They are vices for skilled works – all at NO (VQFF)’s Closing Gala Film de- findhuman our nature,” person, andsays those Mosallam, ideas COST. The Progressive Intercultur- livers an intelligent rom-com to whom Breaking Fast is a story al Community Services (PICS) So- that is also a celebration on about two complicated crea- ciety, Vancouver Branch, has been intersectional identities. helping immigrants and newcom- uncomplicate their lives enough ers to Canada for over 14 years ! “I have created the gay, Muslim totures let thetrying other to in.figure out how to Our Group Job Search Work- version of Julia Roberts,” humor- For him, when these stories shops are a flexible, 5 module ro- ously says director Mike Mosal- are authored by those who have tating program, running weekly, lived the experience, the nuance with 16 sessions each month. This Breaking Fast. of those identities is portrayed includes basic computer orienta- lamBuilding about complex his acclaimed and realistic film - tion, with instruction on using queer characters, from an inside tic version on screen. In a histor- Word and Excel, and accessing the Internet. Workshops are held perspective of the gay Muslim inical the moment most specificwhen multiple and authen voic- Photo courtesy of Iftar Productions community, the love story be- es are asking to be heard, this VQFF’s Closing Gala Film, Breaking Fast by Mike Mosallam, delivers an intelligent within a culturally diverse envi- tween Mo and Kal during the optimistic exercise on the power rom-com that portrays love and joy as an act of resistance. ronment, led by qualified facilita- holy month of Ramadan was of affection treats identity forms mor, care, and intelligence. This “The thing that really stood tors. chosen as this year’s closing act (religious, sexual, gender and Past and current E.I. receipients otherwise) as harmonious lens- general, where Muslim men Breaking Fast, was that Mosal- are always welcome. Knowledge- es by which individuals interact haveis rare been in thehistorically film industry, cast as in outlam’s to endeavor me when is I firstto cultivate watched able case managers are available to guide you through the process Authentic(Aug. 23). Experience with the world. violent, regressive stereotypes, joy; and to celebrate the rich- of reaching your career goals. Most commercial narratives and Muslim women as help- ness and diversity of the queer PICS Vancouver also offers one- about intersectional communi- Joy as an Act of Resistance: less victims especially in main- on-one employment assistance, ties have been co-opted and are love is love is love stream Hollywood. who all approach faith, culture, Breaking paid on-the-job work experi- frequently told stereotypically shatters these stereotypes Muslimlanguage, characters family, and in hisrelation film,- VQFF’s Artistic Director Anoush- Fast ence through our Wage Subsidy by voices other than their own. ships differently,” says Ratnara- with characters that are tender, program, and a one-stop Career For Mosallam, realistic discus- tender and loving approach on thoughtful, stubborn, loving, jah, reinsuring our community’s Centre with a broad range of job sions from gay people became queerka Ratnarajah love is exactly says what the made film’s outspoken, and funny,” says Rat- necessity to understand joy and hunting resources. Funding for an uplifting exercise on genre it the ideal candidate to deliver narajah. the search for happiness as an all programs is provided by the cinema from a place of personal - act of resistance. Ministry of Social Development, experience. thenticity and diversity in rep- Employment and Labour Market Mosallam knows creating resentationthe festival’s is finala vital message: part of the au forReaffirming representing the marginalized importance Due to the ongoing COVID-19 Services Division. truthful characters, comfort- social justice process, and one ofidentities independent historically film underrep festivals- pandemic, the 32nd annual tactic in creating a more equi- resented in cinema, the artistic Vancouver Queer Film Festival has Please call 604-324-7733, table world. director also cheered Breaking adapted to an online format in go to www.pics.bc.ca, ableplace and inside confident the community in their own are “This romantic comedy is a Fast’s unique happy ending in a order to offer at-home audiences or visit us at livingidentities, experiences who try that to find need their to rarity in queer cinema: it’s di- the best in independent queer 200-8161 Main St., be relatable to everyone watch- rected by an artist from the com- seem to have a darker political cinema and will stream its program Vancouver, to find ing. munity represented on screen, yeartone as when a response most of to queer this filmspain- from Aug. 13–23. For more out how we can “I think my message regarding centering and representing a ful historical moment for differ- information, please visit best help you. queer love is that it is no differ- queer Muslim identity with hu- ent marginalized bodies. www.queerfilmfestival.ca. Vol 21 No 13 | July 7–August 18, 2020 The Source 5 Layers of identity: On/Me hits the bookshelves

by Kylie Lung Cunningham. “I don’t think any- As an Indigenous woman, Ca- one“I’ve really never has. felt I’ve like always I fit in,” been says nadian writer Francine Cun- the person on the margins do- ningham hopes to bring un- ing their own thing and having derstanding and empathy to fun doing it. I don’t try to take a world that greatly needs life too seriously, because it’s it. Her first poetry collection, already really intense. In this On/Me, explores the universal book in particular I explore themes of identity and what it some of the ways in which I’ve means to fit in. felt different and like I didn’t belong, whether that was inside On/Me, published by Caitlin my family, in the world, or in my - ways of thinking.” - Pressdigenous in Voices October Awards. 2019, is cur More than just one rently a finalist for the 2020 In experience Poetry from the heart As an Indigenous woman who Cunningham hails from Calgary, has felt the push and pull of iden- Alberta, but now calls Vancouver tity politics, Cunningham hopes her home. She says she has al- to bring more understanding to ways been a natural storyteller, the vastness of Indigenous expe- dabbling in both written and visual art forms. Filling sketch books full of doodles and bits of stories laid the groundwork for I explore some her future as a professional sto- ryteller. of the ways in “I remember my mom telling “ which I’ve felt three times, that it was okay, I shouldme, after just failing focus gradeon my 9 art math in- different and like stead, that it’s what I was going to do anyways so I might as well I didn’t belong, start practicing,” says Cunning- ham. “She made a spare room whether that in her house for my art studio in high school and that was it for was inside my me. I was committed to an art- family, in the ist’s life after that.” After conquering math class, world, or in my Cunningham went on to com- plete a Master of Fine Arts at ways of thinking. UBC, where she began to hone her craft as an author. Cunning- Francine Cunningham, ham enjoys writing in all genres author but has a special place in her heart for poetry. And it’s this love that brought On/Me to frui- rience and what that means for tion. her own identity. When asked about what she hopes to convey about living as an Indigenous “I “Iwould write say poetry, I consider fiction, myself and person in Canada, Cunningham non-fiction,” says Cunningham.- shares some powerful words ly. I write poetry because that’s that should be remembered long wheremore ofmy a fictionheart writer,lives, actualthat’s after a reader closes the spine of where the truth of me lives. I On/Me. wanted this book to come out “We are not a singular person with one experience,” says Cun- an introduction to the world. I ningham. “You can’t just read firsthave becausealways been I thought into writing of it like in one of our writings and have all genres and experimenting as that be the whole of what you much as I can in my craft.” read and experience. That our work shouldn’t just be consigned Embracing identity to one shelf in a bookstore, that Within On/Me, Cunningham ex- plores the idea of identity and genres. That all I can share in my you can find our words in all Photo courtesy of Francine Cunningham Francine Cunningham, author of On/Me. writing is my experience, my life, box. A complicated identity is - whatnot a itnegative means tothing, not fitbut in a abeau tidy- ror stories, the fantasy worlds tiful asset that she hopes her Ithe love weird to create. little short That fictionI am not hor a readers and writing students spokesperson for the Indigenous will embrace. Existing in the literary world, that I am just me, margins of society can be men- writing what I love.” tally and emotionally taxing, but Cunningham’s book of poetry To learn more about On/Me, visit promotes the idea of uniqueness, www.caitlin-press.com/our-books/ even if it isn’t easy all the time. on-me. 6 The Source Vol 21 No 13 | July 7–August 18, 2020

“Brazilian cuisine” from page 1 taining a quality product. At the “Verbatim” from page 1 thing as yesterday, not much.” built indestructible bonds be- going to coast through this moment they are working ex- something that everyone in This complete loss of autonomy tween me and my roommates. pandemic without doing any- clusively via delivery, but their the world is currently feeling. bothered me to no end. All of a Together we lived through the thing. This would be a period plan is to open a physical store These shadow monsters could sudden I was just a kid again, at most bizarre times and came of learning even if I wasn’t go- in Vancouver in the near future. get to me without me even the whims of powers greater out stronger people. We spent ing to school anymore. I now “The idea of food means, to me, knowing it. Mundane things, than me and not able to do much days upon days playing video had time to really explore the home, union, family. The idea I such as walking into the shad- to control my life. However, my games, throwing footballs, and culinary world of baking and want to transmit with Gimme ows or touching a door handle - develop my photography. If Coxinhas is that we offer food could have disastrous, life- meters away and I needed to somebody like me, staying at life had lost some of its spice, which promotes union of people changing consequences. growfamily up was quickly five thousandand take care kilo homegoofing all around. the time However, remained for I would just have to add some and the nostalgic feeling of home, of myself properly because no- quite taxing. In the Before Time, sugar to make it sweeter. To even being far away,” she says. knew it changed forever. In a body was coming to help me if I I reveled in sitting in coffee the delight of my roommates, sense,On Mar. life lost 13, thea little world bit asof weits messed up. I knew that the shad- shops listening to music, taking that is exactly what I did. I pe- Sugarcane juice completes spice. My college experience ows were out there, waiting for the bus to classes and being out riodically turned our kitchen the experience was severely hampered, to thea me to make the wrong move. So I and about. Now that these were into a bakery churning out Cunha of WhataFood used to point where every day felt like stayed home, and I grew up. taken away, I realized how im- donuts, cheesecakes, pies, and prepare pastéeils at home, for one long weekend. Often, when portant they were to me. How all sorts of sweet goodies. No her family and friends, but she I woke up in the mornings, I Finding things to do - matter the state of the world. recently decided to participate asked my roommates what It’s not to say that I have been less void in my life? I started I haven’t been stopped from in the Richmond Night Market they had planned for that day alone during this pandemic. couldtaking I up fill many this seeminglyhobbies again end and wanted to sell a Brazilian and they would tell me, “Same The coming of the shadows to occupy my time. I was not shadows. product. She decided on pastel, finding some light in all of the but didn’t know it was going to become a real business. They

rule imposed by the event orga- started with five products – a (meat, cheese, chicken, sausage), nizersand pão – defour queijo flavours. of pastéis

make people learn to eat pastel. After“The tasting first challengeit, people wasstarted to to come back for more, not only Brazilians but especially Cana- dians and Chinese, says Cunha about the acceptance of the Bra- zilian treat. WhataFood is currently sell- ing pão de queijo via delivery, as the markets and fairs are

pandemic, but they are working cancelledhard to open due a to physical the COVID-19 store. The opening was supposed to

been postponed. happen“In Brazil, in Junepastéis 2020, [plural but has of pastel], are usually served with sugarcane juice, and we are of- fering this product too, to make the experience complete. We will keep our clients updated about the opening and promo-

says Cunha. tions in our Instagram profile,” Photo courtesy of Gimme Coxinhas Coxinhas. WhataFood is starting off

that were offered at the Rich- withmond the Night most Market, popular but flavours will be adding some more options, in- cluding vegan options and sea-

to serve great quality products sonalto not flavours.only make The the plansBrazilian are community reminiscent of their homeland, but also gain custom- ers from all nationalities. “We work to maintain excel- lence and regular quality in our products and services;, our in- tention is to build a system that someday might be franchised,” Cunha says, Cunha also points out that support from the public is vital for the survival of the business. “If we are today able to open our store it is because we are receiving great support from the community, not only from Brazilians. We feel that not only our clients, but Vancouver media supports local businesses,” she says.

For more information, please visit: www.whatafood.ca www.www.instagram.com/ whatafoodofficial/?hl=en www.www.instagram.com/ gimmecoxinhas Vol 21 No 13 | July 7–August 18, 2020 The Source 7 Red Phone: A safe and immersive theatre experience

by Xi Chen person who – we are not sure if cisions [that] need to be made, they are okay, and with the dis- to how the decisions should be The ongoing COVID-19 pan- covery during the story, what we made, that struck me as quite demic has accelerated the had expected is not what is the common but that is interesting, pace of online migration for truth”. as it is not the story you usually many art forms, temporar- hear about – that we are not nec- ily or permanently. Theatre is says the story remains relevant, essarily so good at sorting out also trying new ways to keep asWritten we are fivetrying years to ago,process Youssef cat- its spirit alive while adhering aclysmic shifts in our culture are trying to help others.” to safety requirements. ourYoussef own conflicts has written even when and weco- recent race-related social move- written some of Canada’s best-

Red Phone and Plays2Perform@ ments.both with “The COVID-19 attempt and to withprocess the known theatre pieces exploring Photo courtesy of Nêhiyawak Home, two innovative theatre the sense of otherness and dif- projects developed by theatre problems between humans is ferences, such as Winners and company Boca del Lupo, are difficult questions and urgent Nêhiyawak – Indigenous trio blurring the line between audi- ence and performer. Red Phone, The attempt to process difficult running at The Fishbowl on dismantles colonial conceptions questions and urgent problems by Curtis Seufert Indeed, as personal as Harp- Granvillephone conversations Island from in Jul. separate 1–Aug. between humans is never easy, er’s own expression and po- 22,enclosed lets phone audiences booths, perform using “ Amiskwaciy (Edmonton)-based etry may be, he says that there professionally written scripts. especially if we are also in isolation. trio ᓀᐦᐃᔭᐊ ᐧᐠ (nêhiyawak) is a larger goal of speaking to Plays2Perform@Home is a script has been nominated for Best themes of Indigenous univer- “Box Set” that one can take home Marcus Youssef, playwright Indigenous Artist or Group sality, as well as amplifying the and perform with a small group in the 2020 Juno Awards for voices of those who came before of people in a safe environment. their debut full-length album him. never easy, especially if we are Losers, and King Arthur’s Night. nipiy. Kris Harper, the band’s “Going back to like that time Conversations and also in isolation,” he says. His theatrical works have won lead singer, songwriter and misunderstandings Youssef says he usually gets multiple awards, including the guitarist speaks to the influ- movement for women, and also With a focus on the conversa- his creative ideas from noticing prestigious Siminovitch Prize. ences and inspirations behind within the the 2000s, chief the of IdleAttawapiskat, No More tions urgently needed by Cana- a difference between what he Youssef is also the Artistic Direc- the band’s genre of Moccasin- Theresa [Spence], these women dians, Red Phone’s artistic staff knows and is supposed to think tor of Vancouver’s New World Gaze – an Indigenous play on were essentially bringing major commissioned a script from or feel in a situation, versus his Theatre, and teaches at several the British-derived, guitar- questions to the conversation. I Vancouver playwright Marcus actual thoughts and feelings. theatre schools in Canada. heavy, wall-of-sound genre always thought of this when I Youssef, which he named “All The gap indicates inherent con- Shoegaze –as they tackle was starting this project,” says Adapting to COVID-19 Good”. personally political conver- Harper. “A lot of times in music, “I was inspired by a long-term He is currently working on a sations around Indigeneity, there’s a stage, there’s like a mi- friend about a conversation we flictplay orabout drama. refugee sponsors, an people’s lives to various de- all while challenging and ex- crophone and you speak down had about living in a world in effort which he was involved in COVID-19grees; theatre has is changed also learning most panding the definition of In- to people. But I was always like, which the worst is always pre- and researched extensively. to adapt, says Youssef. Many digenous Music. What is the audience saying? sumed,” Youssef says. “Who “I notice that in my sponsor of his colleagues, he notes, are How do you put the microphone knows why that is. My script group, as in a lot of groups, while taking work online and doing “We’re hopefully ushering in, to out there? So even though these we are trying to help these Syr- interesting explorations to try - are my writings, at the same misunderstanding inherent in ian families, there is also a tre- naissance of like Indigenous per- time I can’t necessarily take humanspecifically communication. addresses it I – was the he is still resistant to change, as spectives.use a term Butfloating this around,[movement] a Re claim for a bunch of these ideas interested in this notion of a how to help them, from the de- heto figuresees the out theatre how to experience do it. But has to also be decolonized in its of global Indigeneity.” mendous amount of conflict on as “a kind of live exchange that roots. And that goes directly to happens between making, par- the understanding of who the In- Redefining ‘Indigenous’ ticipating, and viewing the per- digenous person is,” says Harp- But while the band speaks to the formance.” er. “A lot of the time in North global similarities of the Indig- “I am always interested in the America and South America, and enous experience, Harper says negotiations of contentious around the world, there’s an that, simultaneously, nêhiyawak ideas or experiences between image as to what is Indigenous, also hopes to challenge the lim- humans – I am interested in be- and I feel like in reality, that’s a iting, homogenizing misconcep- ing in the same environment colonial interpretation. And so, tions about Indigenous music. with those humans – that is es- we’re really questioning that.” “It was always about really sentially about what I do as a cracking it wide open. At the theatre performance artist. I A subversive sound time we were doing it and it was actually believe it is our job to Harper has been involved in mu- already so deep. Some of the preserve the idea that human sic since his teenage punk years major game changers in Can- beings can come together to tell and has always sought for his ada, like Buffy [Sainte-Marie], stories and to wrestle with big music to hold passion and mean- Tanya [Tagaq], A Tribe Called questions.” ing. With this most recent group, Red, Jeremy Dutcher and Lido however, nêhiyawak represents a

Photo courtesy of Boca del Lupo Pimienta, really cracked open The theatre company Boca del Lupo, blurs the line between For more information, please visit novel, more deliberate attempt at Indigenous music. And again, it’s audience and performer in their upcoming performance. www.bocadellupo.com. challenging the bounds of what’s not a genre; we shouldn’t even considered Indigenous Music. be recognizing music as racially The all-Indigenous trio de- charged pieces. But it’s just ac- “A Seat at the Table” from page 3 nadian café or restaurant…It’s a “It is important to have a com- tually impossible to disenfran- BC story, it’s our story.” munity-engaged space,” he says, chise the two ideas. Yet when sons. Yu himself grew up in “one that is interactive – a place fineslength their LP, Mocassin-Gazenipiy: spacey synths sound looking back at the history of Vancouver1880s, later andfollowed jumped by his at fourthe An evolving experience where you can learn the story and carved aesthetic cedar on log their percussion first full- music there’s not really one In- chance to work with the MOV The part of the exhibition host- of Chinese Canadians in BC – add subversive character to the digenous sound anymore,” says on this exhibition. But while he ed at the Museum of Vancouver but also where people can leave UK-originated Post-Punk and Harper. holds an obvious connection to (MOV) will open in the fall, and their own story.” Shoegaze that serves as their And through this subversive, the stories told, he feels there will contain a variety of multi- The exhibition will continue sonic base. deliberate approach, Harper and is no reason why everyone in media elements, including some to evolve past its opening. Those “This kind of re-interpretation nêhiyawak hope to dismantle the province shouldn’t feel the virtual reality (VR) and other who visit the exhibit will have [of Shoegaze] from an Indig- the narrow colonial conceptions same. immersive technologies. It will the chance to share their stories enous standpoint, it takes all of Indigeneity itself. “Yes, it’s something that is also not be a stationary exhibit. as well, adding more to the ex- kinds of factors into account, re- “I always believe there was personally meaningful for me… “Because it was funded not hibition and giving themselves ally about examining music as a a very strong intention about but for all British Columbians, just by Vancouver but by the their own seat at the table. whole, but also our relationship opening up this conversation of it’s our collective past,” he says. “We often think of exhibitions to it,” says Harper. “Moccasin- Indigeneity in a decolonial way. “Just because I’m related to it MOV the exhibition will move to as neatly designed, and once you Gaze could be deeper than just And it really includes so many by family, doesn’t mean that it otherprovince, parts after of BC,” it’s finishedsays Yu. at“Brit the- open the doors it is what it is,” a sound or emulating some kind more people at that table, in should be something that is so ish Columbians are very mobile, says Yu. “We see this space as of British genre. It could also just which case, again, [nêhiyawak] qualitatively different in the so we hope this story of mobility more dynamic, transformed by be a full-on new school interpre- makes up the smallest perspec- sense of connection for anyone resonates with people.” the people who come in…This is tation.” tive ever. But I feel ready to have that lives here.” The other portion of the ex- important for a history that has Equally characteristic to the these conversations, and I feel “It’s about food, and culture” hibition will open this summer, often been excluded or ignored: spirit of the band are Harper’s like there’s others that are very says Yu, “and why it is, if you at the Hon Hsing Building in the you have to be open to hearing vocals and lyrics. And while he ready to have these conversa- grow up in BC, you know how to heart of Chinatown. Though the people that haven’t been lis- serves as the group’s primary tions.” order whether you’re coronavirus pandemic has made tened to before.” credited songwriter, Harper Chinese or not. Every small town its opening time uncertain, Yu takes a step beyond just ac- For more information, please is very excited to see it unveiled For more information, visit knowledging the previously dis- visit www.facebook.com/ has had at least one Chinese Ca- when conditions permit. www.museumofvancouver.ca. cussed ideas he is employing. nehiyawakband. in BC since the late 19th century 8 The Source Vol 21 No 13 | July 7–August 18, 2020

July 7–August 18, 2020 by simon yee the fair from the comfort of your festival’s website for up-to-date Contributing Editor air-conditioned vehicle. Some of information.

I have to be honest with you: I will get to see will include: Nan- * * * cythe the confirmed Buffalo and fair Francine fun visitors the The Journal Project: Capturing to be like this back in January. I Bison with their cattle and calf History Unfolding wasdidn’t hoping expect to the be summervisiting Eastern of 2020 Submissions accepted Canada again; maybe travelling until Aug. 31 abroad to Japan too. While trav- participantsfriends roaming with freely, the animals, a 100-foot an- www.coquitlamheritage.ca/ elling restrictions may slowly be tiquedemolition farm derbytractors car and display, machin 4-H- the-journal-project lifted over the summer, it’s not ery and more. For more informa- quite the same! Still, I have to ad- tion, please check out the Agrifair Every day, historians comb mit, British Columbia is a great website. through journals of people who province to spend a staycation. So enjoy the summer, check out a * * * history to piece together impor- few online events,and I’ll see you Squamish Wind Festival tantlived details. during These significant journals times were in all in late August! for the Arts often written by regular people

Photo courtesy of Squamish Wind Festival for the Arts Aug. 1–28 with normal lives who took a few * * * The Squamish Wind Festival for the Arts will include a drive-in movie. squamishwindfestival.com minutes each day or so to record Art Downtown what was going on around them. Various dates between ment and family fun features the sions, art exhibitions and music The Squamish Arts Council These records have become in- June 17 and Sept. 11 famous “BBQ Lamb” and “Louk- performances, all centred and will be hosting the seventh an- strumental in our understanding www.vanvaf.com/art-downtown oumades” – delicious and tradi- designed to showcase the Black nual Wind Festival for the Arts of past events, tragedies and ev- tional Greek and Mediterranean Experience. eryday life. The Coquitlam Heri- In this time of global pandemic, delicacies. For up-to-date infor- livestreams concerts, drive-in tage at Mackin House now offers the need for art and culture has mation, please check out their * * * moviefrom Aug.experiences, 1–28. From workshops virtual Coquitlam and neighbouring resi- never been needed more by both website. Abbotsford Agrifair: and art installations, the event dents the opportunity to contrib- the artists who create and the Drive Thru Safari has been reimagined but the ute to future historians’ under- viewers who view. Art Down- * * * July 31–Aug. 2 mandate remains the same in town is a project by the Vancou- Queer Arts Festival www.agrifair.ca supporting arts and culture. The ver Visual Art Foundation that July 16–26 event series will abide by all CO- Theystanding want of theto hearCOVID-19 your crisisstories of allows artists and the public to www.queerartsfestival.com - as2020, they in unfold Coquitlam, and while and they beyond. are connect, inspire each other and al Exhibition has set up drive-th- community safe and supported. fresh in your minds. Thoughts, share creativity. Between June The Queer Arts Festival (QAF) is ruMuch events, like howthe Abbotsford the Pacific AgrifairNation WithVID-19 this guidelines in mind, a to diverse keep mix the feelings, commentaries, scrap- and September, artists will be an annual artist-run professional plans to re-tool its event in the of programming has been cre- books, art – all are important. presenting their work and tech- multidisciplinary arts festival drive-thru style in response to the ated for all to enjoy during this niques in the beautiful setting producing, presenting and exhib- time of transition. Check out the how you can contribute! iting a curatorial vision favouring Check out their website to find out downtown Vancouver. Check out challenging, thought-provoking COVID-19 pandemic. All the fun of theof Lot foundation’s 19 and Cathedral website Square,for the work that pushes boundaries dates and times and more infor- and initiates dialogue. This year’s mation. festival, like many other festivals, will present many events virtu- * * * ally. Attend dance performances, Brentwood Artisan roundtable conversations, story- Farmers’ Market telling nights, Indigenious bur- Saturdays, 10 a.m.–3 p.m., lesque shows and more! Check until Nov. 1 out the festival’s website to regis- www.bcfarmersmarkettrail.com/ ter and for program information. market/brentwood-farmers- market * * * To Speak with a Golden Voice The Brentwood Artisan Farmers July 16, 2020–April 11, 2021 Market is one of the city’s new- www.billreidgallery.ca/blogs/ ests outdoor markets, featuring exhibitions-page/to-speak-with- local businesses out to showcase a-golden-voice and sell their wares. Meet local growers, bakers, foragers and The Bill Reid Gallery of North- west Coast Art will celebrate the market setting and support local milestone centennial birthday of businessescrafters in anas open-airthey work modified- hard to - survive in the age of coronavirus. hibition about his extraordinary lifeBill andReid legacy,(1920–1998) To Speak with With an ex a * * * The Relay Various dates from June 25–Sept. 3 GwaaiGolden Edenshaw Voice, from – considered July 16, 2020 to www.thecultch.com/ beto AprilReid’s 11, last2021. apprentice Guest-curated — the by events/the-relay group exhibition includes rarely seen treasures by Reid and works Every second Thursday eve- from artists such as Robert Da- ning this summer, The Cultch’s vidson and Beau Dick. The exhibit Digital Storytelling team will un- will provide new insights into the veil a new episode of The Relay, nuanced facets and creative com- an immersive, interactive and plexities of Reid’s life and legacy, imaginative online storytelling following four thematic threads: experience unlike anything else. Voice, Process, Lineage and Leg- Thirteen unique artists will col- acy. For more information, check laborate and create an unfolding out the gallery’s website. story over three months. From writers and directors, to cho- * * * reographers, performers and Black Space Symposium designers – this unique group July 23–25 brings their diverse range of ar- www.afrovanconnect.com/ tistic specialties together to cre- symposium ate a sprawling multi-month, multi-platform, multi-genre digi- Afro Van Connect, a local Vancou- tal experience. ver group dedicated to empower- ing youth of African descent, will * * * be hosting a virtual Black Spaces 34th Annual Vancouver Greek Summerfest (To Go) The Black Spaces Symposium is July 10–12, 17–19 createdSymposium to bring from artists, July profes 23–25.- vancouvergreeksummerfest.com sors, practitioners and scholars together to share experiences, The Vancouver Greek Summer- wisdom and knowledge so they can explore new approaches of consecutive year. Because of strengthening their capacity for thefest global is back pandemic, in 2020 forthis its year’s 34th community building and devel- summerfest is to go. This annual opment. The symposium will celebration of food, entertain- consist of various panel discus-