Is Protesting an Effective Means of Change?

The Trans Mountain pipeline moves forward despite protest efforts in a national debate

In 2004, I paid $5 to board a bus to join a protest in Toronto. It was the first anniversary of the illegal invasion of, and war of aggression against, Iraq by the United States. There was a thick throng of people that stretched farther than I could see, and at least as wide as University Avenue. I remember the conviction of so many people gathered in common cause in such a space, raising their voice to the monstrous injustice of the war. 

The previous year there had been the largest coordinated protest in recorded history, all in opposition to the contrived American plan to invade Iraq. Millions of people flooded the streets, in cities across the globe, to oppose the plans of the George Bush and Tony Blair, among others. 

In face of this unprecedented opposition, the war went on. Iraq was invaded, millions of Iraqis murdered, millions more displaced. There were tens of thousands of soldiers traumatized by the realities of war, and a seemingly unending battle between varying rebellious forces of complicated origins, alliances, hostility, and goals. 

This was my cultural and political environment growing up; as if the power of the people was mocked, ignored, and discarded. Even as I write this now, 15 years later, I feel the sense of disillusionment that visited many of us who opposed the occupation of Iraq.

What the protests of the Iraq War accomplished, if anything at all, is intangible. By contrast, the worldwide phenomenon, the 2011 protests in New York known as Occupy Wall Street (OWS), spawned a political, an economic, and a spiritual awakening from people across the political map. 

At the urging of Canadian-based, anti-consumerist magazine, Adbusters, hundreds of thousands of protestors turned out in major cities around the world to protest the rising inequality of the modern globalized economy. Ridiculed then, and for some time after, for producing no tangible accomplishments, OWS sparked a growing consciousness among people that the global systems of economy were not just weighted unfavourably against them but had been engineered to ignore the needs of the majority. 

It was among the loosely organized collection of like-minded individuals that anthropologist and anarchist, David Graeber coined the phrase, “We are the 99%.” Seven years after the events of OWS there is a greater awareness of the unfair economic conditions that affect all of us. There is a great deal of work being done to try and turn the tide of this unfairness and all of this sprung from a protest that was faulted and ignored for not producing any immediate or direct, political effects. 

I didn’t join the OWS protests. At the time I didn’t understand what is was about, or what exactly they were protesting. It sounded like malcontents hanging out rent-free in parks around the world. I can now see the same hopeful spark of struggle that propelled other struggles, like the Paris Commune of 1871; a participatory, anti-authoritarian, grassroots democracy out for fairness from the forces that control their lives. 

The message may not always be easily heard, but the cause is just, and the hearts are in the right place. There are so many in Canada who believe in a better country, we just need to listen to each other and work together in the cause of each other. The breadth of history provides those looking for inspiration and education, great lessons about how to effect great change.

On July 17th, Justin Trudeau visited StFX campus to talk about twinning the 401 and to announce an increase to the Canada Child Benefit. His visit was covered by both the Halifax Star and the Casket. While the Star reproduced a Liberal Party memo, The Casket did report on the “number of people organized… expressing their concern for the environment, referring to the federal government’s purchase of the Trans Mountain pipeline… for $4.5 billion.” They provided no further context to the protest. 

I spoke with the organizer of the protest, St. FX history professor, Dr. Chris Frazer about it. He heard about the arrival of the Prime Minister only a few days before, giving him a short window to protest the Trans Mountain pipeline currently cutting its way through British Columbia. Fortunately, Dr. Frazer and the other protestors were able to visibly confront the Prime Minister, despite repeated and shameful attempts of intimidation by campus security and the Prime Minister’s security detail. 

Dr. Frazer was spoken to by Mr. Trudeau, who repeated the false idea that protestors are against job creation and the economy. 

Mr. Trudeau has lied to voters about his promise to provide indigenous people with the right to veto resource projects on their land and territories, lied about his intention to enact electoral reform, lied about his commitment to human rights, and lied about his intention to take seriously the causes of climate change. 

I asked Dr. Frazer if his protest was worth it, and he replied enthusiastically, “Absolutely… What do you do? Wait for years until we get a chance to vote and… I look at that and think what’s the point of voting? 

Considering a Prime Minister who has completely abandoned his promises to reform the electoral system…most people in this country have a useless vote… what’s the alternative?”

I don’t know if Dr. Frazer’s protest alone will change the shameful course of the Trudeau Government and I don’t know if protests themselves are always an effective means of affecting direct change, but I do know that sustained, firm pressure on the Prime Minister and any one of his cabinet, whether in official or personal appearances, will draw attention from the people. 

Anyone interested in gathering or protesting in support of good causes, can contact Dr. Chris Frazer at cfrazer@stfx.ca

 

Megan Strong Works with Elephants and Marine Life

Senior at StFX majoring in Biology travels to Thailand

This summer, Megan Strong, 21, of Toronto, Canada, spent three weeks in Thailand helping animals, studying conservation, and learning hands-on what it’s like to be a veterinarian. Traveling with study-abroad organization Loop Abroad, Megan was selected as part of a small team that volunteered giving care at a dog shelter, worked directly with rescued elephants at an elephant sanctuary, and volunteered in marine conservation on the island of Koh Tao.

The Veterinary Service program brings students to Thailand to volunteer alongside veterinarians from the US and Thailand. For one week, Megan and her team volunteered at an elephant sanctuary outside Chiang Mai, Thailand to work with the giant animals and learn about animal rescue and conservation on a larger scale.

The sanctuary is home to elephants who have been rescued from trekking, logging, or forced breeding programs. Many of them had been abused and suffer from chronic injuries or blindness. At the elephant sanctuary, they are cared for by volunteers from all over the world. Megan helped to feed and care for elephants, as well as learn about their diagnoses alongside an elephant vet. The sanctuary is also home to over 1,000 animals, including cats, dogs, water buffalo, horses, and cows, and is sustained in huge part by the work of weekly volunteers like Megan.

Photo: © 2018 Loop Abroad

Megan also spent a week volunteering at a dog rescue in Chiang Mai, Thailand. The shelter is home to dogs who have been rescued after being abandoned, beaten, or abused. While the dogs can be adopted, any who aren’t will be cared for by one of the local shelters for their whole lives.

While she studied under the veterinarians leading her group, Megan and her team made a difference in the lives of these dogs. By providing check-ups and cleanings, diagnosing and treating ear and eye problems, taking and testing blood, administering vaccines, cleaning and treating wounds, and helping with sterilization surgeries, the students were able to help support the health and well-being of these dogs.

Megan then spent a week on the island of Koh Tao in the South of Thailand, working through Loop Abroad with the New Heaven Marine Conservation project. She helped to do marine surveys via SCUBA diving, worked on creating artificial reefs to help rebuild the coral reefs of Thailand, and studied marine conservation.

With plastic consumption and marine pollution in the news daily, projects like New Heaven and Loop Abroad’s marine conservation projects aim to help educate students like Megan while allowing them to be part of making a tangible difference in protecting biodiversity in the world’s oceans. From cleaning beach trash to tracking ocean animal populations, this work focuses on empowering local organizations to make a daily impact and help increase education about the importance of marine biodiversity and the health of our oceans and sea life.

Loop Abroad has animal science and veterinary programs for students and young adults age 14 to 30, and offers financial aid and fundraising help. Interested participants can inquire or apply at www.LoopAbroad.com. Admission to veterinary and marine programs is selective and Megan was selected based on her transcript, admissions essay, and professional references.

By following a study abroad model instead of a voluntourism model, Loop focuses on educating its students so that they can contribute and serve in meaningful ways. It also works with locally run animal welfare and conservation organizations so that students contribute to long-term improvement on the ground in the countries they visit. With programs in Thailand, South Africa, Australia, and the Amazon and Galapagos, Loop Abroad is able to support animal welfare and conservation around the world because of its students and their dedication to helping animals in need.

Photo: © 2018 Loop Abroad

The program’s Managing Director Jane Stine says, “Our students are some of the most amazing people I have ever met. They are kind, compassionate, dedicated, hard-working individuals who have big goals and want to make a big impact. It’s amazing to see how eager they are to learn and challenge themselves. Over the last nine years, we’ve seen them go on to do some wonderful things.”

Of her trip, Megan says, “This trip has been an extremely rewarding and fun experience. I was able to work with animals I probably would not have otherwise had the opportunity to work with, as well as learn a lot of things I can use in the future.”

In Search of Time to Lose on the North Shore

Spot some of the amazing fauna of Nova Scotia

This year is the first year that my fiancée and I are going to be in Antigonish. Last year, we lived in, and commuted from, New Glasgow. Although we lived in New Glasgow, we’re not from there either. Together we’re both from the southern Ontario/Greater Toronto area, but we’re not really city people. We lived in Northern Québec for a year teaching high school and elementary students in the Cree Nation of Wemindji, on the James Bay. We were frequent outdoorsy people, happy to go blueberry picking in the fall, fishing and canoeing in the spring and summer, and excited to have real snowfall to go on long snowshoe hikes through thick subarctic evergreen forests up and down rocky hills.

Ever since we’ve arrived in Nova Scotia about a year ago, we’ve been doing our best to root out some of the great spots to enjoy the great outdoors and in between digging in gardens and flowerbeds for our summer jobs, we discovered (or were directed to, rather).

Melmerby Beach in Pictou County, where the beach is a long sandy strip and the water is cool and clear, bordered on one end by tall cliffs. It’s a 40-minute drive out of Antigonish, but well worth the trip if you’re looking for cool reprieve from the hot, humid weather.

Sugar Moon Farm, west of New Glasgow and north of Truro in Earltown, where they can show you the passage of the season in the colour and flavour of maple syrup, as well as a really great crash course in the history and science of maple syrup and production. As well, all around the farm are publicly accessible trails ranging from quick one-hour hikes to longer, multi-hour treks.

Mahoney’s Beach, just a quick drive north of Antigonish is this rocky and windy beach. The shape of this beach is that you can be on either side of the natural dune; in the warmer, calmer waters behind the sandbank, perfect for laying in the warm sun, or on the rocky shore facing St. George’s Bay. A quick and easy getaway along the picturesque Sunrise Trail.

Arisaig Provincial Park, on the western edge of Cape George, lets you take a short hike through some very mossy forest, and stop for a picnic, if need be. If the park isn’t big enough for your trek, you can always continue along the Cape for some stunning vistas of old farms, fishing spots, and lighthouses that let you feel like you’re on the edge of the world.

Nova Scotia even has what’s called a “Passport” that gives the location of one of more than 60 distilleries, breweries, and vineyards in the province. Travelling to any one of these is half the fun, collecting the stamps upon arrival and imbibing in the potables, is the other. Many of the best of what Nova Scotia has to offer in terms of tipple is packed away and hidden from the main roads and finding these curiosities after travelling through some of the most beautiful hidden gems of towns in the province is well worth the price of a pint. Pick up a passport at the Townhouse and earn your first stamp.

Keppoch Mountain is an all too brief 20-minute car ride south of Antigonish. You’ve probably seen it looking south while driving the highway out of town. Don’t pay too close attention to Siri or Alexa for directions, they’ll send you past the entrance. When my fiancée and I went we ran into someone exceptionally friendly and helpful, who guided us onto a short, winding hike that took about an hour and a half to go all the way to the top of the mount, from which we could see the taller buildings of Antigonish, especially the greened copper steeples of the cathedral. If you go in the fall, you’ll have one considerable benefit that we lacked; the berries all along the trail will be ripe and ready for picking.

Photo: Yanik Gallie

Remember that any time you’re out and about in the wilderness to keep your eyes open and try to spot some of the amazing fauna of Nova Scotia. Just digging in gardens we ran into a number of salamanders (from eggs to juveniles to adults spotted, and bright orange), snakes (red ones barely longer than my pinky finger and big ones coiled up under decks, baby porcupines napping in an apple tree, washed up jellyfish, the awkward scuttling of hermit crabs, on the beach, any number of clams, oysters, and mussels, all manner of fish, and the wide variety of birds. Remember to leave only footprints and take only pictures. Don’t disturb the wildlife but enjoy the view and have fun.

Women of Antigonish: Meet Your Resources

How the Antigonish Women's Resource Centre is here to help StFX women

For such a small town, Antigonish is jammed packed with some awesome amenities. From waffle grilled cheeses and the farmer’s market and the Christmas parade, there is never a shortage of places to go in the Nish. And let’s not forget that we’re only a quick drive to the ocean! As far as a university town goes, Antigonish may be small, but she is mighty when it comes to everything the town has to offer.

One of the lesser known amenities of Antigonish is the Antigonish Women’s Resource Centre. This organization is designed to specifically cater the needs of any and all women in the Antigonish community, including StFX students. Not only do they offer crisis support, advocacy, and counselling, but the often initiate and stand up for local issues affecting women. The goal of the AWRC is to promote self-awareness, independence, and individual decision making for women in the community.

Photo: Yanik Gallie

The Antigonish Women’s Resource Centre offers support for women in a variety of ways. The AWRC runs programs throughout the year that vary from weekly craft circles to emotional eating and anxiety seminars. There is also one on one support in the form of counselling available through the AWRC with highly trained professionals. Specifically, there are counsellors for issues such as: sexual assault, domestic violence, childhood trauma, anxiety, depression, poverty, stress management, and addictions. There is also assistance in finding employment, academic upgrading and training, as well as parenting courses. The Centre can also provide women in difficult situations with advocates to help them navigate the legal, medical or other confusing fields following trauma.

A large part of what the Antigonish Women’s Resource Centre does is provide sexual assault resources for survivors. The AWRC offers three forms of sexual assault services in addition to counselling. The first is the Antigonish Sexual Assault Response Team, which works to help survivors who choose to press charges proceed through the criminal justice system. ASART works in partnership with the Antigonish Crown Attorney’s Office, Nova Scotia Department of Justice Provincial Victim Services Program, RCMP – Antigonish Detachment, St. Francis Xavier University Health and Counseling Centre, and St. Martha’s Regional Hospital Emergency Department by outlining each specific member’s role to ensure that the utmost care is given to the survivor. AWRC also offers a Sexual Assault Nurse Examiner who is available 24 hours a day, seven days a week to conduct a forensic examination of a victim of sexual assault. Finally, there are also support groups for adult survivors of sexual trauma that come in two phases: those just beginning the healing process and those further along in their recovery.

The Antigonish Women’s Resource Centre is located at 219 Main Street, and is open between 9:00 am and 4:30 pm, Monday to Friday. The first AWRC event this school year is the Take Back the Night March, a walk through Antigonish in protest of sexualized violence and advocating for safer streets. The walk begins at 7 pm outside of the Angus L. MacDonald Library, on Thursday, September 27th, 2018.

IGN Dead Cells Plagiarism Controversy: How to Avoid Plagiarism at University

How to avoid plagiarism at university

Have you ever had that one friend that steals your joke that was really good? Not funny, right? Well here at StFX, as Drake would say, we “can’t take a joke ‘cause it’s not one.” 

On a serious note, on every course syllabus you will find a brief description of the “Academic Integrity Policies and Procedures,” which outlines the university’s “Code of Academic Conduct.” Read this carefully as it outlines the “offenses against academic integrity,” such as plagiarism, cheating, falsification, and tampering, as well as the potential penalties for violating the Code of Academic Conduct. The Code operates on “five fundamental values,” which go as follows:
- “advances the quest for truth and knowledge by acknowledging intellectual and personal honesty in learning, teaching, research, and service;
-  fosters a climate of mutual trust, encourages the free exchange of ideas, and enables all to reach their highest potential;
- establishes clear standards, practices, and procedures and expects fairness in interactions amongst students, faculty, staff, and administrators; 
- recognizes the participatory nature of the learning process and honours and respects a wide range of opinions and ideas; and,
- upholds personal responsibility and accountability and depends upon action in the face of wrong-doing.”

Photo: www2.mystfx.ca

Here at The Xaverian Weekly, we describe plagiarism as “The presentation of the work of another author in such a way as to give one’s reader reason to think it to be one’s own.” This does not mean that using another person’s work is not permitted; quite the opposite in fact, having multiple sources is imperative to the production of accurate argumentative writing. Citing and quoting relevant work is the necessary if one is to include the ideas, thoughts, and research of others into their own work in order to improve their arguments and accuracy.  

Just recently, there was an unfortunate, yet fantastic example of plagiarism within the mainstream gaming journalism sphere. A now former employee of IGN Entertainment, Filip Miucin, recently posted his review of a game from French developer Motion Twin, called Dead Cells. The game, described by the developer as “a rogue-lite, Castlevania-inspired action-platformer” released on August 7th, 2018 to raving reviews, netting itself an astonishing 90/100 on Metacritic, the benchmark for a video game’s success. However, a controversy began on August 6th, 2018 when a relatively small YouTuber Boomstick Gaming posted a video tilted “IGN Copied my Dead Cells Review: What do I do?” which has amassed over 1 million views. The video shows a side-by-side comparison of Boomstick’s review and Miucin’s review on IGN, which was posted two weeks after Boomstick Gaming’s review. The similarities are abundantly clear: not only does Miucin only slightly alter the word choices of the original review, but the sequencing is identical, with the talking points of each video flowing simultaneously. 

Jason Schreier, a well-known and well-respected games journalist from Kotaku has been chronicling the events of the situation as they have unfolded. In his article, “IGN Pulls Review After Plagiarism Accusations,” Schreier transcribed each video, placing each talking point side-by-side, only serving to make the similarities all the more apparent. Throughout the course of events, Schreier updated his articles to include IGN’s formal apology and public announcement of their letting go of Miucin, as well as two “tipsters” who made Schreier aware of two other examples of substantial similarities between past reviews of Miucin’s to a competitor’s review. The reviews in question were of Nintendo Life’s Fifa 18 and Engadget’s Metroid: Samus Returns. Through transcribing each review, the side-by-side comparison is just as bad as the Dead Cells review which put these events in motion. 

Filip Miucin posted a video to his personal YouTube channel on August 11, 2018, in which one would expect a public apology. This was not the case. Miucin dodged around the fact that he indeed plagiarised the review of Boomstick Gaming stating that “the bottom line is that what happened with the Dead Cells review was not at all intentional.” Remember the fifth fundamental value of our Code of Academic Conduct, responsibility. Despite his wrongdoing of what seems to be multiple accounts of plagiarism, an appropriate apology is the first step in regaining his integrity; unfortunately, what he has done is far worse. Not taking responsibility for his actions, claiming their supposed unintentionality, is a true show of character. Unfortunately the original video is not available as Miucin promptly took it down, however Jason Schreier continued to follow the course of events in his article “Former IGN Reviewer Responds to Plagiarism Allegations: ‘Not at all Intentional’,” in which Schreier notes that Miucin said “You can keep looking, Kotaku, and please let me know if you find anything,” a direct jab at Schreier for doing his job as a reporter.

I hope that with such a clear example of what-not-to-do, you understand the severity of plagiarism, especially in a university environment. Fortunately, there are multiple ways to ensure you avoid plagiarism and properly include sources into your work. Professors are always willing to help out or point you in the right direction. The Student Success Centre, located in the library, is designed to help students out with all things academic. OWL Purdue is a fantastic internet resource full of examples to ensure you are citing properly, for both APA and MLA styles; and finally, ask a friend for help. Upper year students in your classes or residence may be able to help edit your work with the experience they have gained at StFX. The bottom line is this: if you don’t know, just ask – there are plenty of people willing to help out around campus. 

Sources:
“Code of Ethics.” Xaverian Weekly. 2018.
“Dead Cells.” Metacritic. Accessed 11 August 2018. http://www.metacritic.com/game/pc/dead-cells
Dead Cells, Motion Twin. 2018. https://dead-cells.com/ 
“IGN Copied my Dead Cells Review: What do I do? [I'm handling it].” YouTube, uploaded by Boomstick Gaming, 6 August, 2018.  https://www.youtube.com/watch?v=eKF6xnvaCsE&t=2s
Schreier, Jason. “IGN Pulls Review After Plagiarism Accusations [UPDATE: Writer Fired].” Kotaku, 11 August 2018. https://kotaku.com/ign-pulls-review-after-plagiarism-accusations-1828157939
Schreier, Jason. “Former IGN Reviewer Responds To Plagiarism Allegations: ‘Not At All Intentional’ [UPDATES: Third Review Questioned, Video Removed].” Kotaku, 11 August 11, 2018. https://kotaku.com/former-ign-reviewer-responds-to-plagiarism-allegations-1828273219
St. Francis Xavier University. (2006). Academic integrity policies and procedures [PDF file]. Antigonish, NS: St. Francis Xavier University.     Retrieved from http://www.sites.stfx.ca/registrars_office/sites/sites.stfx.ca.registrars_office/files/acade mic-integrity-document.pdf
The Student Success Centre. Saint Francis Xavier University. 2018.  https://sites.stfx.ca/ssc/
 

Deciphering the Town Bylaws

The dos and dont's of living in Antigonish

Whether you’re starting your first year at StFX or a returning student this fall, there are some things that you should know about your new home such as the town bylaws. While some town bylaws may seem like common sense, it’s best to keep yourself informed to avoid getting in trouble while living in town.
First and foremost, if you’re looking to have some fun with your friends during the evening, it’s best to remember that Antigonish has a noise control bylaw. After 10 pm, if you’re making noise that exceeds 55 dBA, you can be issued a summary offence ticket by a bylaw or police officer, with or without a noise complaint. Receiving a ticket means you can be liable for a penalty of $387.50 per occurrence. While blasting music after 10 pm may seem like fun, it might not be worth the price tag compared to going out to the pub.
Of course, if you’re living in residence, quiet hours define when you are permitted to be loud inside the buildings. Most residences will have different quiet hours for weekdays and weekends as well as different schedules during exam time. If you want to avoid having a chat with a Community Advisor, it’s best to know when the quiet hours in your residence are, and avoid making excessive noise. 

Photo: Sean Smith

For those of legal drinking age heading off or on campus carrying alcohol, make sure that you’re only transporting it to another location. Having open alcohol, or illegal possession, carries a fine of $467 in Antigonish, meaning it’s best to wait to open or drink any alcohol until you’ve arrived at your destination. Alcohol in travel mugs, water bottles, or that has been opened previously can also be counted as open alcohol under the Liquor Control Act.
Another thing to keep in mind while living in Antigonish is how to sort your garbage, recycling, and compost properly. Whether you’re on or off campus, the system for sorting is the same, including what colour bags to use and what items fall under each of the three categories. Sorting guides are available on the Town of Antigonish website under Residential Waste Management and may be distributed on and off campus residences at the beginning of the academic year.

For those off campus, keep in mind that garbage, recycling, and compost bins are picked up specific days, and each bin may not be collected every week. The schedule for when each bin is collected is posted on the Residential Waste Management section of the town website, based on your address. It’s a good idea to post a copy of the schedule around your house, so you don’t forget to wheel the bins out to be collected.

Last but not least, Antigonish is not only a temporary home for StFX students. It’s important to remember that we live next to families and long-term residents, and that they should be treated with respect as well. You wouldn’t want to have noisy neighbours, see litter everywhere, or generally have a bad experience in your hometown. Try to have a positive impact on Antigonish while living here, by following the bylaws and being a good citizen.

To find any further information on Antigonish town bylaws, visit the bylaw section on the town website. Otherwise, welcome back to StFX for another great year; hopefully one without any trouble with the town bylaw officer!
 

SAFE launches new $60 000 fundraiser

Refugee resettlement thrives in Antigonish

Syrian-Antigonish Families Embrace (SAFE) has set a new fundraising goal of $60 000 to be raised by September 31st. The new initiative will be driven by their "100 for 100" campaign, which encourages members of the StFX and Antigonish community to donate $100 to SAFE, while challenging their friends to do the same. SAFE hopes that the fresh injection of cash will enable them to resettle two more Syrian families in Antigonish. In an email to SAFE volunteers, founding member Lucille Harper issued a rallying cry to members of the community:
  
"With the support of people in our community and our province, we have helped 5 families start new lives in Antigonish. We can do more. The war in Syria is entering its 8th year with over 465 000 Syrians killed in the conflict, over a million injured, and over 12 million - half the country’s pre-war population - displaced from their homes. Please help us bring 2 more families to safety."

SAFE was founded by a small group of community members in May 2015, in direct response to the ongoing conflict plaguing Syria. Their mission was simple: gather funds and community support with the hopes of eventually resettling a Syrian refugee family in Antigonish. The group set an initial fundraising target of $30 000, and began raising funds by setting up jars in local stores, and organizing town halls & community events. Word of mouth and coverage in the local paper then prompted members of the StFX community to join the movement. At a special meeting in November 2015, StFX faculty members, representatives of the StFX Students’ Union, three Employee Unions, the Association of University Teachers, and Senior administration voted on a motion to create StFX for SAFE. The goal of this newly founded fundraising body was to raise $10 000 in sponsorship money for SAFE to aid in their resettlement efforts.

Throughout the following year, StFX for SAFE and the associated student society organized various fundraising events such as the Peace for Syria Walk, two Pause for the Cause campaigns, Hair Today/Gone Tomorrow, and the special presentation of a play co-authored by StFX alumnus Brendan Ahern and Majd Al Zhouri, a 22 year old StFX student from Syria. Within 18 months, StFX for SAFE raised tenfold their initial goal, collecting a total of $100 000 in donations.

Word of SAFE and StFX for SAFE's efforts spread throughout the community, prompting Class of 2018 co-presidents Alex Corrigan and Rachel LeBlanc to establish a bursary aimed at providing financial support for individuals who have claimed refugee status at some in their life. Fundraising for the bursary is ongoing, however, the Class of 2018 was able to raise nearly $40 000 over the course of the past academic year.

“At StFX, graduating classes have a rich history of giving back to the community and by the spring of 2017, it became apparent that the Class of 2018 also wanted to leave its mark. Rachel LeBlanc and I heard many wonderful ideas, but were most inspired by StFX for SAFE who had in the previous two years, raised more than $100 000 to support refugees in Antigonish. We were floored by their dedication and knew that if the community was so incredibly supportive of their cause, then our class would be too.” says Corrigan.

As of today, there are five SAFE-sponsored families from Syria living in Antigonish, with a sixth having recently relocated from Newfoundland; if the "100 for 100" campaign proves successful, that number could increase to eight.

Photo: Syria-Antigonish Families Embrace

X-Project Calls for Volunteers

Lend a helping hand to one of StFX's finest organizations

Are you interested in deepening your understanding of issues that impact local Mi’kmaw and African Nova Scotian communities? Are you seeking ways to combat inequity and injustice of systemic racism in real and significant ways? Would you like to build friendships with neighbouring community members, youth leaders and peers? If you’ve answered yes to any of these questions, X-Project is the place for you to volunteer.

So, what exactly is X-Project? Well, it all began in 1965 when Joe Webb, a recent StFX graduate, was given the position of teaching principal in the Lincolnville school. At the time, Lincolnville, a historic Black loyalist community, faced many inequities along with considerable racism in the surrounding areas that meant that job opportunities, education, and support systems were limited. During his time as principal, Joe noticed that his students were having difficulty completing their homework. He was determined to find some way to help them out. He called his friend Rollie Chiasson to discuss the issue, and realized that many of his friends who were still in university might be able to come out and help some of his students. He also spoke with community members to discuss how to best go forward with this idea. The students he contacted posted a sign just outside of meal hall calling for volunteers willing to drive to the Lincolnville school and help out. Their hopes were that at least a couple of people would show up at the designated date and time. It was a pleasant surprise when 13 people showed up, enthusiastic and willing to help out. 

Around the same time, Margie Boyle, Kay Cameron, and Joan Dillon were travelling to Lincolnville three times a week to teach a pottery class. They had been inspired to do this after the tragic passing of Giles Gaudry, an itinerant artist who had begun teaching pottery in the area as a way to give back to the community that welcomed him in. These women continued his legacy of teaching pottery with the help of Mother St. Phillip, Father Anthony, and men from the Third Order of St. Augustine’s. They not only taught pottery class, but as relationships with the community grew stronger, they helped to create Father Anthony’s ABC Band as well as the cubs and scouts programs. They eventually needed to recruit more volunteers and soon a group of about 30 people were coming down, along with members of the Sisters of St. Martha.

Though initially the group offering homework help and the group doing pottery stayed separate, eventually the two groups decided to merge so that transportation could be shared. Joan Dillon negotiated a bus deal with Dr. Remi Chiasson, Superintendent of schools who granted them the weekly use of a very large bus at a reasonable price and soon the whole group began traveling together. At the time there were approximately 98 children and about 30 families in Lincolnville. Though the two groups joined forces primarily to share transportation, they quickly began to share programming ideas and worked with students and adults to promote literacy, offer cubs and beavers, provided recreational programs, and more. In March of 1966, the group of volunteers sat down and wrote a constitution that formed the society now known as X-Project. The “X” in X-Project was actually chosen to represent the importance of operating as an “unknown factor”- that is, not asking for recognition or going into communities with a personal agenda, but rolling up your sleeves, listening and understanding community needs, and working alongside them with determination in a quiet manor. So, the core intentions of this group were quite simple; only go to the community if invited and welcomed, respect the wishes of the community and respond directly to the community’s requests.

Over the years X-Project quickly grew to include more communities and more members. The group began to organize many community building events including well-attended teach-ins that focused on Indigenous issues in 1968 and the impact of racism on African Nova Scotians in 1969. X-Project has held numerous Saturday programs, bowling days, swimming days, skating parties, youth leadership weekends, and literally thousands of nights in communities. In more recent years, X-Project has helped to bring some important keynote speakers to campus including Wab kinew in 2015, Senator Sinclair in 2016, Buffy Sainte-marie in 2017, and Desmond Cole in 2018, in keeping with their long tradition of discussing important ideas relating to equity and justice. Thousands of St.F.X. students have volunteered over the past 50+ years and hundreds of community members have been consistently involved since the beginning. What began as a small group of students committed to working alongside one local community to support children’s learning has grown into a phenomenal, strong family of students, alumni, youth, and community members all working together toward common goals. 

Photo: Lisa Lunney Borden

Today, X-Project works with five African-Canadian and Mi’kmaw communities in the surrounding area; Paqtnkek, Pictou Landing, Antigonish, Sunnyville and Lincolnville. We continue to offer small group educational assistance, recreational and leadership programs for the youth in these communities. Each week a number of student volunteers board vans and buses and head out to the communities to work with the children in their homes or in community centers, helping with homework, playing educational games, doing activities and being a mentor. Also, approximately four times each term, youth from the communities are brought to the St.F.X. campus for recreational programs such as Sports days, Halloween and Christmas Parties, swimming, bowling, and skating. Each year we also work with the teens in the communities to provide youth leadership programs. This often involves several Saturday trips in to the university to meet as a group and participate in activities and workshops that help to develop leadership skills. The youth leaders also help to plan workshops and activities for their own communities and act as leaders for recreational programs and weekly educational assistance. Each March, the youth leaders come to St.F.X. to participate in the youth leadership weekend where they engage in activities and workshops that they have helped to plan throughout the year.

X-Project continues to be almost entirely run by volunteers and the success of X-Project rests solely on the interest, initiative, and commitment of students on this campus. Over the years it has become inexplicably clear that both the student volunteers and the community youth gain so much from being involved with X-Project. Volunteering with X-Project gives you the opportunity to learn about yourself and others, take breaks from the overwhelming university life, foster beautiful relationships, connect with communities in a meaningful way and work towards common goals of greater equity and justice.

We’re always looking for more volunteers to join the family! If this sounds like something you’d love to do then why not become part of the crew of students that heads out to communities weekly or helps out during the various planned events on campus? Perhaps you know all about X-Project already and are keen to take on a leadership role. You can still apply to be part of our Student Branch executive using this form https://forms.office.com/Pages/ResponsePage.aspx?id=x6tGjAuWJEGJUBYosrGS-VaWTnL0S8xOvtUiLOfuj2BUMFlDR0M2N1JCODdDUlZRV0JaSlVHMVNOSS4u. Available volunteer positions include community coordinators, youth leadership coordinators, saturday program coordinators, transportation coordinator and office manager.  

If you’d like to get involved or want some more information, just e-mail us at xproject@stfx.ca or lborden@stfx.ca! We will also be society night on September 6th and you can join us for our volunteer orientation on September 20th! You can also find us on Facebook (fb.me/stfxproject), Instagram (@stfxproject), and Twitter (@stfxproject) to stay in the loop! 
 

Coady International Institute: An Often Forgotten Gem

Let's remember the global impact inspired by Coady

Welcome to your new home, or welcome back for those returning students! It’s hard to believe that the humid hazy days and the sweet summer nights and have come and gone, it’s now back to student life.  

But student life is not a bad thing, new classes, new profs, my inner academia nerd is coming out. Student life isn’t just about endless assignments, the late-night cramming for exams or the last-minute submission for the term paper which should have been started weeks ago. 

It’s also about growing as a person through the education you receive and hopefully wanting to make a positive difference in others' lives. 

Speaking of making a positive difference in others’ lives, there’s an institute right here on this campus that works day in and day out to make this possible. The Coady International Institute tucked away behind Cameron Hall, sits a place that is blooming with life and endless possibilities. 

Photo: Kenneth Doiron

For first year students you might not have any idea what I'm talking about, and the same goes for upper year students. Don’t worry, I’m not here to shame anyone from being uninformed, quite the opposite. 

Over the past four months I’ve been privileged enough to have an internship there working in the women’s center. In those four months I’ve been able to get a glimpse of all the dedicated hard work that its staff members pour their energy into.   

The Coady’s mission is to instill leadership, “In collaboration with partners in Canada and the global south, the Institute is committed to reducing poverty and transforming societies by strengthening local economies, by building resilient communities, and by promoting social accountability and good governance.”

I don’t have the words to properly express just how astonishing the staff members of the Coady are. I was amazed every day at the work they put into making sure that the students they work with have the best experience possible, both on campus and off campus. 

I encourage more students to seek out the people that work there to find out all the work that they do. Who knows, it might be along the lines of what you’d like to do someday. 

In last the four months I have watched 5 cohorts of both women and men come from vastly different countries and walks of life. But, everyone had the same like-minded goals of building their own leadership skills for each of the different sectors that they work in and making positive impacts within their own communities. 

Photo: Kenneth Doiron

From July- December there are 41 students at Coady from 19 different countries, who will be here studying and working towards receiving a diploma in Development Leadership. 

All of this happening, and it’s happening right here on campus. It’s a shame that not enough work goes into telling the new students about the Coady during frosh week, and the weeks after, once you’ve settled in. 

The students who are currently studying at the institute are some of the smartest, kindest, and loving individuals that I have met in my life thus far. They have so much to offer, with every word they have to say to you, you will find yourself in awe of their brilliance. 

 I want to put this to every student at X, which is asking a lot, to make more of an effort of making the Coady apart of their undergrad experience. 
Whether that be, walking through the halls of the building, researching more in depth to find out about the work that goes on, or by saying hello to some of the students who will be studying with us until December. 
By doing this, you will find yourself realizing how special this little community is. We may be little, but we’re making a huge impact in the world, in many more ways than you think. 
 

Alex Cyr Interview

Alumnus publishes debut novel documenting athletic experience at StFX

Alex was interviewed by Yanik Gallie on August 14, 2018. Runners of the Nish: A Season in the Sun, Rain, Hail and Hell is now available for purchase online through the FriesenPress or Amazon websites.

Photo: Heckbert's Photography and Gallery

Alumnus Alex Cyr published his debut novel Runners of the Nish: A Season in the Sun, Rain, Hail and Hell on July 25, 2018. Alex’s novel is an autobiographical reveal of life as a StFX athlete. 

Alex is a journalist who has written articles for U Sports and Canadian Running Magazine. Prior to publishing his novel, Alex published interviews with Olympic athletes Eric Gillis, Melissa Bishop, and Reid Coolsaet.  

***

YG: Can you share your experience of writing a first novel?

AC: There were a lot more steps to the experience than I thought. I started writing not thinking I was about to write a novel. The way it started is my coach Bernie Chisholm asked me if I wanted to chronicle a few things throughout the season like a race, workout, that kind of thing. As time went on, I filled in the gaps with things that happened. Not only races, workouts and hard outcomes, but also fun events that the team did and nights out. The process of writing my first novel really came in small, small, increments to the point where I didn’t know where I was going with it. It didn’t feel like a job until I got to the point when I looked at what I had and thought I can publish this. Because it was about something that I cared about and enjoyed, it was really a painless, and fun, process.

The publishing process took a lot more out of me than I thought. There is a lot that goes into taking a manuscript and making it into a book. Before that, I didn’t realize how many people would get to work with me. There is so much to be done. There’s editing, design, layout, copyright, getting your ISBN registered. All in all, I think it was a super cool experience and something that I might want to do again someday. It was eye-opening and rewarding.

YG: Knowing the book reflects your personal experience, is there content you were hesitant of including or redacted from the first edition?

AC: Yes. When I decided that I wanted to make a book out of this, I had to make a critical decision in that do I keep the events real and make it a non-fiction or do I embellish it and make a story out of this? Eventually my decision was to keep it real. I put the results as they were. I put the events as they were. Tell the stories as they were. When I made that decision, it made me have to draw a line somewhere else. How intrusive can I be in this endeavor? The people I write about are my teammates and also my best friends. When writing something about them, you want to portray them in a way that is very real, respectful and indicative of who they are. At the same time, you want to present them as characters and highlight little traits and funny characteristics that they have. Most of it, I tried to keep PG. There’s college life in there and stuff. For that part, I tried to gloss over some things that may not be appropriate for the book. I wanted to keep it friendly for the general population.

Photo: books.friesenpress.com

YG: Coach Bernie Chisholm is a treasured mentor of yours. How are you keeping the teachings of Bernie with you in P.E.I. and Ontario? 

AC: Something I think you’ll hear from many people who have been coached or taught by Bernie, because he was also a teacher, is Bernie became a bit more than a running coach. He became a life coach. 

I think Bernie instills good values in his runners and students. He’s a person with very consistent beliefs that he vocalizes. He’s also a guy who will tell you when you’re stepping out of line. He’s someone who implements a strong team culture and holds everyone to the same high standard. 

Personally, a lesson I am taking back with me from StFX, and from Bernie especially, is the ability to be mentally tough. I apply this to my running mostly, but it’s also a lesson that I apply to life. It’s the ability to push through things when they are not going my way. When you are doing a discipline like running, chances are you are going to replicate that behavior in other aspects of your life. With Bernie, he taught me to persevere and to be patient while working hard. That’s probably the number one quality that I have that I can attribute to Bernie’s coaching.

YG: You beat your personal best this May, well done. What goals are you pursuing with the University of Windsor Athletics Club?

AC: I still have one more year in my master’s at Windsor. After that, I don’t know where school, life and running will take me. There are things that I like about the environment in Windsor and if the next chapter of my life is there, my goals with running are to take it as far as I mentally and physically can. If I’m able to do that for the next few years, the goal is to be increasingly competitive on the national stage.

YG: What athletic tips would you give to a first-year student who is interested in running for StFX?

AC: I would encourage that student to go tryout and give it their shot. I think successful runners on the StFX team come from all walks of sport. You will have those who are superstars coming in and they don’t take as much time to walk up the ranks in the team and become intrinsic members. You will have those who have to wait a bit longer and stick it out. A tip that I would give is to be patient and trust the process. It wouldn’t be to work extremely hard for one week as it would be to work quite hard for 52 weeks and do it again, and again. 

Now, I’m one year removed from X and my best friends that I talk to everyday are fellow X-Men and X-Women, roommates and teammates. Cross-country and track-and-field are in essence sports for individuals. However, at X, there very much is that aspect of team that follows you wherever you go. Work consistently hard and results will come. 
 

Special Olympics Summer Games

Town and County of Antigonish and StFX co-host special olympics

5 Days, 13 Provinces and Territories, 315 Coaches and 1,025 Athletes with one common goal; to prove that they have what it takes to compete on the global stage for their country. This year’s Special Olympics Summer Games may have come to a close, but the lasting impact they have had will continue for years.

From left to right: Joshua Weaver, Patrick Weaver, and Alex Weaver

The games were particularly special for me and my family, seeing my brother Patrick, who has Down Syndrome, compete on a national stage and seeing it happen at the university I am so proud to attend. Patrick competed in the swimming events and participated in 4 individual races and 2 relays. In addition, he also plays with the Special Olympics basketball team but did not compete with them at these games. Seeing Patrick’s excitement as he walked on campus for the first time, just thrilled to spend the week living where his older brother does, was beyond worth the plane ticket. From the moment Patrick met up with his teammates he always had a smile on his face and was trying to soak up every minute he could.

The Special Olympics mean the world to Patrick. It is where he meets his friends and plays the sports he loves with people who support him and share a passion for the game. It is where he has made some lifelong friends and learned the value of competition and sportsmanship. It really shows you how excited all the athletes are when they finish a race, and everyone starts cheering for each other and the different swimmers, it becomes an immensely humbling experience to see these people who are competing for a place on team Canada giving a high five or a hug to their competitor that beat them to the finish, you can’t find that anywhere else in sports. It is remarkable just how much the athletes teach you what it means to be a human, and how compassion goes such a long way.

The games have given Patrick opportunities to grow and improve as both an individual and an athlete that he would not be able to ordinarily. Seeing him excited to go to practise and get that little bit better and then come home beaming about his new techniques he learned or how he got to spend time with his friends really makes the difference in his life. And that practise sure paid off, in all of the events Patrick competed in he had 3 personal bests for his fastest time, won four medals and competed better than any of us could have hoped, and it makes us immensely proud of his achievements. It is these experiences that are so important to us, to give Patrick the chance to excel at sport where he would be shunned from because of his disability, and to get a chance to socialize with people who care about him just as much as he cares about everyone he meets.

From left to right: Justin Thompson and Patrick Weaver

Special Olympics decided that they would do something different for their 50th anniversary and decided to take a chance on a small town in central Nova Scotia. This was the first time in the history of the Canadian Special Olympics that they have hosted the games in a small town, and from being there and feeling the atmosphere I would say that it was a huge success. I was especially impressed at how well embraced the games were, whenever we went out for dinner or went to the grocery store there were always people coming up to us asking if we were out for the games and interested in where we were from and what events my brother was in. You can’t find that kind of hospitality anywhere else. From all of the volunteers taking time out of their lives to help make the games possible to the companies that donated money and goods to bring an east coast vibe, the games were well executed and presented. The town of Antigonish itself should be proud for opening its doors to the rest of the nation and doing it with the utmost kindness and compassion. It really made the games that much more extraordinary for my family and we cannot thank everyone involved enough for their part in making dreams come true.

From left to right: Joshua Weaver, Alex Weaver, and Patrick Weaver

X-Men Football Athletes of the Week

Strong performances in season-opener from MacDonald, Virtanen and Burnham

X-Men Football Offensive Player of the Week

X-Men wide receiver Greg McDonald was named the StFX Football Offensive Player of the Week for the week ending Aug. 26, 2018. Greg, a 3rd year Business student (2nd year eligibility) from Halifax, N.S. led all receivers in the game Friday night in total receiving yards in StFX’s loss to SMU. Greg had 4 catches for 91 yards, averaging 22.8 yards/reception including a 29 yard reception in the 3rd quarter that set-up an X-Men touchdown. Greg also had one kick-off return in the game for nine yards.

X-Men Football Defensive Player of the Week

X-Men defensive back Cole Virtanen was named the StFX Football Defensive Player of the Week for the week ending Aug. 26, 2018. Cole, a 2nd year Business student from Nanaimo, B.C. had two big defensive plays in the X-Men’s loss Friday night to SMU as he picked off two passes for interceptions. Cole also had a pair of solo tackles, including one for a loss of three yards, and he had one break-up in the game.

X-Men Football Special Teams Player of the Week

X-Men kicker/punter Kieran Burnham was named the StFX Football Special Teams Player of the Week for the week ending Aug. 26, 2018. Kieran, a 4th year Arts student (3rd year eligibility) from Cambridge, Ont. booted 2 field goals and an after-point kick to record 7 of the X-Men’s points in a 20-13 loss to SMU Friday night. Kieran kicked field goals from 15 and 35 yards out. He also had 8 punts for 319 yards (39.9 avg) including 2 punts inside the 20, along with 3 kick-offs for 168 yards (56.0 avg).

Photo: http://www.goxgo.ca

Get to Know Canada's First Vertical Bank Note

Bank of Canada releases details about new note featuring Viola Desmond

Canada’s new $10 bank note will begin to appear in cash transactions late this year.

Designed to stand apart, it’s the first vertical note issued by the Bank of Canada, and features the portrait of social justice defender Viola Desmond.

Here’s what businesses and cash users need to know about this new $10 bill.

As with Canada’s other notes, the new $10 has bold security features, ensuring that Canadians can use it with confidence. That’s why the Bank issues new notes – to stay ahead of counterfeiting threats and to keep pace with advances in technology.

But remember, bank notes are only secure if you check them. Routinely checking all notes—no matter which series or value—allows you to intercept counterfeits and keep them out of circulation. The security features on Canada’s vertical $10 note are quick and easy to check:

- Feel the smooth, unique texture of the note. It’s made from a single piece of polymer with some transparent areas.

- Feel the raised ink on the front of the note, namely on the portrait, the word “Canada” and the large number ‘10’ at the bottom.

- Look at the detailed metallic images and symbols in and around the large transparent window.

- Look at the pattern in the eagle feather. Tilt the note to see the colour shift from gold to green.

- Flip the note to see the elements inside the large window repeated in the same colours and detail on the other side.

Photo: Bank of Canada

The new $10 note will be rolled out gradually and circulate alongside the other polymer $10 notes. Unlike the special $10 note issued for Canada’s 150th anniversary in 2017, printed in a limited quantity to mark this historical milestone, the vertical $10 note will be the regular $10 note produced for years to come.

Business owners may be wondering what this new $10 note means for their cash-handling equipment. The vertical $10 has been designed to minimize the impact on the cash-handling industry and maintains the same functional features as current polymer notes. Equipment owners and renters should contact their suppliers with questions about machine compatibility.

With the release of this new $10 note, the Bank of Canada’s approach to issuing bank notes is changing. Rather than issuing all five denominations within a short time frame, a new note will be released every few years. This will allow the Bank to integrate the latest security features each time a new bank note is issued, ensuring that Canadians can continue to use their bank notes with confidence.

For free, downloadable materials to help businesses train their staff, visit www.bankofcanada.ca/retailers. For more information, contact us at 1-800-303-1282 or info@bankofcanada.ca. Follow the Bank on Twitter (@bankofcanada) for the latest news about Canadian bank notes.

The Bank of Canada Museum is on Facebook! Follow, like and share the latest information about Canada’s upcoming $10 bank note and much more: @BoCMuseum.

Orientation Week or Frosh Week?

Deconstructing the semantics of titles and their powers (if they have any)

Orientation week is a time of new experiences, new classes, new friends and of course, new parties. StFX is at the top of the list for party schools in Canada according to Maclean’s magazine, but if you dig a little deeper, the parties don’t necessarily constitute the new-coming class or hold relevance to the orientation week. When discussing the parties both on campus and in town, “The pub (the Inn) stopped serving chicken at 9 p.m. and booted out anyone under legal drinking age; the night has become a High School Musical sing-along that is nearly frosh-free.” Campbell states in an article posted on the magazine’s website. The distinction between current students and freshmen is important because the title of the party school is advertised mostly to new comers and can deter prospective students from applying to our campus.

StFX, among other schools, have begun to switch from the infamous “Frosh Week” to a more study-friendly “Welcome Week”, and although there has never been a firm implementation, it leaves this author wondering whether the title change would make a difference. StFX has always held a tradition where their introductory events built a sense of community, ranging from team building activities, presentations, house competitions, and of course parties; but these events do not span across the year and do not condone excess drinking or partying. The university takes pride in its students and emphasizes the strong bond developed among peers. If the university officially changes the title of the introductory week, it does not mean that they change their activities. It is important to remark that while the university provides activities, they are not the ones responsible for actions taken by students. Many of the university’s events are often listed as dry or are activities that can be enjoyed without the use of recreational substances.

There are many students who come to StFX to learn, myself included, but that doesn’t make the effects of peer pressure any less prevalent. The fear of missing out (FoMO), according to Oxford Dictionaries, is an “anxiety that an exciting or interesting event may currently be happening elsewhere, often aroused by posts seen on social media.” In an article for the American Journal of Medical Research, Louise H. Graham states that “FoMO may make people more conscious to what is happening around them, improving their awareness, but the preoccupation with what they may fail to catch may disconcert them, curbing their capacity to be knowledgeably vigilant.” which can correlate with its definition to imply that our sense of peer pressure and wanting-ness to belong is greater than ever before. Students may partake in activities because of FoMO and wanting to develop a bond, but StFX makes a point to host events in separate locations and filter those who aren’t of age so that it becomes a choice rather than an obligation. These events are specifically designed so that people are given the opportunities to participate and belong without having to make decisions they might otherwise regret.

This leaves hazing; Frosh Week no matter where you go, often suggests that there are rituals or activities that someone must partake in to belong to a house, or a group. I came from a university before StFX where there was a lawsuit against residents in my house due to actions taken during my frosh week. I bore witness to attempts to try and take advantage of those who were incapacitated, and I said no. You always have the right to say no, and if someone tries to force your hand, then they are breaking the law, and if you see someone else who can’t say no for themselves, then stand up and say no for them. The people who try to do those things are not people you want to affiliate with, and they do not represent a norm, and they do not represent your school. There is nothing wrong with partying occasionally in my opinion, but a big part of university is involvement and what you make of it. If you’re not a partier, then StFX is loaded with options for alternatives, but it may be up to you to take advantage of those or to develop them as you see fit. If you are put in an uncomfortable situation, you have the right to move, and to voice your concerns. Pitching ideas to your student union of activities or ways to improve the school is how you can make the difference you want to see. I don’t believe a title change will change the way the school is perceived, but I do think less emphasis on the party activities and more emphasis on the other ways the school provides its strong university bond, and how students can get involved is the best route to take.

Pragmatic Parking

New fee for StFX students who stay on campus overnight

Parking is a troublesome thing on the StFX campus, and with the growing population of students who would prefer to drive themselves than walk, it is becoming increasingly difficult to find that perfect spot. The StFX security team has undergone some practices to curb the growing number of cars on campus by adding carpool spots and, most recently, parking tags. Last year, when registering for my tag, I spoke with security who told me this was a long-term plan to calculate the number of people who park on campus before implementing a parking fee. The idea being that a fee will discourage people from driving to campus while also earning the university a nice profit.

While I love the idea of fewer vehicles on the road, in Antigonish there is a population four times larger than the town that live in the county. Driving longer distances is the requirement for many of the locals, as well as students, and forcing them to pay an excess amount of dollars because of where they live is not fair. Current rent prices in the town are unsustainable for many students, and the result is many people moving out into the county or further from the town. Scheduling rides is possible, but not always practical. I live at home while going to school and if I were to share a ride with my mother, it would mean a 3 hour wait time for my classes, and anywhere from a 3 to 6 hour wait time for her while waiting for me to finish classes. While feasible, it’s not necessary when there are alternatives such as my own vehicle. There is a transit available but only on certain days and people must plan their day around it, if they can at all Unless the transit system becomes more comprehensive, the resulting fee is a larger force driving people away from campus.

Photo: Brendan Riley Photography

“It’s frustrating that we’re probably going to have to pay for parking, when there aren’t enough spots.” Says Kristen Meagher, a third-year business student. She goes on to explain that the difficulty is that the parking that is available isn’t near the associated buildings to her classes. In disbelief, Kristen states “I just can’t believe they’re going to make us pay for a spot that’s not even guaranteed, let alone it being where you want it to be.” No parking convenient to class location is a common complaint among students; the entire parking system is rigged that unless you are in residence, you are required to park a sizeable walk from your class, which can also be difficult for people with health issues.

This year security has implemented an overnight parking charge of $250 for the full academic year or $150 for a single term. Security emphasizes that they are trying to create a “pedestrian-friendly campus” but fail to explain how an overnight charge helps to create that environment. The student population is most active in the streets during daytime hours, and so the nightly charge appears to just be an extra expense to students who are already paying great sums to live on campus. The only promotion an overnight pass creates is that the lots surrounding a building are given to residents rather than potential guests; however, given the limited number of spaces, it is no guarantee that a resident will still be close to their building. In the past, protests have been made to establish the demand for parking across campus, but to no avail.

StFX and their security team need to begin listening to their students and either make the university more accessible or begin to provide the services that are being requested and demanded from them. If they begin to issue charges for parking tags, then spaces should be guaranteed so that students are ensured spots close to the buildings relevant to them. If students can’t park on campus, then they will be forced to park in the business lots surrounding the school, and the walk isn’t much different. This movement outside of campus could cause disruption with local businesses and the town itself, and then StFX will have more than just the students to deal with.

Alumni Empowerment

StFX alumni in politics gives students a voice

One thing that StFX is best known for is its involved and passionate alumni community. For students just starting out on their undergrad journey, the idea of being a Xaverian beyond four years may seem too far away to worry about. However, our alumni community has the potential to represent more than just returning to campus for homecoming. Among StFX's alumni stories are those who have found success in Canadian politics. Politicians have a unique power that many government positions do not – they have the opportunities to not only launch positive change, but also act as a mediator for the people who want to.

A great example of this is Sean Fraser. He is a Liberal member of parliament representing the riding of Central Nova, and also an X grad. Very active on social media, Fraser's twitter gives off an approachable atmosphere and showcases his involvement in Central Nova Scotian communities. What does this mean for you? It means that you have someone in the know. Like most StFX alumni, Fraser is proud to be a part of the circle. Of course, writing to any member of parliament if you have concerns or ideas is fine, but the chances of having your thoughts listened to are far greater if you have something in common with the MP. An MP with a StFX background might also be aware of any university or township issues before someone even asks them about it, which is another advantage.

Beyond using alumni power as a voice, there is also the way in which StFX alumni can inspire others to go forward with their own career decisions. StFX publishes an Alumni News magazine twice annually. For Summer 2018, included was an article about women who graduated from StFX and how the university encouraged and empowered them to achieve success in whatever they wanted to do. Liberal Nova Scotia MP Bernadette Jordan became the first woman to represent the South Shore-St. Margaret's riding, and she says that StFX, “ignited [her] passion for federal politics.” By sharing her story to other members of the Xaverian community, she has shown that she is not simply here to represent her undergrad. Her accomplishments inspire women in the community, whether they be politically-inclined or otherwise, to reach their goals.

Photo: http://bjordan.liberal.ca/

Furthermore, political alumni have another big way to contribute to StFX; donations and buildings! Most recently, The Mulroney Institute of Government has been built due to Brian Mulroney's generous donations to the school. This is another major power that X alumni involved in politics, or another wealthy profession harbour. Because not only does it allow them to give back to their school community, but it also brings a sense of pride to StFX for having so many alumni success stories. Having alumni that are able to donate their money and influence to the school also gives current students a sense of belonging; maybe in the future, current students will be able to donate just like so many of those before them.

The phrase 'small but powerful' is something that resonates with this school. Despite our size (population-wise and geographically), Xaverians have made waves. Of course, everyone knows about our most well-known politician (probably ever), former Prime Minister Brian Mulroney, but there are other politicians active in all tiers of Canada's government right now who are doing good work...and they are wearing X rings! Aforementioned MP Sean Fraser is once again a great example, given his recent tweets promoting the Help the Helpers conference, right here in Antigonish. So if you're ever feeling like you want to make a change in your community, utilizing alumni connections is a powerful way to do so. 

Sarah Mian Interview

Staff Writer Addy Strickland and Co-Editor-In-Chief Yanik Gallie interviewed novelist Sarah Mian at Trellis Cafe on Tuesday 24th of July. Sarah is writing the script for a film adaptation of When The Saints. Sarah is also in the process of writing her second novel, The World in Awful Sleep.

Photographer: Shaun Simpson

Sarah Mian's debut novel, When the Saints, won the Jim Connors Book Award, the Margaret & John Savage First Book Award and was a finalist for the 2016 Stephen Leacock Medal for Humour. The book has just been optioned for a feature film and she is writing the screenplay.  

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AS: You recently left your day job with the RCMP to become a full-time writer. What does a typical day of work look like for you now?

SM: I wish I could say that I had a routine that I stick to everyday. It’s more random than that, because I never know what project is inspiring me on a particular day. I am working simultaneously on my second novel, the screenplay for When The Saints, and a few other freelance projects. I try to get the tight deadlines out of the way first. Generally speaking, I write better at night, and now that I don’t have to get up everyday and go to a day job, I can write all night. I find that I think much more clearly in the evening, so I usually start writing on the heavy stuff after 7pm, go till about 2am or so, and then I wake when I wake. I try to get some exercise in there. I find that when I do something repetitive like running, walking or paddling, a different part of my consciousness can come forward and I’m better able to work out all of the plot points that weren’t coming to me when I was typing. 

AS: When The Saints is your first novel, correct?

SM: I wrote what I call a starter novel in my 20s, and I highly recommend it because it taught me how to be a better writer. When I read it back, not only is it a capsule of the way that I thought in my 20s – my gosh, I’d be mortified if it would ever be published because it’s so saccharine, idealistic, naïve --but when I read it back, it I can see that the writing gets better halfway through. All that consistent writing really paid off. The beginning is weak, and the ending is so strong, I can see the transformation of myself as a writer through that manuscript. It was absolutely worth doing. 

I teach writing classes now at the Writers’ Federation of Nova Scotia and I always tell students, “never throw anything away.” If I had thrown that manuscript in the wood stove once I realized it wasn’t going to get published, I would have lost some really poetic descriptions of weather, landscapes and the ocean. I’m pulling those out and using them now in my second novel. It’s like a gift from my former self.

AS: What was the process of writing When The Saints like compared to your first novel?

SM: It started out as a flash fiction exercise I was doing with my writing group. I just kept adding to it, and it became a short story. Then, it was longer than a short story and I was still working on it. I had no intention to write a novel based on it – but the voice was so compelling and urgent. So, I wrote the whole thing from start to finish. Then, I went back to the beginning and made every line lead up to that ending. It felt like with this particular story, like it wanted to exist, or it already existed, and it chose me to take it down like a scribe which makes it sounds easier than it is. My second novel is not going down that path at all. It’s a completely different beast. I really value the fact that When The Saints came to me so fully formed.

AS: When the Saints took home the notable Jim Connors Dartmouth Book Award and Margaret and John Savage First Book Award in 2016. As a debut author, how were these awards significant to you?

SM: Because those awards are judged by other writers in the Maritimes it felt really good to be recognized by my peers. It meant a lot to me while I was writing the book, and after I wrote the book, that people here embraced the book. It is such a Nova Scotia story. It was also shortlisted for the Stephen Leacock Medal for Humour and there were only three finalists - the other two well established with many novels under their belts and had been shortlisted or won the thing before, and me. And, this is a big event where it’s black tie and they sing the national anthem. That was kind of surreal for a kid who grew up in the hood in Dartmouth on social assistance.  

YG: What did you take away from working with the major publisher, HarperCollins?

SM: I had no idea there were so many layers to the editing process. There’s an editor, and there’s a copywriter, and then there’s a proof-reader. I was getting emails like, “hey, you have someone drinking a pineapple cooler, and the book takes place roughly around 1996. I don’t think those were invented yet, here’s a list of coolers that you can choose from.” So, I think I changed it to Calypso Berry. I was thrilled that somebody is actually like, “hey if they drive to the stop sign and turn left, wouldn’t they be going the wrong way?” They’re actually paying attention to my imaginary town. 

Then there’s a jacket designer. I sent them a photo of something that I had in mind, and then they had their artist create this cover. I’m so happy with what she did. When it was published, HarperCollins gave me a publicist. It felt like I had a whole team. Through it all, I had a say in everything. My contract stated that I am the top authority over my creation, and HarperCollins stuck by that.

YG: It sounds like you had a lot of creative liberty to make the book’s aesthetic and content exactly to your liking, which is awesome.

SM: Yes, but when it comes to the screenplay, it’s going to be completely opposite. Having had this experience, I really need to brace myself for the fact that I’ll have little control over the decisions. But hey, Hemingway famously said that if anyone ever options your book, you should drive to Hollywood, throw your manuscript over the fence, wait for the bag of money to come back and then drive away as fast as you can. It’s just a totally different medium and the book will be completely unrecognizable. It will be a good challenge for me to think through how we can lose the flashbacks or condense characters or eliminate scenes and still retain the information that those scenes conveyed. I’m excited about that, and not excited about that at the same time. Hopefully it will still retain its flavor, tone, and characters. If they find really good actors and nothing else – even if the budget is small and the set is tiny – I think they can pull it off. 

YG: The title When the Saints alludes to the familiar lyric, “when the saints go marching in.” An acute reader could anticipate the reuniting of the Saint family. Was this planned foreshadowing?

SM: I can’t recall at what stage of writing the novel the title came into play. The name Saint came from the RCMP. There had been a woman in a small town who had committed countless petty crimes with the last name Saint. I felt there was great irony. In other police files, there were whole families who were the shit disturbers in the town. So, I put those two together and formed the Saint family. It seemed to me the most logical title because it works in that your mind automatically connects with the rest of the sentence. As soon as you start reading or even read the back you’re going to see that they’re the kind of people who take no prisoners.

Photographer: Darren Schrader

YG: Many reviewers on Goodreads mention that they connect with Tabby on a deep level. How did this brave character come to be?

SM: She, I would say, is a composite of people I grew up with in a rough neighbourhood, in Dartmouth. There are elements of family members, elements of myself, but then some of her was always her own person who kept talking to me and I kept listening. I also feel quite an affinity for her. I don’t know how we met, but I’m glad we did.

YG: Literary critic Laura Eggertson from The Star praised your exceptionally-developed characters. What is your process for developing characters?

SM: I think with the Saint family, they are all very strong personalities, and their motivations are overt. They’re very outspoken, which kind of made them easier to know. Once they knew who they were, and what their motivations were, all of the plot lines evolved very organically out of themselves. They drove the whole thing, just being who they are. They are all sort of characters from my upbringing. They’re all mish-mashes of many different people. 

I spend a lot of time musing about characters when I’m not writing. Like if I’m watching a concert, I would try to put myself into that person’s body and mind, and think to myself how would Jackie react to this right now? Would he be patient? Would he be secretly really moved by it? I try to inhabit them outside of the writing process on occasion and sometimes that leads to some really cool insights. 

I take a minute to check in with them. Even if I’m just camping with friends, I kind of go off in my head, often, and my friends are used to that - where I’m thinking about the people who don’t exist while hanging out with people who do exist.

YG: I would argue that it’s a reason why your fictional world comes to life so much. 

SM: I think it’s important not to treat them like your Barbie dolls where you just tell them what to say. If they start to live and breathe on their own, they’ll resist that anyway. You tell them they want to go this way and they won’t. So, you trust them, and you follow them. You don’t steer them to places where they wouldn’t go. 

YG: You wrote the book in 1st person narration and present tense, which are interesting choices for style - why did you choose this style of narration?

SM: I think because it’s all filtered through Tabby and she’s just come back to this world, she’s the outsider now. Like us, the reader, she knows nothing. I wanted us to learn things as she learned them. I wanted to be inside her head, hearing only her thoughts and feelings the entire story, because it really is her journey. When the Saints is the story of Tabby's transformation from rejecting her family to accepting her family. 

AS: Would you ever consider writing a sequel, or will you leave the story as is?

SM: I never want to write anything twice. As much as I’ve been asked that a lot, I’m always trying to express myself in new ways. I kind of like the idea of people who read my second novel for the first time, never in a million years would they think that it’s the same writer. I want to lose myself in each new story so completely that I don’t have a consistent voice because the story is the voice. I wouldn’t want to revisit because I’m excited to see what I’m capable of next.

YG: In what ways do your Nova Scotian roots manifest themselves in your writing and vocabulary?

SM: There’s been a lot of mention in reviews about the language, because it is rather extreme, however that’s the way people talk here, especially in the world I grew in, and especially in Nova Scotia. When I tried to tone the language down in certain places, I couldn’t and still feel true to the characters. I let the characters express themselves according to their upbringing. There’s a certain poetry to it, I think it wasn’t peppering it with expletives for shock value, it was very controlled. It’s just the way that people talk around here. I eavesdrop on conversations all the time and make notes in my writing journal if a turn of phrase catches my ear.

YG: Did Jim Lahey inspire your use of the word “shitstorm”? 

SM: No, but after the book was published , John Dunsworth, the actor who played him, gave me his Dicshitnary. I said, “man, I wish I had this as one of my reference books when I was writing the book When The Saints.” The book has been described as Winter’s Bone meets Trailer Park Boys, which I’m not against. I’m hoping the movie version will be more like Winter’s Bone because while it is a funny novel, it’s also a very serious story and a very heartfelt story. I don’t want it to end up a parody. It’s important to me that this screenplay is not just entertainment. It has to show that these people aren’t to be taken lightly. This is a real true experience. This same cast of characters in another neighbourhood would probably flourish. We don’t always get to transcend our upbringing, not everybody does. When your soil has no nutrients, it’s hard to grow. I think that was the big question I was trying to answer when I wrote this book: Can we do better than our parents? I taught adults in a program designed for people who had been out of the workforce for a very long time or never had a job either because they had addiction issues, some had been prostitutes, some of them had been incarcerated. The historical damage within those bloodlines – they didn’t stand a chance. We all are presented with similar opportunities in a way but if you have no self-esteem left, you’re not going to pursue them. I wrote this book to honor that experience. 

YG: You mention Alistair MacLeod’s short stories as a source of inspiration in your interview with Shannon Webb-Campbell. How did Alistair influence your style of storytelling?

SM: I remember the curriculum in junior high, elementary, even high school, there were very few Nova Scotian writers. So, it was exciting to read one whose writing was so nuanced, had a tinge of darkness.  It was our experience reflected back. I was very moved by his work, I still am, and I am now a fan of his son’s, Alexander MacLeod, works. 

Alistair did a lot for the literary community in Nova Scotia. I feel like he’s one of the last of the old-school writers who wrote by hand. I like the idea of being on a windswept, rocky coast someday writing by candlelight, by hand. It’s hard to reconcile what I thought a novelist’s experience would be with the reality in 2018 where with social media, it’s hard to be mysterious. I always liked being mysterious. You always secretly want the author of our favorite book to be their character, then we’re disappointed when they’re not. It’s better to just keep the shade down. It was really hard for me when the book came out. My publicist at HarperCollins sent me a social media audit in which he had taken screenshots of everything I was not doing, or doing wrong, or could do better. It was like, you should have a Facebook page, and you should have a website, look these people are commenting on Goodreads so you should talk to them. I didn’t want to do it, and I still don’t want to do any of that. I joined Twitter for five minutes and was like, “I can’t, I’m out.” I’m a luddite who listens to only vinyl records and just got a cellphone at forty. I don’t like the idea of being that connected, but because the book industry is not as lucrative as it once was, there’s an expectation that you fulfil some of the marketing requirements yourself. I do have an author Facebook page, but I don’t think I’ve updated it in a year. I do have a website, and I’ll say, “post to come!” 

I do love reading to people, but I don’t love talking about myself as a writer. I’ve done acting and I perform music sometimes, and that’s different because I’m being somebody else when I do that. When I’m me, at my most authentic self as a writer, I feel so naked. That’s been a learning curve about how to get used to the spotlight on me personally and not me as a character. I’ve had other writers recommend that I create Sarah the writer as a character but that feels wrong because I don’t want to separate myself from my writing life in that way. 

AS: Are there any other books or authors that are always on your reading list, or that you’ve enjoyed recently?

SM: I don’t know that I have authors that I revisit again and again, because I’m always trying to learn from new voices. I’ve been reading a lot of ghost stories because my new novel is a bit of a scary suspense story, and I’m trying to deconstruct what works and what doesn’t. Everything from the classics like The Haunting of Hill House or Edgar Allan Poe. I’m reading Elizabeth de Miriaffi’s Hysteria right now. A lot of what I read in fiction is in service to my own fiction, depending on what it is I’m trying to get better at myself. For pure love of reading, I love short stories. I appreciate that art-form and would love to get to the point where people would want to read my short stories, which usually happens after you’ve developed a following. I just read a collection called I am, I am, I am by a writer named Maggie O’Farrell, an Irish writer, and each of the stories details a time she almost died. Within those stories, she kind of gives us a whole narrative of their life and I thought they were perfect. 

AS: You’re working on a new book, The World in Awful Sleep. Can you tell us about where you’re hoping to go with this new project?

SM: The first draft of this book is not coming as easily as When the Saints did. It’s a very complex story with characters who don’t reveal themselves easily. It’s like starting over and learning from scratch how to be a writer. I tried to write it the same way as I did with When the Saints from beginning to end and it would not comply so I’m building it very slowly from the ground up.  It’s a lot more fleshed out, but slower moving. I’m hoping to have a full first draft ready to show my editor by next spring. 

AS: Is there any advice you would give to an aspiring writer who wants to write a novel?

SM: There is so much advice that I wish someone had told me fifteen years ago. I’ll narrow it down to my top 5. Number one: Start a writing group. That feedback is invaluable, and that support system is invaluable. It’s a really lonely and difficult job. Your family or partner, they don’t always necessarily understand that part of you, so to connect with other people who do, and people that you trust and give you knowledge and feedback, you start to become this family in which success for one of you is a success for all of you.

We used to workshop each other’s work. If it were your turn you would email or send us what they’re working on in advance. We all will have read it and have feedback prepared and would discuss it at length. We’d have a short little exercise at the start and then we just drink and gossip. It’s now at the point where we’ll meet up on a long weekend and go to a cabin and spend three days together. It’s motivating because if you know you’re going to meet up with your writing group, you need something to show. It gives you a deadline. So, start a writing group, or join an existing writing group. Sometimes you don’t gel, you have to find the right people, but I feel like when it’s fate, the wrong people will fall away and the ones who are supposed to be there will find you. Number two: Keep learning. I still take writing workshops. I read books about writing all the time. I tap other writers for advice. I would never presume to think that I know anything about writing. Having written one novel, I discovered that all of the techniques I used in the first one are not working in the second one. It’s like I’m starting from scratch. I’ve been talking to a lot of writers about second novel syndrome. Number three: Keep a journal and never throw anything away. You may use it later. It’s really hard to cut passages from your writing that are so eloquent, or a really precise thought that you had in your head, and you’re proud to have put on paper, but if it doesn’t move the story forward, it has to go. To temper that loss, put it in a safe place and keep it., I have used many things that I have thrown away. Number four: Keep your rejection letters. Send things out all the time. Keep a spreadsheet of where you sent them, and when you get feedback write down what it was. Was it a personal note? Was it a form letter? Write the dates down and send it everywhere often. It’s so hard not to get lost in the shuffle. Send your work everywhere, often, and keep your rejection letters to tell the story of how you made it. I read that in Stephen King’s On Writing autobiography and I started doing that. Now when I go talk to kids who want to be writers in schools, I bring this giant binder and say, “this is what it takes to be a writer.” I never doubted that I would become a novelist. I knew I would and I knew I would because I knew I would never give up. That’s the only difference between a non-successful writer and a successful writer. Number five: Get an agent. It’s almost as hard to get an agent as it is to get a publisher, but it’s well worth it. I highly recommend finding out what the agencies are in Canada, find out who the agents are and which writers they represent. Find one that you think would be a good fit for you. When you have something to show them, write them a letter about why you’d be a good match. Include why you’ve written this book, why only you could write this book, and why it has to be written now in your letter. Try to give them a sense of your writing voice so they’re intrigued enough to want to read more. Don’t send them a book in the mail. Ask them if they would be interested; make them interested. The agents have all their editors in their pockets that they can call, and then that agent is almost guaranteed to read it as opposed to you mailing it to Penguin or Random House where it sits in a slush pile for who knows how long. 

What happened with me is that I sort of blindly applied for my first grant to go and I got it and went to the Writing Studio at the Banff Centre for the Arts. One of the writing mentors I was paired with loved my book so much, she offered to work together long distance after the program had ended - which is rare, and so generous. After I had finished the next draft, she gave me a little more feedback and said, “when you’re done with those few things, send it to my agent.” The agent loved it and signed me right away, and a month later, I had a book deal with HarperCollins. It felt like a complete fairy-tale and a fluke, except I had thirty-year apprenticeship of writing behind that. Since I was a little kid I’ve been honing, and honing, and honing my craft. I would never have wanted to be published anything that I didn’t feel was necessary to other people.I want what I write to be important so I must dedicate my life to mastering my craft. Taking this step and quitting my day job to do this even more deliberately, I feel that I will get better and that I will learn more.

StFX University and Coady International Name 2018 Coady Chair in Social Justice

Skilled Leader and Coady Graduate from South Africa Returns to Share Experience

Mfalatsane Pricillah (“Sadi”) Motsuenyane, former Chief Director of Sustainable Livelihoods with the Department of Social Development for the Government of South Africa, has been named the 2018 Coady Chair in Social Justice. A member of Coady’s Advisory body and a graduate of Coady’s Asset-based and Citizen-led Development (ABCD) and Livelihoods and Markets certificates, Motsuenyane has a longstanding relationship with StFX University and Coady International Institute.

“It is an honour to welcome Sadi as the 2018 Coady Chair in Social Justice,” Dr. June Webber, St. Francis Xavier University Vice President and head of Coady International Institute and Extension Department says. "Sadi’s longstanding history of community leadership and development through apartheid to post-apartheid reconstruction and development in South Africa will be an invaluable source of learning and inspiration for all at StFX, Coady, and in the greater community.”

In a manner that is consistent with the principles of the Antigonish Movement, Motsuenyane has been helping people in her own country study their social and economic situation. This has allowed residents to improve their livelihoods collectively, to earn more income, and to take more control of the local economy. By facilitating restorative justice dialogues in strife-torn communities, Motsuenyane has created a platform for collective discovery, recovery, and utilization of human and material assets with newly found mutual dignity and respect. 

“Social justice, equity, and the rights of South Africans has been central to my community development work during the years of fighting for the end of Apartheid in South Africa,” Motsuentane says.

Born on a farm into a family of entrepreneurs and community developers, Motsuenyane now has more than 50 years of community development experience.

“My community development work has been influenced largely by my family’s livelihood strategies which were strongly asset-based, and later in my career by the Coady International Institute’s asset-based community development approach, inspired by the late Dr. Rev. Moses Coady.”

Motsuenyane holds a Master’s in Public Administration and Development Management from the University of Stellenbosch. Her previous work experience includes roles with Council for Scientific and Industrial Research (CSIR), Agricultural Research Council, and Agricor. Since her retirement in December 2017, she has been completing her PhD at the University of the Western Cape, including her thesis titled, “Exploring the impact of asset-based thinking as an alternative approach to unleash the generative capacity of social grants in South Africa.”

The Coady Chair in Social Justice was created in 2012 to honour the spirit of Rev. Dr. Moses Coady and the leaders of the Antigonish Movement by bridging local and global concerns, involving the community, and encouraging an interdisciplinary approach to issues. The Chair is an important means to deepen StFX’s commitment to its service to society's mission, to develop students’ understanding and sense of social responsibility, and to support Coady as a centre for global citizen leadership and social justice at StFX. Key elements of the Chair’s tenure include public presentations, classroom seminars, and workshops that bring students, faculty, community members and citizen-leaders together for shared learning.

The 2018 Coady Chair in Social Justice will reside on the campus of StFX from September 17 – November 16, 2018.

Alan Syliboy Interview

Arts and Community editor Salome Barker and Co-Editor-in-Chief Yanik Gallie of The Xaverian Weekly did an interview with Alan Syliboy on June 24th, 2018 at NovelTea Bookstore Cafe in Truro, Nova Scotia. Alan is the artist of Mi’kmaw Animals, released on May 30th by Nimbus Publishing. The baby board book is now available for purchase at Chapters and select bookshops across Canada. 

Alan Syliboy grew up believing that native art was generic.  “As a youth, I found painting difficult and painful, because I was unsure of my identity.”  But his confidence grew in 1972 when he studied privately with Shirley Bear.  He then attended the Nova Scotia College of Art and Design, where 25 years later, he was invited to sit on the Board of Governors.  Syliboy looks to the indigenous Mi’kmaq petroglyph tradition for inspiration and develops his own artistic vocabulary out of those forms.  His popularization of these symbolic icons has conferred on them a mainstream legitimacy that restores community pride in its Mi’kmaq heritage.

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YG: Two years ago, you held the Coady Chair at StFX. What did you gain from that experience?

AS: I think the hardest part at the very first was, exactly what is that position? What do they expect? Trying to define what is was, that question, came up a lot early on. I didn’t worry about it too much and I just kind of let it happen and that’s generally how I do things. I do a diagnosis of it as it’s going on. I found a good number of indigenous students there who were very thrilled that I was there. In my being there, they felt supported. They got noticed too because I was there. Every time I would be invited somewhere, they were there. It was a mutual, beneficial, thing and I felt that I was already benefiting from the position. Also, there was an indigenous student who was in a wheelchair, and her husband who was sort of the manager in some way, sort of directed me how to be an ombudsman in a way. That’s how I saw the role.

The first day I was there I was on FOX campus radio. Well, I'll come and watch the show. I thought that was the plan all along. Right away, I’m running against the establishment in my very first day. There couldn’t be a better cause. I found out how difficult it is to make change in that structure, because it’s nuts and bolts, it’s money. If you wanna change a building, it’s a big effort. These buildings are from different ages. One student in a wheelchair had to crawl through the snow to get to class a couple times. It was just so difficult. When this woman got to StFX, she was so happy to have finally made it. And, it took her an extra year to graduate, because she had to drop classes as she couldn’t physically do them. She wanted to go to lunch and she had a lunch voucher but couldn’t make it there a lot of the times because she had to get the key to the elevator. You got to find that person with the key to get access. All of those things were against her. It’s amazing.

When we had the president’s colloquium, that was probably the highlight of everything I did there because I had panelists and they never did panelists that way before. I said, “It would have an effect, if I do it. But it would be a stronger effect, if I had 3 other opinions on the same subject.” That’s what I did, and it was a phenomenal success. That was addressed there, the issue of a person in a wheelchair. Very uncomfortable, I think, for the establishment who sat there. I was surprised that they sat there, and they listened. I felt that was one of my main achievements there. I didn’t do it alone, I had the right people. I listened to them who directed me too because I had no idea. I had Senator Murray Sinclair there and we had the flag issue came up at the time, the Mi’kmaw flag. It’s up, it’s down. Murray was told about this problem with the flag. He said, “I went to the Senate. They gave me two flag poles and it was Canada and my Nation. He wanted another flag for his community. They said, “No. We only have two poles.” So, he said, “Ok.” He opened the window and he put his flag up and you could see it. That’s how we dealt with that. Next day, he had a pole haha.

There were a lot of grad students’ voice grievances, it was very touching. It’s very isolating when you come from a small community and you’re in this university. They’re not really equipped. Some of the indigenous personnel weren’t indigenous. They took the job because no one else was taking it. It’s getting better, of course. It shone light on issues like that which should have been addressed. They are being addressed now. It was good for me in the sense that I had all of these classes. I did more talking than I had ever done before. I was talking for three or four hours a day. Then you’re in big demand, so they’re trying not to wear me out.

I took classes voluntarily on my own. So, I couldn’t blame them for all the workload. I even had a daycare come into my studio on-campus. They came twice. I wasn’t there on the first day, but they watched my animation. The next day they came in, I read them a story. Some of them were three years old. I felt really connected in doing these things. It was very positive. I wouldn’t want to do that every day, I couldn’t do that every day. But, I’m glad of the experience.

Also, I had to talk and tell my story so many times it refined my story. It made me a better public speaker. It improved my message to a large extent as well. I felt that. Basically, you’re telling the same story over and over, so you refine it. You also find the keys that turn in the right direction at the right time. It was a very good and rewarding experience.

SB: You’ve had many accomplishments as an artist such as creating the first Indigenous coin for the Royal Canadian Mint. Reflecting on your career, what other big accomplishments stand out the greatest for you?

AS: The Queen’s Jubilee medal, I also got to meet the queen as well. I have a campaign to do more public art. In this area, we are almost invisible. Whereas if you go to B. C., indigenous art is everywhere. You do not see that here at all. To increase the visual profile of us. And, it’s working. I have a mural at the airport that is permanent, and I just put a piece in the Commons. I have a piece there and it’s up for Masterworks Arts Award as well. I should hear within a month about whether I’m on the shortlist or not for that. All kinds of things have sort of come up every day.

Pat Power and I have a meeting every day in the morning for two, sometimes three hours, just going through emails. Answering emails and everything. I have a sense that Pat’s good at filling out forms and taking care of the little details. He was a finance guy so that’s the kind of stuff he likes a lot which is a perfect partnership because details are not my area. It could take me an hour to write a paragraph, I’m almost illiterate that way. As far as a spell check and all that, they’re catching up to me. I’m starting to speed up because of that. On my own, my education was very poor that way.

Social media too was one of my major accomplishments. As Native and indigenous communities we are pretty isolated as a rule when I was young. Now, I have 5000 friends on Facebook. A great number of my friends are indigenous. It’s a daily thing. I like the intimate interactions. For us, community-wise, you have a living Mi’kmaw dictionary. If you ask a question, you’re gonna have a half a dozen people come to help you out. You feel like you’re talking to the whole community, even beyond Mi’kma’ki. Even out West, I used to do shows out there, so I know lots of people out there. I find that is the biggest. Like first when we started the Morning Drum featured on my Facebook. That was just a temporary one-off thing that we did, but people refused to let us quit that. They would not let us, they just demanded. That was by accident. It’s a thread that finds its way everywhere. I go to places and people tell me about the Morning Drum and a lot of them have been shown by their friends. I realized the power of that. You’re always in an age when you’re relying on a gallery to promote you to make you a star. But that couldn’t happen, you couldn’t get the critical mass on your own, or you’ll get it for a little while and it’ll fade. My approach is brick by brick and day by day. That’s how I’ve done everything. Sometimes you don’t look back and see what you’ve built, because you’re too busy in the middle of building the next brick. You have to come back, or somebody will remind you that you did things. A doctorate too is up there. Unexpected. A doctorate was one of the biggest. There’s a list but I don’t think about it very much. There’s a few on the top of the list for sure.

SB: How does art help you to express your own heritage?

AS: When I was young, just starting out, there was no indigenous art. Art was your view of yourself as what you saw on TV. I had to discover that I am a Mi’kmaw which is aside from other tribes, but no one teaches you that. When I was about to go to school, and I remember this clearly, we spoke Mi’kmaw all the time as kids. Then a letter came out from the church, it was catholic school, and they said, “You’re not allowed to speak Mi’kmaw anymore. If you go to school, it’s gonna hold you back so no more Mi’kmaw.” My parents bought into that because they were very, very fluent. Everything was fine up until that point. That’s why I stalled in school that much because it was not only emotional trauma of going to school. But, it was going to school and not understanding what they’re telling you. TV came on at the same time and the language went out fast. It was gone really fast. I never recovered. I never was a very good student. I excelled at making images under the table in whatever way I could make them. My art was sort of an underground movement. That’s what I did daily.

Unfortunately, I didn’t learn any of the grammar rules or arithmetic. I was very poor at that. The nuns when they finally limped me into grade 7, there were 3 years of failure already in that time. I was diagnosed as “borderline retarded” by them. That was who they saw in their school. You couldn’t disagree with that because I had very little to say. I was actually afraid to talk. You go into the classroom, and you try to stay in the back to not cause any weight. You’d be singled out every now and then for entertainment purposes. They’d ask you a question they know darn well you don’t know the answer. Some of it was just for survival. I would say that school was residential-like. We’d head home every night. It wasn’t residential schools, but it was a version of it.

YG: Your artworks are often used in schools to teach principles of design such as balance, depth, and contrast. When students are introduced to art, they often ask “What’s art?” How do you respond to that question?

AS: I try to diagnose what level they are at artistically. For instance, I went to an inner-city school in Halifax which was primarily African. All of my classes before then were indigenous or rural, which is quite different. The first thing I saw was that the teacher had told them about me. They had got them prepared. They had already done artwork upon meeting. The first thing I did is I went place from place to place and individually looked at the work and gave them some critique and some advice. It was a one-on-one thing, and from then on it was just golden. I was in, we were pals. They were a generic group, killing time or something. Individually, you see where they are at. Some of them are quite advanced. You determine that and ask them what they want to know or how to do something. That connection is easily fixed with a one-on-one thing.

I do DAREarts, it’s an art program from Ontario originally. Look for DAREarts Atlantic. I started the program with them when they were down here, but they’re all over. I was impressed with them because they are like an art SWAT team. They come into schools and teach painting, music, theatre in one week. They have several teachers who have different strengths. Their program is free for schools. They finish a project and do a show at the end of the week.

I’ve heard a story that one group went out North. They were waiting for students to come and nobody came to their program. They decided to go knocking door to door and explaining what they’re doing. First thing we’ll do is feed your kids and then we’ll teach them art and take care of them. A handful came when it started. I think there was a dozen the first year. Next year there were almost three dozen. The year after was over a hundred and then on. Had they not knocked on doors, nothing would have happened. They might have said, “Well nobody wanted to come.” They didn’t take no for an answer. I like that because they’re aggressive. They work very hard. They select their people well.

I’m a painter, we’re doing The Thundermaker that is a vehicle for education in the arts. They also have people in the theatre, and somebody in music. All of these elements are touched at once and the fort of focus. We’re working with three schools, working on the same material. It’s all over Canada and it’s privately funded. I think McCain’s is one of our funders down here in the Atlantic Provinces. If you go onto DAREarts Atlantic, you’ll see all that information. That’s one of the ways I can be in the schools. I can focus in that way. I can go there for a whole week and affect quite a few students. I get asked almost every day by a class to come speak and it’s not possible. I’m a professional artist and that’s priority for me. I want to do work with students and do my part with students as much as I can.

There are exceptions for somethings like Québec. I’d never been there. I said I couldn’t get there because I needed to fly over. But, they were so determined to get me there. They covered travel expenses for me. They wouldn’t take no for answer. So I said, “I’ll go.” I feel that what I do is seen as important. This is not the political thing. I’m not talking about the band council or whatever. They are what they always were, they ignore everything. It’s business as usual for politics on reserves mostly. I wouldn’t say that as a whole. Very few politicians look at the arts that much. That’s changing, and you don’t wait around. That was one of my main things. If support wasn’t coming, you just worked around it. I always felt that way. I always felt that there’s a big world. When I went to the Art Project with Shirley Bear in the 70s, she made my world a big world from then on. We were being taught by world-class artists. We were going to the best universities and museums, and we were taught so well. The world was that, we never regressed. It was always looking ahead toward an extra horizon. I give thanks to Shirley Bear for changing everything for me that way. The main idea for Tribe Incorporated was that we did workshops on reserves. That was leading edge for indigenous people teaching indigenous people. Even now you don’t see that much. I did an art program in Wagmatcook. It was the first time they had an indigenous artist critiquing or judging their art.  That’s kind of amazing, but it shouldn’t be. The quality of work that was there was so astounding.

YG: What is the most valuable lesson Shirley Bear taught you?

AS: Shirley’s always been there all my life, and still is. I think she was very radical. She’d never ask any permission from anywhere. She was part of AIM and she knew Anna Mae Aquash. I met Anna through Shirley at a radical time. She was from Tobique which is sort of a radical place. I think that’s a sort of breeding ground for radical women. They take over the band hall every year few years and you hear of them all the time. That’s where she comes from and she was never afraid to speak up.

Indigenous people don’t like to rock the boat. It’s really hard for them to confront. It’s not easy to do. Shirley and Peter are the exception of that. And, that’s not always appreciated in the larger indigenous community. We’re taught by the Catholics very well to not say anything. However, that is changing more and more every day, things like Idle No More. Shirley and Peter J. Clair would do protests in the early 70s around here which is unheard of. When the Warrior’s Society took over, which was a bad approach, you’re in the red zone on the first day. You got a gun. Nothing got resolved over a long time. It was intimidation back and forth. No one wanted to support Warrior’s Society. That was a bit too radical too fast. It didn’t get the results that it had planned too. They were loosely structured and that didn’t help as well. Some of them had charges on them for domestic abuse and that didn’t help. When Idle No More came, that was completely revolutionary in the sense that their approach was superb. You know they’re working when the chief and band council are being asked questions they never been asked by anyone before. They’re not used to that, it never happened before. It’s in a better state than it was. I’m glad I’m around to see this.

YG: Nature comes alive in many of your pieces, especially in the cover artwork of Mi’kmaw Animals. Talk us through your creation process for your artwork.

AS: Shirley was giving me my first painting lessons, and I was doing landscapes, portraits and the typical kind of things. We decided we didn’t want to be just another landscape painter. Shirley is the one who discovered the petroglyphs book. That radically changed everything. We looked through that and decided that was what we wanted to do. We were teaching ourselves, but ultimately, we were teaching everyone. Mi’kmaw people didn’t know about petroglyphs at all. It’s way different now. We didn’t have anyone to follow at the time in the 70s.

The animal motifs, I learned about them. In the beginning, artists are very isolated in their studio. That’s changed for me. I have archaeologists, who are Mi’kmaw people now, and all kinds of support people that I can get better information. I can increase my knowledge and then convey that in art. Roger Lewis for instance, he was an RCMP and became an archaeologist. Now, he’s head of the Archaeology Museum in Nova Scotia. We’re the same age, we grew up together. He’s one of my best sources for information. I’ve asked him about anything and he’ll come up with some research and give me something. I prefer to do that. I prefer to base it on factual knowledge, but I’m bringing an artistic element to it too. It feeds a couple of things. It has the beauty.

Art can be beautiful. For instance, I’m doing a burial show now. It’ll be out in a couple of years. It’s not burial rights, it’s on burial practices and it’s never been done before. It’s been a few years since I’ve been researching this at Saint Mary’s University. Robin Metcalfe is my curator. It’s gonna happen there and I’ve got a grant for it too, it’s being supported by the province. All of this is coming together. Now I have animation that I use, we’re gonna have some hologram effects. We’re going to have some music that I do. All of these things that I’ve incorporated, we’ve flipped them for another use. This should be interesting. No one ever done a burial show.

One thing that bothered me when I was young was that it was a Christian burial. It was like one size fits all motif. That’s the way it was, they didn’t really speak about who was being buried. It was the word of God only and that kind of thing. To me, that was disrespectful in my opinion. I started looking around because you go to a lot of funerals when you’re an indigenous person. Going to funerals is a regular thing. Some of them start to change over time. You can see very subtle changes. Some of it like being buried with tobacco and sweetgrass. When my grandmother was buried, I was part of a sweat lodge group. We did a song in the graveyard which has never been done like that. We didn’t ask anybody to do it, we just did it. My grandmother supported us. She always told me all her life, “You should go back to the church.” She lived to be in the eighties. She saw what the ceremony was doing for me and then she said, “as long as you believe in something.” She stopped the "church" thing. She was supporting us. She was a forward thinker. She was always open-minded. I give a lot of credit to her for making me because we had a good relationship. We could talk about anything at anytime. She was radical in her own way too. She made some people nervous. Especially the priests. If she would disapprove of them, she would say something. They all had to pass the test to go see her, of course they had to go see Rachel Marshall.  

From left to right: Salome Barker, Alan Syliboy and Yanik Gallie

SB: How did you select the 9 animals represented in the baby board book?

AS: I compiled a list of animals, but I was never thinking about a list when I made them. See the petroglyphs to me, there were so many varieties of them. 10 years ago, I started doing caribou. I never did one before. I had never done one before, so I started doing them from then on. Then, I started to draw eels. It’s just like I took turns finding them. Each one has a turn. The turtles have been there a long time. Whales are fairly recent. They’re already part of who we are, and petroglyphs give us that. That’s what I’m using as my source. These are the images that were available right now. None of them are new for this book, they already existed. The butterfly’s been around for a while, it took me about ten minutes to make the first one.

SB: I found myself really connecting to your “Qalipu” painting.  Interestingly enough, I come from the Qalipu Mi’kmaq First Nations band in Newfoundland and Labrador.  I was wondering if you intended for aboriginal people from different nations to connect to your artwork?

AS: I know that it would, the caribou were all over the place. Over half of Canada at least. It was in the petroglyphs book. The reason I picked that at that time was that I did some research and found out that in Truro was where one of the last place they were shot and extinct. The last groups were shot here, so I said, “this was very close physically to where I was”. To me, it evokes the memory of what they meant. It’s also a teaching tool. Like Debert for instance, it’s an 11 000 or 12 000-year-old campsite there. You can imagine how long we’ve been here. There are two sites there that are really old. I’m talking to the new people who are working there and they’re telling me new things that they are finding, I’m up on that currently.

YG: Mi’kmaw Animals is an excellent educational resource for children to develop literacy skills. What is the connection between polylingualism at a young age and literacy?

AS: We were told that Mi’kmaw was gonna hold us back. People in the community, like our neighbor, believed that it was gonna hold us back. I said, “Well if that’s the case, why do Europeans speak six languages? It doesn’t hold them back” He didn’t have an answer to that, but that’s how I thought. To me, the more information that is brought forth the better. Now you have Mi’kmaw aritsts who are going to NSCAD, and their working on their own too. It’s opening up much faster intensity to different points of view and different ways to do things. To me, I feel that it’s a really great time.

Also, artists have never been considered important. I think if you’re learning about yourself, artists can bring you more than anyone else because it’s emotional too. It’s not just the text or the hard-raw information. It’s more than that. There’s an attachment that they can bring to make you feel something. Artists can do that. When I’m on Facebook, I see lots of excellent artists doing excellent things. I’m feeling pretty good about where we are right now.

SB: Can you share your vision of indigenous art for upcoming generations?

AS: Mark Sark. He’s in his fifties. He was in the Marines. He used to be in our sweat lodge. He was always connected to us all the time. He’s decided to go to NSCAD and become an artist. It’s amazing because of everything he’s done. All of that raw energy and knowledge with other things he did, he’s putting it into making art now. He’s popping out all over the place. He does animals, but he’ll cut them out and put them together and paint them. Like a 3D thing. Everything I’ve done, he’s made into 3D. That’s pretty cool.  I said, “That’s alright.” Next year, he’s going to carve. It’s not like he started when he was seventeen. He’s fifty-seven and doing this. There’s more and more people like Natalie Sappier-Samaqani Cocahqup in Tobique. I met her a few years ago. She’s doing terrific. There’s lots of new ones.

I went to Caraquet too. I’m working with the French in Caraquet. There is the biggest French community there. They really support their festival, it’s sophisticated. They all have careers as artists. It’s good for our artists because they can see what it’s like to be an everyday artist because we don’t have that facility. We don’t have that support. They were very welcoming, so it’s a good place and it’s mutual. We’re doing a show in Montreal at the Peoples' festival. I’m going to Montreal with Caraquet’s group in mid-August so I’m pretty happy about that. I’ve also got a new gallery of world-wide fine art in Toronto, we sold a painting yesterday. The gallery’s been around for twenty-five years. I think they are originally from Cape Breton so there’s a home attachment.

SB: The conversation of reconciliation has been happening for years now. It’s been three years since the Truth and Reconciliation Commission of Canada: Calls to Action. How do you see reconciliation moving forward?

AS: I’ve been approached by people to do events. The events were stirred by this reconciliation. It’s almost like they wanted to do something and now they have a blueprint to go by and I’ve seen that lots of times. That’s a step forward definitely. We have a lot more connection. I’ve also joined boards, and so on, because they just didn’t have indigenous representation. Like the ECMAs, I went there on the board of directors. A very daunting work to that position, however I did the best I could. Now they’re not going backwards. They are having visions and they’re moving forward. If they were sleeping, they would have stayed asleep. You have to go there and say, “here I am” so they can’t go to sleep again like I’ve done that in several boards. I’m more concerned about the next one.

Like the Coady Chair in 2017, Dorine Bernard was just amazing. I know her, but I didn’t know how much she did. How much effort she puts in everything. She is like steel, it’s amazing. She told me too about things, that is was real hard for her to do it, but she got it done. The focus once it happens, there’s a good chance it’ll be another indigenous person again. I see that as breaking a few trails. I see my role as a senior artist as something that will live on and contribute in a long-term and meaningful way.

YG: I’d love to get your interpretation of this quote by Black Elk, a medicine man of the Oglala Lakota, he said “The first peace, which is the most important, is that which comes within the souls of people when they realize their relationship, their oneness with the universe and all its powers, and when they realize that at the center of the universe dwells the Great Spirit, and that this center is really everywhere, it is within each of us.”

AS: I totally agree with Black Elk. There was an indigenous Akwesasne Notes from New York, we got it every month. It had all sorts of indigenous ads, like tobacco and wild rice. We ordered all the posters, my brother and I, with the sayings of chief Joseph. We had them all. We got music from there too for years. It eventually stopped but it was a nice ride for a while to have that coming out. I miss it.

It’s been a long time, since the 70s, that I read the quote. Absolutely, his words are tremendous. I see that more and more. Years ago, there wasn’t much going on. People are appearing and doing things. You can feel the energy and see it. I’ve been here long enough to see it happening and I’m grateful for that. I see that the younger are the ones who are more dedicated. Their motives are better. That’s why you see people who go to sweat lodges and do things like that. Their motives are much more clear and pure. Some people just say words. It’s not just saying words, it’s actions. That’s always been my scale. It’s not what you say, it’s what you do. If you’re not doing anything, then it doesn’t matter what you say.

XXXTentacion and the Muddied Dilemma between Art and Artist

The death of the young rapper opens up an array of ways to remember him. Let’s not make it about his music.

On June 18th, two armed men pulled up on a black BMW i8 near a motorcycle shop in Deerfield Beach, Florida. They proceeded to shoot multiple times at an individual in the driver's seat, killing him instantly. This individual was colloquially known as XXXTentacion, born Jahseh Dwayne Onfroy. He was just 20, yet lived a life rampant with grief, misery, aggression and unspeakable brutality that belied his years. He also had a straggly ascent as a musical success story.

Onfroy was one of the first to personify the Soundcloud era of rap. The gnarled, hectic sound of rappers that spawned numerous artists to break into the mainstream, like Smokepurpp, Tekashi69, Trippie Redd and the deceased Lil Peep.  Yet, whether it be Tekashi's sexual misconduct case (with a 13 year old) , or Trippie Redd's assault allegations, conflict and the come-up of these stars seem inevitable, yet their popularity is inarguable. Onfroy's second album, "?", debuted at #1 on the Billboard 200, with over 20 000 in albums sold in one week. He even nabbed a spot on XXL's coveted Freshman List in 2017.  It is unmistakable the impact he has had on teenagers. His dreary, depressing lyrics found an analogous connection with teenage angst. His songs focus on the topics of heartbreak, depression, anxiety and paranoia, with his hit song "SAD! " an encapsulation of these feelings. 

Yet, we should remember him instead for his horrific assault allegations (which you can find here).  While in Juvenile Detention, Jehsah took his cellmates head and proceeded to stomp it on the concrete floor. His reason? "He was staring at me". 

We should really remember him more for his crimes on his ex-girlfriend; aggravated battery and domestic battery by strangulation (which you can find here). One night he purportedly started punching, elbowing, head-butting, and strangling her until she almost passed out. He then took her to the bathroom and demanded one last time that she tell him everything or he would kill her in the bathtub. She was pregnant at the time.

Even with these unspeakable allegations against Onfroy, he was propped up by streaming services, most notably Spotify, featuring regularly on their weekly-curated playlist Rap Caviar. When Spotify introduced their Hateful Conduct policy back in early May, XXXTentacion was one of the main artists to be taken off all promoted playlists. Yet, with much backlash and a threat from Hip Hop titan Kendrick Lamar of pulling his music, they reneged on the policy. It seemed that Onfroy's music was, in a way, too big to fail. 

As rappers and fans grieved the death of Onfroy, some began to paint him as a martyr in the gone-too-soon club amongst Kurt Cobain, Amy Winehouse, and Jimi Hendrix. That is callous and aporetic. We should mourn for his victims, like the ex-girlfriend: Geneva Ayala and her $20 000 surgery she is going to need. We should instead focus our time on supporting the LGBTQ+ community, and disparage the remarks he made on them .

We listen to music to feel emotion. Whether it be in your room after a break-up or at the club dancing, the beats and melodies elicits a varying array of physical and mental cues. We don't necessarily think about the artist when listening and for many, that's OK. Chris Brown's voice is charming yet his actions to Rihanna? Repugnant. But after a death, RIP's and 'you will be missed' are usually what cascades out of people, regardless of their past. His songs will top the charts in the coming weeks, if only briefly, to fleetingly moan for his loss. Yet his vile past may forever be scrubbed.

I don't think art and artist will ever fully be coalesced together, in any circumstance, and maybe that is OK.

But, for me, whenever XXXTentacion comes on, the only mourning I am going to do is mourn the loss of two seconds of my life by clicking skip on my phone. Because all I see and feel when his voice floods my ears is unrepentable pain. Even in death.