BEAUTIES IN THE BEASTS Curator Rachel Poliquin and her army of stuffed creatures reinvent taxidermy

As a vegetarian and an animal rights advocate, discomfort creeps in as I realize I'm about to face dozens of dead animals, stuffed up as trophies by their hunters. A facelift is going on at the Museum of Vancouver. Right before our eyes, an institution more than a hundred years old is in the middle of a revision, one that will reflect their new concepts of reinvention and rebirth. Pieces can astonish and intrigue, but behind the glue and nails, there’s a haunting and disturbing side that even the most sincere fascination can’t wash over. As a spectator, I'm torn between the artistry and beauty of the work, but slightly disturbed that the imagery before me once roamed freely, living and breathing a life as free as my own.

That said, the animals in Ravishing Beasts, the Museum of Vancouver’s newest exhibit, are all previously deceased, and not killed for this show. As guest curator Rachel Poliquin puts it: “The show in no way advocates the way of new taxidermy, but now that they’re dead and stuffed, it seems tragic to let them smolder in a basement.”

Poliquin has created a lush, innovative world where the age-old pastime of taxidermy is made anew, in an attempt to break down old stigmas regarding this diverse art form.

Poliquin learned about the Museum of Vancouver’s long dormant collection of hundreds of stuffed creatures kept in storage for the past fifty years, and became interested in curating the collection for a new display. In creating the show, she began building off the ideals and concepts of her upcoming book Taxidermy and Longing. She explains to me: “How I interpret the longing component is all on life, death, and decomposition. There is certainly an acknowledgement that all of us are going to disappear. There are narratives of longing, tied into larger longing to use nature to make lives meaningful to tell us about who we are. Taxidermy can connect us with the natural world.”

Throughout the exhibit, I certainly feel a connection with these creatures. Staring into their detached glass eyes tears the nerves of my own heart, but I'm also filled with wonderment that I can see such ancient creatures in the flesh - or what remains of it. Am I sad that these beings are dead and depleted of organs for artistic purpose? Absolutely. I suppose that some pieces bother me more than others. The show guide mentions Poliquin’s upset with the elephant foot table, a literal amputated limb used to display other objects. But the inclusion here is necessary in order to exhibit an entire craft. We might disagree with such a blatant amputation and misuse, but this type of piece is merely one fraction in the catalogue of taxidermy components.

After contacting the Museum first, Poliquin began to grow excited for a hands on approach with the animals themselves: “I realized in writing the book, it's about an encounter with you and an animal. You just can’t have that encounter with photographs.” Poliquin believes the face to face encounter is necessary to fully translate the intricacies of the work. I’d certainly agree with this statement. It is one thing to flip through an encyclopedia or Google image search on “moose”, but staring up and comparing yourself in size next to the actual creature is something to behold. This type of experience is not likely to happen in person. Moose are gigantic, threatening, and intimidating to say the least. This type of comparison is not something one gets to experience daily – and I'm happy to be able to do so, knowing at least that this specific creature was not killed for my pleasure.

Face to face, the creatures are becoming vibrant, and glorious. From the entrance, where a majestic lion greets you in a heavenly stance to the glass encased snowy owls at the rear of the exhibit, each animal finds a way of taking on a presence of its own, even in the reality of death. But can such an ancient art form find a place in the world of today’s audience? Poliquin thinks so. “In a way, now we have other ways of documenting and appreciating the natural world, but there will always be a relevancy to seeing the actual creature. It's a technology for making nature visible. Before colour photography, natural history museums were a natural venue to see nature from abroad.”

A multi-faceted collection is brought to the forefront, highlighting separate entities in the taxidermy world. A stuffed dog sits in on behalf of the now popular pet taxidermy. A gopher dressed in a tiny winter outfit showcases a more whimsical side of the practice. A makeshift “jackalope” expresses the fantastical side of combining creatures with “fraudulent taxidermy”. This piece, slightly comedic, if bizarre, was a bit tacky, but interesting to see from a folklore perspective. Accent tables display collections of unused materials like eye pieces and deer-shaped molded Styrofoam in an attempt to educate about the behind the scenes practices. Poliquin wanted the many worlds to shine as part of the big picture. “I wanted people to see that if they don’t agree with it as a practice that is fair and valid, to see it a new way while they are in the exhibit. The language is very neutral. I say things for and against, just to allow people that freedom to look closely.”

This remark is quite fair and quite representative of the pieces here. While some taxidermed animals are beautiful and charismatic, others fall short and rub the wrong way: and perhaps that type of shift in attitudes is a success in giving the full spectrum of taxidermy thought provocation. For example, a skinned tiger laying as a rug with his gloomy head slinging to the side comes off as inhumane and repulsive. The fact that it's covered by other furniture is offensive and churns my stomach, yet at the same time, it's also reflective of the nature of this practice and some of its uses.  Additionally, a Plexiglas casing contains rows of lifeless stale birds, like sardines in a can; stiff and heartbreaking. On the flip side, other works, like the stern brown fox, presented in its original size, format, and a typical stance, is easier on the eyes, and a more educational and socially standardized representation. Both of these avenues are, however, equally worth displaying in that they’ve both been standard taxidermy techniques and styles throughout the years.

In a well calculated move, the design team took a very specific perspective to the layout and display of not only the actual creatures themselves, but to the entire layout of the gallery. Lime green walls accent the show, as Poliquin says, “to point towards nature, but adding a crisp modern feel.” Reflective, shiny, white display units were brought in to add to the glowing aesthetic the team had in mind. And in the end, only about two thirds of the entire collection was used in the display, in hopes to not overcrowd the audience, and let them enjoy individual pieces rather than become bombarded with too much information. Poliquin wanted the one on one to take precedent. “They each have their own unique character and particularity. Working with that enormous moose and getting it on the platform was different than the tiny hummingbirds. Each posted challenges, and were treated as unique individuals.”

“When people think of taxidermy,” Poliquin adds, “they have an image of a fussy Victorian display of oak cabinets and an overstuffed, heavier atmosphere. In part to allow people to think about it new and afresh and in part to pull in the fact that it's so big in the contemporary art world, it was a series of art instillations, crisp and clean with no actual images of animals.” Right down to the crisp, clean fonts used on the information panels, the team manages to create a very modern take on an old pastime, creating the “unexpected encounter” that Poliquin says they were going for.

In an attempt to show the many facets and avenues of the form, Ravishing Beasts seems to simultaneously beautify the work and educate. Large glass-fronted frames collect dozens of carefully pinned-in butterflies. A large circular table and a hanging collection of colourful jars house a world for scientifically stored pre-taxidermied creatures. As Poliquin notes, “It isn’t until you’re up close [that you can] see the diversity of the natural world.”

Ravishing Beasts ties well in to the Museum of Vancouver’s new approach to giving rebirth and letting an audience in with a fresh take on the nature of taxidermy and natural history.

In the end, the show does a great job of displaying these fascinating creatures without judgment or adoration. This is a major focus for the team, particularly Rachel Poliquin, who adds, “I want to stress that it really is a question exhibit . It’s not designed to tell people what to think about taxidermy, but to raise questions and come up with their own opinions. I hope it isn’t a show that gives my opinion out but gives people the freedom and space to think about it for themselves.”

Rachel Poliquin’s Taxidermy and Longing will be out next year on Harvard University Press. Ravishing Beasts remains on display at the Museum of Vancouver through February 28th, 2010.

//JJ Brewis

Writer

FROM THE EDITOR Business, Advocacy and Bias

“The old argument that [media sources] have a liberal bias is so blatantly true that it's hardly worth discussing anymore. No, we don't sit around in dark corners and plan strategies on how we're going to slant the news. We don't have to. It comes naturally to most reporters.” This, from Bernard Goldberg, a CBS journalist in his book Bias. 

Touché. We resemble that remark. Bias comes up constantly in journalism, and there are many who believe it is impossible to fully nullify, such as the late Hunter S. Thompson, whose 'gonzo' style of reporting became synonymous with subjectivity. While some have simply accused him of sloppy journalism, one thing that Hunter's work taught us was that we are idiots if we only take our news from one angle. For him, objectivity was a pig wearing a tutu – a three dressed up like a nine. Bias is disguised in most cases, hidden by our sense of cultural and personal identity, disfigured by our senses of humour, wriggling under a faulty concept of normalcy.  

On the other hand, it is our mandate to represent issues fairly, impartially, without allegiance to one side or another. The overarching standard is still fairness, balance and objectivity; the ideal is the public's right to know. But like all ideals, it is a moving target; what is most newsworthy is also a matter of subjective selection and taste. 

In an effort to be transparent, however, we will hold up the bloody stumps of our own bias and acknowledge the angles that amputate our work. Allow me to act as ombudsman, a watchdog of our own work and for the public's best interest. 

For the record, the Courier is politically biased, left-centric and often bleeding-heart liberal. We are bound by the personal politics of our student writers and editors and becoming aware of these ideological underpinnings is always a work in progress as they unfold for each of us – issue by issue, article by article. Our political thoughts are influenced by our teachers, our families, and our culture. Consider the Cap Students' Union (CSU), with their pro-choice position on abortion, for example, and their tradition of advocacy. The agenda is established; the bias does not appear up for debate. The Courier writers have the same agendas, only they are more subversive, masked by a “faux-objectivity” as Noah Fine, Educational Issues Coordinator for the CSU, once stated. 

We have a corporate bias, in that we tend to favour coverage of smaller-scale, local businesses or grass-roots initiatives. It follows that we inadvertently oppose large corporate interests. An example of this can be found in our decision to limit Warner Bros. influence on campus, denying them direct promotion opportunities for their latest movie and sending back marketing materials that arrived at our office – schwag that could have been destined for students. We also don't allow Coke to advertise in the Courier due to our own editorial history of opposition and because, due to Cap's exclusivity contract, Coke has enough promo on campus. 

Once more, we tend to over-represent issues that are of importance to the University Transfer program students and under-represented departments like Music Therapy, Early Childhood Development and Business. This is a difficult hurdle, as our writers tend to emerge from liberal arts and, with a small staff, we must attend to the interests and expertise of those students. It is difficult to represent all areas of the school, because story coverage works on a voluntary system – a writer must be interested enough to choose a story; our bias comes out clearly in our selection of topics, and does not always reflect the public's right to know. 

We tend to favour mainstream topics as well, imagining that David Letterman's sex life has some importance to society and some correlate with news or public interest when, in fact, it is of very little importance. We are poisoned by popularity. In fact, we are simply submitting to a savvy form of mind control by discussing it at all.

We are biased by gender and ethnicity. Primarily straight, English-speaking, white male oriented, we under-represent feminist perspectives and have been guilty of using words like “douchebag”, with all the dignity this reference infers. We also fail to cover Persian, Chinese or Indian perspectives, even though we have a multi-cultural readership.  

We are working on it. We hold these bloody biases up for review by our readers, but not simply to indulge in self-interest. We hold them up so that you may also see the bias in your own reality, so you might notice the assumptions of the media, the government, and even in your family or yourself.  

With this confession in mind, we proudly launch a new section in the Courier. It's called an Advocacy Feature. Partly inspired by the activist ideals of the CSU, the Global Stewardship students, and in no small part the Courier's past battles with groups like Mobilization Against War and Occupation (MAWO), we are producing a forum for our writers to make arguments that are based on ideological agendas. The difference is that we will make apparent the angle and flag the bias. 

We also happily announce a Business section, which has been a long time coming and probably overdue. As one of Cap's most prominent programs, we feel that representation of a strictly business perspective is a clearer reflection of our readers’ interests and, certainly, the public has a right to know how business informs their lives.  

We hope these additions became institutions in the Courier and help to tip us a bit closer towards the balancing point – the elusive ideal of objectivity and even-handed coverage of the news that is relevant to you, our readers. After all, that is our job. Your job is to communicate to us how we are doing and to make demands about content and agenda. Call the Voicebox and leave a message, or write us a letter. Better yet, come in and contribute as a writer; express your point of view. We promise not to write that you're a douchebag. It's only by your participating in the news that we can all approach our ideals.

//Kevin Murray

Editor

Voicebox

“The Voicebox is like Twitter from the stone age.”

[Incidentally, you can follow the Courier on Twitter @capilanocourier. –Giles]

“Hey Andreas, I love you... I had an awesome weekend with you. Bye bye.”

“We need more uplifting study spots in the school, because the whole school is dark and I can’t study in the dark.”

[Make like Greg Lee and embrace your inner goth. –Giles]

“It’s a nice day, I’m getting sick, and... yeah.”

[Second voice] “What do you hate?”

[First voice] “I hate pumpkins!”

“We need more intramural sports, like soccer and basketball.”

“It’s bullshit that we have to pay a dollar for agendas now.”

“Torque is very hard to understand.”

[It is also hard to spell. –Giles]

“I think more students should study Chinese instead of Japanese, because it’s way cooler and you can use it in Vancouver.”

“Don’t get the swine flu, man. Everybody’s getting swine flu. My doctor told me I got swine flu, I was sick for three weeks. Don’t get the swine flu.”

[You hear that, everybody? Don’t get the swine flu! –Giles]

“Engineering students should be given a pass on their electives.”

“Um, I think that the 239 bus drivers are really rad, because they pick you up not at the bus stop when your bus is late, so you’re running and you’re like ‘Awgh, I’m not gonna make it to class!’ But they know they’re picking up students! They’re nice people.”

“I think the 255 bus drivers are assholes because they show up late all the time, or very early, and you never know when the fuck they’re gonna come. Then they’re dickbags and they leave fucking late and I end up waiting half an hour... Pisses me off.  Fuck West Van.”

The girls at this school aren’t hot enough.

[I’ve been instructed to not call you a douchebag. –Giles]

COLD FACTS An H1N1 vaccine cheat sheet

MONTREAL (CUP) – Health Canada approved the H1N1 vaccine earlier this month, and is administration is slowly underway. Because the shots are being administered by the provincial health authorities, how quickly members of the public can get the vaccine varies from province to province.

While Health Canada has said the vaccine is safe, a large number of Canadians say they’re wary of getting the shot. According to a Strategic Counsel survey, released last week, 51 per cent of Canadians said they’re not planning to get the vaccine. The Canadian University Press talked with officials from Health Canada and the vaccine maker, GlaxoSmithKline to get some answers for some common questions about the new vaccine.

What kind of testing has been done?

GlaxoSmithKline says that they’re going to be testing the vaccine on a little fewer than 9,000 people worldwide; 2,000 of those people will be Canadians. The Canadian tests began two weeks ago and it could take up to a year for the results. This means that Health Canada’s going to be reviewing early European tests done on a small number of individuals.

How are vaccines approved in Canada?

It’s mostly a review process. Health Canada looks at the results of clinical trials, where the vaccine is actually given to people; those tests are conducted by pharmaceutical companies. Health Canada also inspects their manufacturing plants and tests a small amount of the vaccine, but as a quality control measure, the government doesn’t do any clinical trials.

How is the vaccine made?

The vaccine is produced in a similar way to the seasonal flu vaccine. Pharmaceutical companies get an inactive form of the virus from the World Health Organization. They then grow the virus in eggs.

How did they make the vaccine so fast?

The seasonal flu tends to mutate from year to year; scientists call this mutation “drifting.” Because of this, a new seasonal flu vaccine is required each year. While it may seem like the new vaccine was developed very quickly, it’s not much faster than the response to a new strain of seasonal flu.

So what’s in this vaccine?

It contains an inactive form of the virus. The type of vaccine that will be more available in Canada also contains an “adjuvant,” which is designed to stimulate the immune system; it contains fish oil, vitamin E and water. The vaccine also contains a small amount of mercury as a preservative, but Health Canada says there’s less mercury in a dose of the vaccine than in a can of tuna.

Why is the H1N1 strain more serious than other types of flu?

Because the changes in the virus caused by the mutations aren’t that significant most people tend to have some level of natural immunity. But because humans have never had the H1N1 strain before, most of us wont have any of these antibodies.

//Jacob Serebrin

CUP Quebec Bureau Chief

FIRST NATIONS LIAISON RESIGNS Calls bullshit on CSU

The First Nations Liaison position in the Capilano Students’ Union (CSU) stands vacant once again. After being re-elected for a second term in the Fall, Bachelor of Tourism student Linda Epp has resigned from her position, stating that “there was just a lot of bullshit that I didn’t agree with.”

On October 16, Epp asked for a leave of absence until the end of term so she could concentrate on her studies, but the executives adamantly denied the request, stating the position needed to be filled. They offered her a choice: In or out. She resigned, effective October 16.

A letter from Epp stated her reasons for leaving as academic pressure, the opportunity to work for Aboriginal Tourism BC for the Olympics, and finally, that she felt uncomfortable with certain staff members and did not feel she could “continue in a positive, productive manner.”

The staff members of the CSU differ from the elected representatives in that they hold contractual positions and are bound by a collective agreement through the Canadian Federation of Students. While the executives come and go according to typical student migration patterns, the CSU staff are not generally students and occupy semi-permanent positions, acting as a source of institutional memory and guidance.

“The executives have to understand that the staff works for us. That’s not known and it’s not apparent and it doesn’t really work . . . The students . . . have to learn Robert’s Rules of Order, planning tools, blah blah blah.” She said the red tape of the union and the staff members in particular impair the ability of the executives to get work done. “It’s sad” said Epp.

Some of the roadblocks she encountered included learning Robert’s Rules and, in particular, getting paper to the printer in the First Nations’ lounge. She mentioned that when students from the lounge went to obtain paper refills they were turned away because only she was authorized to refill the printer. “That’s the point where it became too much.”

She also claimed that the $50 weekly food allowance for First Nations’ lounge became a problem, due to the fact that she would have to be in charge of receiving the cheque for it.

“What difference does it really make who you cut a cheque out to? . . . It’s too much for the $400 stipend that I get.”

Trevor Page, Chair of the CSU, said the executive had no fundamental problems with Epp’s resignation. “She informed us that she had academic obligations . . . the CSU understands that the primary purpose of students is academics.”

In regards to Epp’s issue with the governance model of the CSU, Page agreed that the system is not perfect, but said: “There are bureaucratic steps that ensure we are accountable and transparent; that allows the executive to be democratic . . . [the rules] are there for a reason, but are always up for change or revision . . . how difficult is it to complain about the process and how hard is it to change it?”

Linda’s main contribution to the students at Capilano in her position as First Nations Liaison was in organizing last year’s Aboriginal Awareness Month. She says a few highlights of her position included “Working in solidarity, getting the aboriginal students involved and active, being proud of who they are . . . being part of the National Aboriginal Caucus.”

She estimates that she represented about 200 students overall. “I feel like I’m letting them down,” she says, but adds that she will still help out with Aboriginal issues, campaigns and personal problems. “I’m around. I’ll get ‘er done.”

A by-election will be held for a replacement First Nations Liaison and at last report, there were two interested parties.

//Kevin Murray

Editor

A SANDWICH FOR DEMOCRACY CSU AGM relatively well attended, relatively delicious

The Capilano Students Union (CSU) AGM gained popularity amongst the student body this year. More than 55 students from different faculties came out to vote on the important issues of the new semester at the CSU Annual General Meeting on October 29. This was a substantial turnout of students, as the CSU has had difficulty meeting their quorum of 40 people at previous AGMs, sometimes losing quorum partway through.

Although the meeting was brief, a lot of material was covered. “It ran smoothly, which is a nice change,” says Richard McCrae, a Student Union Executive.

The Financial Committee reported that office expenses had dropped to $21,000 from $26,000 in 2008, “because we were more careful in spending our money thanks to a tighter budget,” says Ghazal Tohidi, Financial Affairs Officer.

The Committee also stated that postage sales of the CSU were more than double, but that textbook sales dropped by $2000. “You save more money if you use CSU services,” says Tohidi, of things like phone cards and photocopies.

Tohidi added that the Excess Revenue Over Expenditures deficit of $3,601 was “a very good deficit” for their budget of almost half a million, compared to 2008 when the deficit was about $60,000.

Four special resolutions were also voted on and passed.

The election bylaws were amended, making the language of the document more specific. Proposed changes to membership bylaws were also passed, making the bylaws inclusive of all students. The proposed changes to the Remuneration Policy were also approved, specifying how money is remunerated to the Executive in relation to specific positions and what duties are to be performed.

Students also passed a motion to authorize the Building Committee to spend $10,000 on preliminary professional services to secure new student union space on south campus. The CSU has this money from the building levy, which adds up to more than a million dollars. This levy is collected as part of the Student Fees, up to a maximum of $10 a student per semester.

“We would like to start making use of this [the building levy money] because constructing our own separate building on campus would not meet our interests,” says Trevor Page, Executive Committee Meeting Chair for the CSU.

While a completely new building would cost $7 million dollars, the CSU instead intends to work within the already existing Library Building. “[The Library Building is] a major hub for traffic in the university,” says Page, “The idea is to make a multi-use space.”

During the question and answer period, one student expressed concern about the availability of the CSU financial statements well before the meeting date, so that students would have time to take a more detailed look at where the money was being spent prior to voting.

“Any student can come to any financial affairs meeting to discuss general financial statements,” says Page, “however these statements are the official audited statements prepared by a third party and we did not receive them until yesterday so it was not possible to print them in advance.”

Details of what each CSU committee had done in the past year were presented in the AGM Report.

The meeting lasted less than an hour, as there were very few questions posed to the executives, and every motion put forward at the meeting was passed with unchallenged efficiency.

Upon the arrival of food, a sudden parade of students to the cuisine table suggested that the reason for such an abundance of people was perhaps not for democratic reasons but instead because the CSU was providing a free lunch.

//Samantha Thompson

Writer

STUDENT EXCHANGE PARTNERSHIPS Japan makes students happy

Each year, three lucky Capilano University students swap places with students from Aichi Gakusen, a university in Japan. This exchange program is extremely rare, and has been in place for over twenty  years. One of this year’s fortunate students is Capilano’s Sarah Bischoff, who has been attending Aichi Gakusen since September. Bischoff noted that “Many others universities are extremely envious of this program and some students transfer to Capilano for the opportunity to apply for this program specifically.”

The opportunity is a richly rewarding one that pays off culturally and educationally. The Capilano students who are chosen are given their round trip, accommodation with host families while in Japan, and the opportunity to attend an educational program tailored to the student’s interest.

Students are welcome to get involved by applying for next year's exchange. To be selected, the committee is looking for students with an avid interest in Japan and its culture. Bischoff adds “Previous interest in Japan is the most important factor in the application process, as far as I can tell. For instance, I have studied some Japanese Art History, through Capilano, and am a co-director of a Buddhist organization in Vancouver. The other students I came with studied Japanese history and language as well as having a large interest in Manga and Japanese fashion. Grades are also significant. In Japan, you’re expected to be the top of your class.”

After being selected, students are asked to complete a 100 level Japanese class, and submit a selection of Japanese book and film reviews to show upkeep in interest. “Once accepted, you are required to give monthly updates on your experiences and development,” Bischoff mentions. “Failure to meet any of these requirements results in you losing your scholarship.” It sounds severe, but remember that this program is an honour that very few are given the chance to experience.

Of course, the more Japanese language you have under your belt, the better. This was the case for Sarah Bischoff.  She noted that “Every day is a challenge in communication with those other than your teachers who speak English and the two other students you came with,  so you rely on them heavily, regardless of whether you get along or have anything in common.” Although her time has been rewarding and life changing, she adds “the most difficult part of the exchange [for me] so far has been the initial feelings of isolation and loneliness.”

The opportunity has pushed her to step out of her shell. “I’ve learned a lot from this so far and it also has helped me to be more courageous in starting up conversations with people with my very limited language skills.”

Other benefits of the program add to its unique nature and attention to detail on Japanese culture. In addition to the aforementioned, “the program pays for most books, as well as 50000 yen a month (roughly $550 CDN) for travel and expenses. Some extra classes, such as Fashion or Tea Ceremony require you to pay for materials. One school study trip is also covered which is the student's choice. We will be going to Hiroshima for one week this December.”

In return for the rewards of the program,  students are asked to do their part with assisting teaching English to other students one day a week. All in all, Bischoff feels like her work has paid off: “I’m amazed at how much I am able to communicate with my limited vocabulary and ability to determine meaning due to context. Japanese language is heavily dependent on context, so your attention to it is crucial.”

//JJ Brewis

Writer

BROADWAY IN BURNABY Classic musical offers Cap Connection

While I was sitting in the Michael J. Fox Theatre watching a tale full of sex scandals, power, and money, I was kicking myself for not bringing a date to such a steamy show.

Featuring an experienced cast and a live band that has played with David Bowie and Aerosmith, a thrilling production of Joseph and the Amazing Technicolour Dreamcoat is set to debut. Footlight Theatre, thecommunity theatre group behind this production, have many past and present Capilano students involved in a variety of roles. This classic musical has stood the test of time, and it's the first time the copyrights have been available to smaller production companies. The calibre of talent this musical has to offer must be experienced.

The story of Joseph is about a favoured son and his jealous brothers. After being given a special coat, the brothers' jealousy erupts and the young man is sold to Egypt. With issues such as adultery, loneliness and jealousy, this ancient story remains as relevent today as it was when it was written.

Lalainia Lindbjerg Strelau, a director that read the origial version to her actors, fell in love with the musical long ago. When asked about the Capilano students' performing ability, Lalaiana showered both the students and teachers with praise. Alison Wright, the Assistant Choreographer and past Capilano student, added that “Capilano's Public Speaking course has helped a great deal with dealing with the crowds of young actors she has had to teach”.

The star of the show, Danny Blakewell, explained that the beauty of Joseph is that there is something for everyone to love. Whether it's the calypso rhythms or the beautiful solos, young and old alike will all be singing along with this positively infectious musical. “Joseph. . .makes you appreciate what you have when you have it”. Danny also added, “there is no better way of learning than seeing as much as you can, as this will allow you to distinguish between the good and the bad”.

Since Footlight Theatre does not tour like a major production company, the operating budget is lower, causing the group to find other ways around problems. Danny Blakewell said, “In this community theatre, problems are solved with creativity instead of money”. The one thing money can buy is bigger space, and now that Footlight has moved to the Michael J. Fox theatre, the actors can now spread their wings on a real stage. Having room for props and actors is always an issue, and the 600 seat facility is the perfect venue for Joseph and the Amazing Technicolour Dreamcoat. As the Footlight moto for 2009 says: Go big or go home!

The Michael J. Fox Theatre is located at 7373 MacPherson Ave. in Burnaby, right by the Royal Oak Skytrain staion. Evening shows start November 6th and run to the 14th ^{. There is also a matinee on Sunday the 8th at 2:00pm. Evening shows start at 7:30. The ticket price ranges from $24 to $32 and is a steal for the funnest show you will see this year. For more information visit www.footlight.ca www.ticketstonight.ca}

//Andrew Kirkpatrick

Writer

PENNY CABARET Seeking film submissions and an audience

Are you a current Capilano student who has created a film and are waiting for an opportunity to have an audience view it on the big screen? Are you looking for some quality, cheap entertainment during your lunch hour? Do you secretly wish you lived in the early 1900’s so you could experience a classic vaudeville theatre show? If so, then a few Arts and Entertainment Management students have what you are looking for.

Alyssa Forzley, Jacob Pasterfield, and Kristina Crnković are providing current Capilano University students with the opportunity to showcase their film making skills, and to view films that other Cap students have created, at a two day film festival taking place on November 19th and 20th.

The Penny Cabaret Film Festival will take place during your lunch hour from 12:00 - 1:00pm in the Capilano Performing Arts Theatre, and all are welcome to attend. The event will have a penny cabaret, old vaudeville theme, and in true penny cabaret fashion, it will cost you a penny to attend. For those who are unfamiliar with vaudeville, it’s a theatre entertainment variety show combining an assortment of unrelated acts (such as songs, dances, and magic) that was highly popular in America from the late 1880s to the early 1900s. Attendees can expect to experience an event that will feed off of this theme and “will be filled with magic and carnies,” according to Jacob.

Alyssa, Jacob, and Kristina have been working hard with the film and theatre departments to put this event together, and are looking forward to showcasing as much current student material as possible. Many student films have already been submitted, and they are still accepting submissions. This is a perfect opportunity for students to showcase their films, because on November 19th, Capilano University is hosting an Open Studio Day – welcoming high school students to explore and learn about careers in visual, media, performing and motion picture arts.

According to Jacob, these visitors will “provide a great opportunity for film students to promote themselves to people who may attend [the Open Studio Day]. It is a chance for students who have work that they are proud of to showcase it, and that is the focus - we are trying to get the students’ names out there.”

Deadline submission is November 12th. Anyone who would like to submit film can contact Jacob at jacobpasterfield@gmail.com, or can drop the films off, with either Alyssa’s, Jacob’s, or Kristina’s name on it, at the Arts and Entertainment Office beside the Capilano Performing Arts Theatre entrance. The films can be a maximum of 10 minutes in length, and they do not have to relate to the penny cabaret vaudeville theme. All submitted films should have return information attached so that they can be returned after the film festival. Jacob’s final request of all who are planning on attending this event: “Bring your hobos!”

//Jessica Nolan

Writer

SKA IS STILL TERRIBLE But the Cat Empire struts back

VICTORIA (CUP) – Ska, funk, reggae, rock, acid-jazz, hip-hop and salsa are just a handful of genres that have been used to describe The Cat Empire. Whatever genre the band is, they’ve certainly come a long way from their humble beginnings in Melbourne, Australia.

After six years together, records that have reached multi-platinum status in their homeland and 700 shows scattered through every continent – except Antarctica – this group of cool cats will be returning to North America to demonstrate the definition of stage presence.

The band will be strutting their way through large and small venues from Victoria to New York to celebrate the success of their recent release, Live on Earth, a collection of tracks recorded live all over the world, and gives a genuine taste of the live Cat Empire experience with upbeat rhythms and spontaneous jam masterpieces, the longest of which is 25 minutes.

“The best shows we’ve ever done are the ones we didn’t rehearse,” says Felix Reibl, one of the band’s two lead singers. “Our chemistry really lets us get carried away. When you’ve got a song that people know and it goes to a place that they don’t know and we don’t even know . . . I think that’s why we’re still around.”

The Cat Empire has always been known for memorable performances. The band, with just six core members, has often been found on stage with up to 30 other musicians, playing every instrument imaginable – not to mention non-musical guests like circus performers, streaking fans, or the entire audience.

“Way back, we played in the Edinburgh Festival for three weeks, always at 3 a.m.,” Reibl says. “It was the first time we played there and there were only 20 people in the audience so we invited them all up on stage for the whole gig. By the end of the week there was a lineup down the street.”

It’s the reputation for performances like that, and touring for so many years, that has given The Cat Empire an opportunity to play shows with everyone from Snoop Dogg to the Buena Vista Social Club to the late legend James Brown.

“Yeah, I’d say Brown was one of the funkiest men I’ve ever met,” Reibl says. “The way he spoke, it was almost impossible to understand his words, but you knew what he was saying through his nature and his body language.”

The funk king gave the Cat Empire – through an impromptu translator – what turned out to be one of the hugest compliments of the band’s career.

“At one point we weren’t sure what he said, but his bandmate told us James said we were funky on stage, so that was a really big moment for us.”

Even after such high praise from respected musicians as well as global success, Reibl still has both feet on the ground.

“Honestly, when I’m not playing, I’m writing songs . . . and traveling and catching up with precious people, but those go hand in hand with writing,” he says.

And while he's writing are songs many music fans find so difficult to categorize, Reibl sums it up quite easily.

“It’s our music,” he says. “It’s Cat Empire.”

The Cat Empire perform at the Commodore Ballroom on Monday, Nov. 16th and Tuesday, Nov. 17th.

Justin Doyle

Nexus (Camosun College)

KEEP AN OPEN MIND Drumming Workshop at Capilano Keeps Students Spiritually Connected

“Open mind, open heart.” This is Ross Milforth’s motto to live by, and while it may sound clichéd, hearing it come from the soft-spoken man is a spiritual experience.

Ross held the first of three drumming circle workshops in the Film Studies building last Thursday, and he did more than just share his drumming skills with the students who attended. Participants were told about the meaning behind some important cultural songs, shown a few drum beats (such as the thunder beat), and what a break (lifting of the drum during a song) signifies. Ross also shared the cultural and spiritual importance of the gathering over many stories and aphorisms.

Ross hails from Squamish Nation, and works as a First Nations Liaison Worker around Squamish and the lower mainland. He helps indigenous students find their way to post-secondary school by helping with applications, registration, and tutoring. He also holds spiritual drumming and singing workshops. “Hopefully in some way what I offer is there to help them to help one another”. Ross’ mission in holding drum circles for students is “to help them connect with themselves as human beings, to know who they are and where they come from” while also allowing students to question and examine their beliefs and values “through a cultural and spiritual experience”.

The first song played was a medicine song called “Greeting of the Day”. With this song, drummers and singers are calling on the creator to bless the food about to be enjoyed. While everyone participated, only a handful of students used the unique drums, as singing and drumming at the same time can be rather difficult. The drums used are made of animal hides and cedar or pine wood. The point of the workshop was to not only “learn a few songs, but to also learn how those songs can help students connect with their spirit and the creator”. 

Ross shared many personal beliefs with students, and he captured their attention effortlessly despite his soft spoken demeanour. Between songs, he relayed the important message, “I was taught the first good medicine is a good thought” and also said, “it is important to connect with the creator so one can be rich in spirit.” 

Drumming is a huge part of the indigenous culture, and a highly regarded skill to have. In the wise words of Ross, it is referred to as the “heartbeat of mother earth, the heartbeat of the people. When we drum, we feel it. We refer to it as the spirit caller, and our connection to the creator.”

While drumming is important, singing is equally important when participating in songs. The songs can only be learnt through hands-on experience and sharing knowledge with others. Some drummers only know five or six songs and beats, while others have a repertoire of over 60 different songs up their sleeves. While the “lyrics” consist of deep hums and other sounds, the songs sound beautiful when everyone sings in unison and sometimes the room even vibrates if enough drummers are gathered together.

The event ended with “Chief’s Honour Song” which was a song about the humbleness of the leader and the equality of all the people. The workshop’s message not only applies to people of indigenous cultures, but of all cultures. By holding the workshops, Ross said that he “encourages everybody to hold on to their roots, to their culture, to their ancestry, and at the same time honour everybody else’s cultures”. According to Ross, “acknowledging one’s past allows for us to have something positive to draw upon when we have a hard day”.

Even if you don’t know much about indigenous culture, these workshops are a great introduction – plus, plenty of food and wisdom are always shared.

//Carling Grey

Writer

FORGIVENESS AND FEAR Understanding atrocity in Sierra Leone

“There are times when silence is louder than any voice,” says Mariatu Kamara, a 22 year-old university student living in Toronto, as she reads an excerpt from her book, The Bite of the Mango, to a packed theatre at the Kay Meek Centre in West Vancouver on Wednesday, October 21st. The audience is dead silent as she describes her childhood in Sierra Leone, West Africa. Nearly everyone takes a sharp intake of breath as Mariatu speaks of the civil war that hit Sierra Leone when she was only 11. Her face is stoic as she talks about unimaginable acts that occurred during the war – like watching houses burn down with her friends trapped inside, or seeing a man’s wife and baby killed in front of him – acts that she witnessed first hand. I don’t find myself gasping, however, maybe because this story has a different meaning for me. The villages Mariatu talks about in Sierra Leone are places I have visited. Sierra Leone is a place that I know and love – yet perhaps still do not fully understand.

For those who aren’t familiar with Sierra Leone, it is a tiny country on the West coast of Africa that endured a brutal civil war from 1991 to 2002. A group of students who were displeased with the president, Joseph Momoh, formed the RUF (Revolutionary United Front) in hopes of bringing a revolution. The leader of the RUF, Foday Sankoh, was joined by Liberian leader Charles Taylor, and the war that had once been a political uprising turned into a bloodbath. The Liberian interest in the war was originally due to the large amount of diamonds found in Sierra Leone, and they were fighting to bring them back into Liberia in order to sell them to the overseas market. Unfortunately, the money from the diamonds they sold went to finance the war, which led to a flourishing arms and drug trade.

The RUF attacked villages and farms, raping, maiming and murdering thousands of civilians, primarily women and children. They also recruited children as young as seven to join them as soldiers, drugging them and training them to kill. A U.N. study states that over 10,000 of these child soldiers fought in the civil war. Also, over 20,000 civilians had arms or legs amputated because of the conflict, and tens of thousands of people died. The exact number is unknown because a proper census was not conducted before the conflict, largely due to the huge number of rural villages, but it is known that more than two million people were displaced as refugees. The war left Sierra Leone with no infrastructure, no job opportunities, and a political system nearly as corrupt as it was before the conflict.

While talking to Mariatu, I realize she and I both spent the past summer in Sierra Leone. She visited her family and worked with her non-governmental organization, The Mariatu Foundation, which provides support to war victims as well as women and children undergoing abuse. My work was similar; I stayed with a Sierra Leonean family and worked for a non-governmental organization. Nearly the same age, and in the same year of university, it seems that Mariatu and I both have similar paths – we both want to finish our degree and then go back to Sierra Leone to live and work. Similar paths, but the journey to reach them could not be more different.

When I was 10 years old, blissfully unaware of the conflict going on in another part of the world, Mariatu was right in the middle of it, running for her life. While I was taking music lessons, going to school, and horseback riding, Mariatu was facing the loss of something I can’t even imagine losing: her hands. The same day Mariatu first came into contact with the rebels was the day they cut off her hands, telling her to go to the president and ask him for new ones. The rebels were amputating people’s hands and arms because they didn’t want anyone to vote the president back into office. They thought it was better if people had no option to vote at all. While I was acting in my grade seven play, Mariatu was playing a part that seems unrealistic for a 12 year old – becoming a mother. She was raped by an older man when she was only 11 and had experienced the loss of her son before his first birthday. This wasn’t some far off story for Mariama, nor a movie she could just flick off when she got tired of it; this was her life. Despite the love I might share with her for Sierra Leone, her loss is something I can never fully understand.

For me, hearing stories and seeing the ruins of the war can not even compare to the horror of the reality that Mariatu was facing. Upon learning I’ve been to Sierra Leone, many people ask me if it’s safe there now, how the country is recovering, and how the people are recovering. I find this an incredibly difficult question to answer. Although I can dedicate my time to working towards making Sierra Leone a better place, and helping those who have been wounded, I can never fully understand how they are really recovering. Simple statistics about the number of people helped in amputee camps, or about those who have survived war injuries, say nothing about how people are coping. One cannot hope to understand how people are recovering from such a horrifying ideal by putting ‘numbers of people helped’ into a report and sending it back to a donor country to say, “Look, we’re doing a great job… these people are really doing better now!” Mariatu points out this idea in her book, The Bite of the Mango, when she talks about how she was dealing with the loss of her arms: “I felt I could almost deal with the horror of what the rebels had done to me … after all, hundreds of other young people had also lost their hands. There was some comfort in knowing that we shared the common fate of learning to survive and care for ourselves after such a devastating ordeal.”

Mariatu’s words are a constant reminder that perhaps the best thing donor countries can do for places like Sierra Leone is to enable the people there to help themselves. Constant aid will not really fix anything. Nearly one half of the government budget in Sierra Leone is financed by international grants and loans, which is keeping Sierra Leone from advancing. It is rare for the civilians to see any of this money pass by, and a system of waiting on aid has emerged; the government is waiting on aid, the citizens are waiting on the government... and nothing is getting done.

In 2009, total US bilateral aid to Sierra Leone in all categories was $32.885 million. US assistance focused on the consolidation of peace, democracy and human rights, health education, particularly combating HIV/AIDS, and human resources development. According to a US Aid Report, most of this aid is directed through the government. However, the real aid the people of Sierra Leone need is the opportunity to help build back their own country. As Mariatu says, “It was through the people in my country who helped me that I realized I was not a victim, but someone who could still make a difference.”

Despite Mariatu’s loss, the incredible forgiveness she exhibits is overwhelming and humbling. Never once does she show any resentment towards the rebels who took away her hands. Rather, she has chosen to forgive them and to now try and make the best of her situation. She has decided to look forward, rather than looking back. “I may not have hands, but I have a voice,” Mariatu said. “And no matter how nice my home in Canada is, my first home will always be Sierra Leone. The heart of my country is the heart of the people who helped me see myself not as a victim but as someone who could still do great things in this world.” Mariatu’s bravery is hard to grasp, especially when you consider what she has been through. However, it is a lesson in forgiveness and a lesson that is not easy to forget. “I lost my hands so that I could touch the world with my heart,” Mariatu says. Perhaps this is something she has already done.

//Krissi Bucholtz

Writer