The Mike, Issue 4 (2016-17)

THE MIKE Wednesday, November 30, 2016 - Issue 4

BEYOND APPEARANCES

Shane Koyczan’s “For Many” and the problem with standards

EDITORIAL

2 LETTER FROM THE EDITORS...

Here at The Mike, it is our collective aim to showcase a diverse range of perspectives in a tolerant and respectful fashion. We have no qualms with publishing controversial things per se: giving voice to unpopular opinions can often contribute to a larger public dialogue in a productive manner.

It is our hope that all writers (especially those that wish to engage with particularly contentious topics) do so in a thoughful and well-reasoned manner. With this being said, in the future, we may be forced to draw the line should something particularly inflammatory and problematic be submitted anonymously.

Thankfully, as of yet, the ability to publish pieces anonymously hasn’t been abused.

Needless to say, views expressed in The Mike’s Opinions section do not necessarily reflect the views of The Mike and its masthead. Any direct correlation is purely incidental—save for Josh’s piece this week, which reflects his own personal opinion. On that note: if you get the chance, take a look at our Opinions section. In the interest of balance, inside you will find two competing perspectives, a point and counterpoint, on cultural appropriation. Give them a read and make your own informed decision.

Have any thoughts or suggestions for us? Reach out! Itching to see a particular topic or viewpoint shared? All it takes is one email. The more voices we have, the better. Open, constructive dialogue is what this space is for. These days, there doesn’t seem to be enough of it.

If interested, do consider joining the team that makes this newspaper happen—it’s been said before but it still stands: this is your newspaper.

– THE MIKE LEADERSHIP

OPEN POSITIONS -THE MIKE is still looking for one (1) DESIGN MANAGER and one (1) PHOTOGRAPHY EDITOR to join its masthead.

-DESIGN MANAGERS are responsible for spearheading the design of the content in one issue per month. Experience with production software isn’t necessary— all we’re looking for is determination, enthusiasm, and a willingness to learn.

-The PHOTOGRAPHY EDITOR is responsible for taking (and editing) photos, if necessary, as well as for compiling the work of contributors.

THE MIKE MASTHEAD 2016–2017 EDITOR-IN-CHIEF

MANAGING EDITOR

BUSINESS MANAGER

Ms. Anah Mirza editorinchief@readthemike.com

Mr. Josh Scott managingeditor@readthemike.com

Mr. Zia Faisal business@readthemike.com

FAITH & THOUGHT EDITOR

OPINIONS EDITOR

ARTS EDITOR

Ms. Farah Rasmi faith@readthemike.com

Ms. Garnet Ryu opinions@readthemike.com

Mr. Liam McConnell arts@readthemike.com

SPORTS EDITOR

LIVING EDITOR

DESIGN MANAGER

Mr. Rory McCreight sports@readthemike.com

Ms. Jennifer Bueno living@readthemike.com

Ms. Yurie Kaku

COPY EDITOR

COPY EDITOR

PHOTOGRAPHY EDITOR

Ms. Marianne A. Kalaczynski

Ms. Daniela Solimine

Vacant

OPINIONS

are the new Black.

Write/edit for us! Email: editorinchief@readthemike.com The Mike is the official bi-weekly student newspaper of St. Michael’s College in the University of Toronto, publishing since 1947. The Mike has a circulation of 2000, delivered to over 40 newsstands across the University of Toronto, St. George Campus. The Mike is published by The Mike Publications Inc. and printed by MasterWeb Inc. on recycled newsprint stock. The Mike is a member of Canadian University Press. Copyright: 2016, The Mike Publications Inc. All Rights Reserved. All editorial inquires should be sent to editorinchief@readthemike.com. The Mike reserves the right to edit all submissions.

LIVING

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Doing A Friday Night the ROM Way How the ROM ressurected my Friday night, in style Chelsea Kowalski CONTRIBUTOR As a university student, there are a couple ways to spend a Friday night. You can head to a casual dance club/bar, making memories you won’t remember by the morning. You can sacrifice it to the library in hopes of a high GPA. You can even spend it binge-watching Netflix, (but that already happens every other night).

If these options are getting a bit boring for you though, I would suggest a look to the Royal Ontario Museum (ROM). Every Friday night from late September to late November, they host an open-house, 19+ party, that welcomes anyone willing to get dressed up and soak up some culture. If you’ve spent some time in Toronto, you’ve probably been to the ROM before.

Dinosaurs’ skeletons, ancient Egyptian, Roman, and Greek sculptures, and a literal bat cave— what’s not to explore?

UTTLD, and AGAME to create special exhibits.

In addition, the four past winners of African Fashion Week Toronto (AFWT), managed by The Fashion Ready Foundation, were invited to showcase their designs. Models graced the floor, allowing the public to secretly wonder if they were real or just beautiful mannequins.

artists—whether it was designers, stylists, chefs, musicians—people I never would have known about. It allowed me to learn and broaden my knowledge of the world’s different cultures and times, while simultaneously promoting Toronto’s talent as well. Not an easy task to do, but they seem to manage it quite well every Friday night.

In the middle of the entrance, people filled a giant dance-floor, entertained by Chloe Charles, a Jill of all music trades and surprisingly, an expert at most. When the dance floor got a bit crowded, my friends and I moved onto the different exhibits and floors the ROM had to offer. We were delighted to find that either a bar/ food station, or a musical group, was available for us to enjoy in every room. In one exhibit, we even spotted the Stars from the U of T Jazz Program.

Passing by the dinosaur exhibits, we clinked But on Friday nights, the museum not only opens glasses while offering some of our rum and coke all its regular exhibits, but adds a unique theme to the brontosaurus nearby. (He declined). so that every experience is one-of-a-kind. On October 21st, I put on a floor-length dress, While I left shortly after, many people stayed heels, and my best (attempt at) winged eyeliner, until midnight to end the night together. Friday and headed to Friday Night Live for Fashion Night Live was a huge success. It gave people an night. The organizers of FNL invited Toronto opportunity to see the museum and get fancy. fashion designers, Will Poho and Joseph Tassoni, It gave countless opportunities to Toronto

ROM Friday Night Live

Zodiac Signs and Appearances, Part 1

The common physical features of different astrological signs: Aries – Virgo Jennifer Bueno LIVING EDITOR Back in Ancient Greece, religious mystics believed that souls came from the Milky Way. When someone is born their soul passes through one of the twelve doors of the zodiac band and settles into the physical body.

Through Greek mágos, souls would embody the symbolic characteristics of their corresponding constellation.

Although the philosophies of reincarnation don’t have any direct relevance to physical appearances, it was believed that they influenced the incorporeal spirit that resides among the stars. And that there would be physical manifestations of the zodiac characters in the looks and manners of human beings. Astrology doesn’t hold the rule for appearance or manner, as genetics would be responsible for shared features. However, some believe it explains why some people within the same family may not have the same looks or characteristics, but may share similarities with another of no relation.

tanned/darker or easily tanned skin with a golden tone.

Overall, Aries tend to be slim and physically well shaped with a sinewy and powerful body. They have a triangular face, straight, long nose, a lip that sticks out and thick coarse hair. The men have slim hips, broad shoulders, high cheekbones, and may have a head full of curls while the women have thicker hips, a strong face with rosy cheeks, straight eyebrows, thinner lips, and small feet.

down, big, strong hands and feet, smaller facial features, strong jawbone, eyes that are far apart and often gray or blue, eyebrows arching down, full lips, wide smile, nose tips up, lighter skin colour, maybe sallow, and their hair is usually brown. Then men have bigger than average heads and a brow bone that extends out, the women have a long waist, ample bust, carry their weight at the hips and thighs, deeply set eyes, and may be nearsighted

TAURUSES usually have a melodious voice, soft eyes and walk from heel to toe with a heavy step. Tauruses are typically thickset and not too tall, they have pleasing proportions, well defined calf muscles, a thick and solid neck, big thumb bones, prominent ears, a strong jaw line, broad face, a button nose, full lower lip that sticks out, and wavy hair with dark eyes. The men are big boned, have a square-shaped head with thick, dark hair, broad, sloping shoulders, full face, and a fine complexion. The women are also big boned, and may hold their weight on the hips, they have full, striking eyebrows, proportioned nose, sloping shoulders, ample bust, fine complexion, and focused facial expression.

LEO also produces two distinguishable types of appearance.

One is more handsome than pretty and has a bold air to them. The other looks less dramatic possesses a softer type of good-looking appearance, and a more spiritual air about them. When Leos speak they sound warm and deep or have a fainter hoarse voice. Typically Leos are tall, though some are short in stature, carry themselves confidently with measured motions, have warm eyes that are sometimes big and unsuspecting or agile and bright and may be grayish or blue, a long waist, shorter legs, they smile easily, a loud laugh and usually have good skin with a golden tint. The men walk with puffed chests, big steps, and quick, light feet; they have strong shoulders and arms, a big head, slim and sinewy lower body, big, strong hands, typically dense or silken hair, and a square jaw. The women have a wider face, button nose, small ears, and shorter neck.

GEMINI produces a medium tall or short physical stature with usually narrow shoulders. They move quickly with a slim build, fit body, and long, graceful arms, and are energetic. Their eyes aren’t big, but set apart and bright and may be blue, gray, hazel, or gray. They have dynamic and bright facial expressions, dark or light coloured hair, full lips and expressive mouth, a fidgety nature that shows in their darting eyes, and a pale skin colour that tans. The men are lanky with long limbs and the women are slender with a smaller bust and high cheekbones. https://exemplore.com/astrology/A-Beginners-Guide-To-Astrological-Signs-And-What-They-Mean-For-Your-Personality

ARIES seems to produce two distinguishable types of appearance. One is taller, lanky or slender, has a pale, translucent tone to their skin and lighter eyes. The other has red tinted hair, darker eyes, is shorter, wider, has

CANCERS look kind of frail, they tend to be nearsighted, and walk with a smooth wavelike motion. They are said to be expressive through their lips. Cancer people are typically of average height; they have a skinny figure, slim limbs, and long arms, look larger from waist up than hip

VIRGO is the sign that symbolizes health so they tend to have healthy, strong physiques, and carry themselves well with a strong voice. However, their feet are inclined to be small and the toes bend toward each other, sometimes making for a curious and awkward walk. Virgos usually have an average stature, oval shaped but slim face, a long, fleshy nose, hair is typically brown, sharp and shining eyes that may be gray or hazel, larger upper head, frail and feminine chin, and harder skin to take care of. The men are lean with gaunt shoulders and have slender fingers. The women are likely to develop later than their peers, have slender legs and body, square shoulders, almond eyes, and a big smile.

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Going Goth at U of T

ARTS

It’s all in the architecture Angela Feng

CONTRIBUTOR

What better way to express academic prestige than with an array of Neo-Gothic architecture? In Canada, Gothic Revival remained in vogue far longer than it did in the U.S. or Britain, where the style originated. The foundation of many prominent Canadian institutions coincided with this trend, resulting in spectacular Gothic buildings across Canadian university campuses. Scattered around the U of T campus, these “Collegiate Gothic” buildings intimidate anxious high school hopefuls, attract Instagram enthusiasts, and house classrooms and study spaces for over-caffeinated students. With its origins in spectacular Gothic cathedrals, it is no surprise that Neo-Gothic works are often found in religiously-affiliated spaces. The following are just a few of the eye-catching Neo-Gothic buildings at U of T. EMMANUEL COLLEGE: Designed by Henry Sproatt, a prolific Canadian architect, this building began its life as a part of Victoria College. In 1925, a few Presbyterian congregations decided to remain independent from the newly formed United Church of Canada, and many from Knox College moved into this building to form “Union College,” soon renamed Emmanuel, at Vic. Today, it houses a school of theology and is noted for its ribbed vaults and intricate window panelling.

1 SPADINA CRESCENT: The original home of Knox College, this Henry Sproatt-designed building features a wicked awesome ogival. Built in 1875, this structure is preserved by the Ontario Heritage Trust Act and is one of the most historically fascinating buildings in Toronto. In the past, it has served as a military hospital, a seminary, a penicillin factory, and eye bank and is rumoured to be one of the spookiest buildings in the city. Currently, it is under renovations and is scheduled to open in 2016 as a part of the John H. Daniels Faculty of Landscape, Architecture, & Design.

BIRGE-CARNEGIE LIBRARY: Opened in 1910, BirgeCarnegie Library at Victoria College is another design by Canadian architect Henry Sproatt. With its looming stone exterior and long decorated glass windows, this library showcases the essential characteristics of Neo-Gothic architecture.

ST. BASIL’S CHURCH: William Hay designed this stunner at St. Michael’s College. Featuring spectacular stained glass windows, a gabled roof and the most iconic ogival (a pointed arch) on campus, St. Basil’s was crucial to the construction of St. Mike’s. John Elmsley demanded one thing in return for the land that SMC sits on: that a Catholic Church be built as part of the campus. Since its initial construction in 1856, St. Basil’s has continuously been expanded and renovated. Per his request, the heart of John Elmsley was entombed in the western wall of the church after his death.

HART HOUSE: Established in 1919 thanks to a contribution from prominent Torontonian and politician Vincent Massey, this Henry Sproatt design opened as a men-only student centre, one of the first in Canada.

Challenges to this gendered segregation soon followed, and in 1972, after Massey’s death, women were finally allowed entrance. Hart House features extensive ornamentation in the form of stone gargoyles, repeated large windows and a tall tower with steeply pitched roofs.

KNOX COLLEGE: Flying buttresses, battlements and cloister windows adorn the exteriors of Knox College. A post-grad theological college, Knox’s campus is almost entirely comprised of Neo-Gothic structures including the corridors which exemplify hypnotic rib vaulting. Beginning in 1844 as an independent institution, it became a part of U of T in 1890. Today, it grants joint degrees between U of T and the Toronto School of Theology.

BURWASH HALL: Former home of many famous U of T alumni including Lester B. Pearson and actor Donald Sutherland, Burwash Hall is the second-oldest residence at Victoria College, completed in 1913. It houses student residences as well as the Burwash dining hall, the largest at U of T. Burwash is notable for exemplifying turrets, gargoyles, as well as battlements.

The ROM’s Most Thought-Provoking Exhibit A Third Gender

Madeleine Anderson CONTRIBUTOR Given the current discourse of non-binary gender expression at this university, the exhibit A Third Gender: Beautiful Youths in Japanese Prints is especially important.

In the past month and a half, one professor’s refusal to use non-binary gender pronouns and the controversy surrounding that position has dominated the conversation on gender expression. It is in this debate about the rejection of political correctness that the exhibit A Third Gender is powerfully educating the public on the history of diverse gender expressions throughout the globe.

The exhibit showcases the Edo Period of Japan (1603– 1868) when, in between puberty and adulthood, there was a stage in every biological male and some female’s life when they were neither man nor woman but wakashu.

This is understood as a third gender with their own way of expressing themselves sexually and visually (the hallmark of a wakashu was a shaved patch of hair on the top of the person’s head and the hair in front of that bald spot arranged in a specific way).

A point that the curators stress is that this was not a subversive or marginalized expression, but something every man went through. Wakashu were such a prominent symbol of energy and excitement in their culture that they were major figures in celebratory prints, many of which were displayed in the museum.

In the museum’s introductions, the wakashu are described as young males between puberty and adulthood. It is true that every male went through the period of wakashu, but some males continued as wakashu long into adulthood.

There were also females who lived as wakashu despite it not being a required period in females’ lives as it was for males.

The museum’s choice to acknowledge these variations emphasizes an understanding that multiplicity is an integral part of this conversation. The exhibit does not shy away from showing the sexual aspects of the wakashu.

These young males and females, who sometimes worked as prostitutes, were subjects of desire for both men and

women. The erotic print makers of the time depicted them in a wide range of sexual acts. These erotic prints include passionate embraces, intimate entanglements, and every pairing of man, woman, and wakashu.

The thought-provoking experience was not limited to the exhibit itself. Due to the layout of the second floor and the position of the exhibit, all patrons have to walk past two all gender washrooms on their way to A Third Gender.

This choice was inspired in part by the exhibit and will continue to exist after the exhibit ends on November 27th to continue to normalize non-binary gender identities.

With gender at the forefront of many people’s minds, this dynamic and thorough presentation of gender being experienced in a way that challenges our cultural norms is invaluable for thinking about gender and sexual identity in a larger, historical scope.

ARTS

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The Medium of McLuhan

A Review of the McLuhan Exhibit at Kelly Library Laina Southgate CONTRIBUTOR Publicly acclaimed professor, philosopher, and public intellectual Marshall McLuhan is credited with being a key player in the rise of the Toronto School of Communication as well as a leader in media theory. Educated at both the University of Manitoba and Cambridge University, McLuhan eventually became an English professor at the University of Toronto. Perhaps most recognizable for his expression “the medium is the message” as well as the idea of the “global village,” McLuhan envisioned something like the World Wide Web. He began his teaching career at U of T at the University of St. Michael’s College in 1946 where he remained until his death in 1980. During his time at SMC, McLuhan cultivated not only an intellectual home but a spiritual one as well: a fact which is made clear by his devotion to the college in addition to his work.

When you first walk through the doors of the John M. Kelly Library it is difficult to discern where the exhibit begins. Located on the first floor, the McLuhan exhibit is immersive as it is unobtrusive. Students are still welcome to use the library, which contributes to the fluidity between the exhibit and the library itself. This exhibit is self-guided so one can wander from piece to piece depending on what catches the eye. This interactive method is effective because it deeply engages with what one is viewing.

A central element of the exhibit consists of letters to his colleagues, first editions of his

books, and newspaper articles and interviews from publications such as The New York Times. All of these together demonstrate McLuhan’s celebrity and influence, as well as show the progression of McLuhan’s work and thought as the media environment changed over time. Along one wall there are old televisions and other early technologies which contrast with the iPad that one uses to access the audio and video clips. McLuhan’s vision of a world connected by technology has clearly come to pass.

Don’t forget to seek out the quotations from associates of the Toronto School of Communications which are scattered throughout all levels of the library. These quotations add to the multimedia format of the exhibit because they showcase the influence McLuhan had on others.

Perhaps the most important element of the exhibit is that it is multimedia - a fitting form considering that McLuhan is known for his insights into the relationship between media and technology. Viewers can read his life story as a timeline, listen to videos clips of his life, watch videos or look at various articles and items drawn from the Special Collections at St. Michael’s College. The McLuhan exhibit is open until Dec. 20, so don’t miss the opportunity to engage with a person who helped put U of T on the map.

There’s a Double Meaning in That Much Ado About Nothing at Hart House Theatre Liam McConnell ARTS EDITOR One idiosyncrasy of William Shakespeare’s work is the utter lack of detail concerning anything but the language itself. He never told us what his sets or costumes were meant to look like, how lines should be delivered, or what actors should be doing when they’re on stage but not involved in the action. There were no directors in his time, so actors directed themselves.

Some productions may flounder under the extra responsibility of filling in these “gaps.”

(All scenes in the 1980 filmed adaptation of Hamlet starring Derek Jacobi and Patrick Stewart unfolded in dark, nondescript rooms.) Some productions, on the other hand, use that creative freedom to their distinct advantage. Director Carly Chamberlain’s Much Ado About Nothing falls squarely into that happy second category.

The set is minimal, but transformative and symmetrical: two qualities that mirror the characters themselves. Translucent wings hang from the ceiling, behind which the play’s many spying characters hide: invisible to their contemporaries but never to the audience.

When characters begin to faction off, Chamberlain places them in mirroring positions during their confrontations. The visual storytelling employed by blocking assists in translating Shakespeare’s English to the uninitiated.

On the subject of visual storytelling, particularly strong performances are exhibited by Christopher Darroch (Benedick) and Dylan Evans (Borachio). Both of these actors have an understanding of movement that lent hilarity to their portrayals and emphasis to their words.

The temporal setting, for example, is the 1940s, a fact immediately apparent thanks to Adriana Bogaard’s pitch-perfect costume design. Chamberlain explains the decision: “The 1940s has proven a fruitful contextual springboard to jump off from. WWII saw women take on new roles in the workforce and gain more agency, but when the war came to an end, a kind of social conflict was created... This moment of change serves as the subtle background for our story: where young people grapple with their ideas of love and marriage versus the realities, for better and for worse.” Such is the freedom that Shakespeare’s vagueness allows to the most creative directors. Sentiments of his work have rung true throughout history, and Chamberlain takes advantage.

The production’s breakaway star—and this will be confirmed by any of my fellow audience members—was Lesley Robertson. Her performance as Dogberry was like the character: subtle yet exaggerated; confident yet bumbling; hilarious yet utterly serious. The crowd erupted into laughter at her every appearance on stage. At one point, her wild motions caused her hat to fly to the floor. She incorporated the mistake into her performance and proudly pulled it back onto her head, much to the delight of the audience. The improvised moment of face-saving spoke to the character perfectly by combining the silly with the severe.

All in all, the play is a fun yet heart-wrenching night out at the theatre. The raucous laughter throughout proved that, as Benedick would put it, man is a giddy thing.

Want to write for arts?

Email arts@readthemike.com

BEYOND APPEARANCES Shane Koyczan’s “For Many” and the problem with standards Jennifer Bueno LIVING EDITOR (Cover: Jhayne / Flickr CULTURE)

http://www.publictheater.org/en/tickets/calendar/playdetailscollection/joes-pub/2015/s/shane-koyczan/?SiteTheme=JoesPub

Shane Koyczan is a Canadian spoken-word poet and writer. In 2000, Shane became the first Canadian to win the Individual Championship title at the National Poetry Slam. He is well known for writing pieces that deal with issues such as bullying, cancer, death, and eating disorders. His most famous pieces are the animated videos of his spoken word poems “To This Day,” “Shoulders,” and “Troll,” that he released on YouTube. “To This Day” and “Troll” are anti-bullying poems, while “Shoulders” is an environmental piece for the #bluedot movement. This article focuses on “For Many,” a spoken-word poem that talks about beauty, how society views it, and its role in our lives.

The main phrase and reference that “For Many” utilizes is a question taken from Shane’s life that he received many times growing up: “If you could change anything about your body, what would it be?” At the time, he didn’t quite understand the context of the question and responded that he would want tentacles for arms so that he could give inescapable hugs and climb buildings.

However, when people clarified what they meant, what they were truly asking was, “Would you want to be thin?” Shane states that growing up, he struggled with his body image and that originally, he never planned to write this poem. He was under the impression that he would only be whining about his own insecurities. He questioned whether he needed to just get over himself.

Then, one day, he received a question on Facebook from an eight-year-old boy. This boy sent a picture of himself asking, simply, “Am I ugly?” Throughout his life, Shane says that he has met people who have called him beautiful and meant it, but it has taken him a long time to actually believe it. And that he felt for this kid because he was probably going to go through the same thing. He decided to write this piece because it wasn’t just for him, it was “For Many.”

In the beginning, Shane highlights the discord between himself and others when they ask the question: “If you could change anything about your body, what would it be?” Shane says that he’d turn his nose into a rose in order to steal kisses when people leaned closer to smell it. The answer that people wanted though, was some simple aspect of his body that he could change to look more attractive to others, “as if my body were a rack of scrabble tiles that I could rearrange and exchange for better letters because it seems the world has got us all trying to spell beauty.” The concept of beauty is not so simple, as if the aim in the game of life was to mold and uphold oneself to these singular concepts of beauty standards. We hate the way we look so much that he makes the comparison to steel wool. We’d ‘scrub away our flaws’ until we’re unrecognizable, just so we wouldn’t have to gaze upon them. We place our confidence on how others feel about our appearance, hoping that they don’t think we’re as ugly as we think we are. Shane questions the paradox of this: “How can we be beautiful in a world that delves no deeper than our skin?”

He continues with this line of thought by mentioning how obsessed people are with their desires to be beautiful; many are under the impression that they can just purchase their desires with no consequences, as though fulfilling the wish to change your body is the only path to being happy with yourself. Shane states that society is stuck with the mentality that you can only change your appearance to uphold beauty, and that people act as if attitudes, beliefs, thoughts, and ideas could not be changed to uphold beauty instead.

Our appearance has such a large role in daily life that society expects us to be detached and indifferent to molding and changing ourselves to suit its expectations.

Shane emphasizes the fact that beauty does not have a standard by delving deeper into the main question: “I’d change my eyes into your eyes, so every time I look in the mirror I could see what it is about me you think needs changing.”

https://i.ytimg.com/vi/RT9FmDBrewA/maxresdefault.jpg

seem ridiculous, and as if growing old were equivalent to misfortune, because that’s how they convince you “you need this.” This concept of beauty is a trick devised to sell you yourself. Beauty is meaningless, because no matter what, appearance does not change who you are.

He continues to say that underneath everything you changed to hide yourself, and underneath everything you were born with, you are still the same person.

“You are still bound to your own proclivities and perspectives,” he says, “appearance forgives nothing, it cannot excuse you from being who you are. And if who you are has not come far enough to know that then go stand in line with monotony.”

http://alternative-right.blogspot.com/2014/05/the-myth-of-diversity_4.html

The next part of the poem criticizes the fact that we are loyal to our eyes when it comes to beauty. When our eyes can only do one thing, and that is to see, this becomes the first method we use to judge others. He calls eyes “blacksmiths to our prejudice,” and draws comparisons to people who don’t allow any contrasts to symmetry “in the name of beauty,” as if we want to be rewarded without effort, and grow without trial. Shane wants to remind people that appearance doesn’t reflect what’s inside, that taking shortcuts or finding loopholes doesn’t necessarily make you smarter or wiser. “We forget that muscles don’t mean strength of character.

We blur the line between the two and forget that pretty doesn’t always mean nice, the same way beautiful doesn’t guarantee an easy life.”

As stated before, taking shortcuts or finding loopholes doesn’t necessarily make you smarter or wiser. You cannot grow without trial, and you can’t become a beautiful person by taking shortcuts, because how you look is only a small fraction of the definition of beauty.

Appearance does not reflect character and it cannot hide who you are as a person; it is said that appearance can change easily, but character cannot. It’s a simple thing to aesthetically please one’s sight, but it is “living up to the more intangible qualities in the definition of beauty” however, that makes a person beautiful.

The major issue the poem takes with society is how easily people attach standards. Shane states that standards aren’t necessarily bad, but that they are in fact crucial to society. It is the way we use these standards that sabotage our growth. Instead of trying change our physical forms to adhere to a common expectation, we should instead use those ideologies as checkpoints, to measure how much our ideas and attitudes have grown and evolved. We must be constantly pushing to better ourselves, and not hold on to anything that stagnates our growth. Beauty has no standard, as it cannot be judged objectively—for what one person finds beautiful or admirable may not appeal to another. Upholding a particular standard of beauty becomes a way for society to assign value to people, and an aesthetically pleasing appearance is not a guide to character.

Shane continues to criticize this mentality: of immediately fulfilling the standards society sets for us by bringing attention to the fact that even children now would rather change themselves than “wait to see who they’ll grow up to be.” Now, he claims, it is finally time for society to evolve its concept of beauty. This old tune we’ve been singing has done nothing but bring us down, because when you ask, “If you could change anything about your body, what would it be? What you’re really asking me is, is there some part of myself that I Shane Koyczan’s poem “For Many” serves as a reminder hate?” Shane implies that at the foundation of a beauty to look “far beyond bone and skin.” standard lies negativity, because we actively search and obsess over flaws and mold ourselves to imitate what society defines as beautiful, strengthening the idea that we were born flawed.

This specific concept of beauty is in itself a contradiction.

Shane berates the belief that we are customizable like toys, or that it is acceptable for us to want to customize, modify and fix friends, lovers, and ourselves to better how we are seen by society. “Go put your attitude on the cover of a magazine and see if anyone calls it beautiful,” he exclaims. It is a contradiction in that obsessing over appearance does not translate to being beautiful. Shane doesn’t understand how people can act as if they’ll never grow old, as if buying excessive amounts of products of empty promises won’t one day

https://agc.creativelive.com/agc/201602-PSW16NACEBAC/PW_shot2edit_1600x900.jpg

8

OPINIONS

Point: It’s Not Cultural Appropriation

With Halloween comes talk about what you can and cannot wear Soy M. CONTRIBUTOR With Halloween comes the need for people and organizations to warn others about what they can and cannot wear. Recently, I couldn’t help but notice the vast amounts of Facebook posts and event posts explicitly listing the types of costumes that are prohibited. This makes me angry but also a bit disappointed at the amount of intolerance that people have. Perhaps I am even more frustrated about the number of people that would simply accept the idea of cultural appropriation while believing that they are doing the “right thing.”

According to these people, the way to combat cultural appropriation is to only allow you to stick to the costumes of your own culture. If not, then you are always welcome to dress as a character from popular culture (Western culture).

And, even if you really like those African-American dreads or Indigenous feather headpieces—purely from a fashion perspective—no can do, because “they are part of someone else’s culture man, and that is so insensitive. Go dress as a boring fruit or something.” Stick to your race, is basically what they’re saying.

http://www.thebiggreen.net/media/2014/11/costumes.jpg

When I initially heard those claims of cultural appreciation, I decided to hear them out, because there is always a chance that the way that someone chooses to dress can somehow be offensive. I also love the reply, “There is no need to even justify why it is offensive, it just is.” I refuse to accept that as a valid reason as to why I can’t wear a Pocahontas costume for Halloween.

The common reason given in defense for the prevention of cultural appropriation is that a group has historically been oppressed. Blackface is offensive because of the way that it was practiced at a point in history when racism existed. To this, I say, move on. There is no way you can be personally offended by something you never experienced yourself.

Slavery ended more than 100 years ago, and the simple act of putting on dark makeup does not make someone racist, nor does poking fun at different cultures. It shouldn’t matter which group is doing it.

Those who advocate for the discontinuity of certain costumes claim that their cultural costumes should not be worn by someone who is not of that culture or race, yet still say that they welcome others to learn about their culture.

That is equivalent to saying “you can look, but you can’t touch,” and implies that there is somehow a barrier between “outsiders” and people of that culture. The argument for Indigenous headdresses is that, in their culture, only leaders of a community who have earned their titles are eligible to wear it. I understand that a symbol can have profound meanings, but no one is taking away from the weight of a headdress by wearing one. If Indigenous peoples don’t want anyone creating spin-off of their culture, perhaps they should consider trademarking it.

One Facebook post that I saw for an event said that any costume related to culture was unacceptable, and it included a kimono. Any Japanese person that you ask would most likely say that anyone from any culture is welcome to wear a kimono. This is an example of the way in which the rules for cultural appropriation are so all-encompassing, so much so that they prevent cultures who actually want people to appreciate their culture from gaining followers, because of how the idea of “cultural appropriation” and the worry of offending anyone is being instilled in people.

Andrew Cullen / Reuters

Culture is meant to be shared. There are far more cases of actual racism in this world and there are actual problems facing Indigenous peoples, such as the Dakota Access Pipeline project, which could disturb Indigenous water sourses. Dressing up as a certain culture is not racist, it acknowledges the culture. In the end, what anyone chooses to dress up as on Halloween will not affect minority groups directly, nor will a logo from a professional sports team, whereas there are far more serious problems that would.

Procrastination Station

The effects of university-level stalling Sam B. CONTRIBUTOR

Starting this article has been harder than I thought. It’s almost ironic that, given my topic, I’ve decided to do just what I promised myself not to do: procrastinate. It’s something everybody is guilty of. Putting something off so as not to do it at that moment. Constantly telling yourself “not yet” because you have better, more important things to attend to. Stalling. Waiting for the “perfect moment” or taking your time. Whatever you want to call it, the formal term is “procrastinating,”and procrastinating is probably the leading cause of stress in university. Probably.

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Let’s face it, the procrastination epidemic is rampant and I know I’m not the only one suffering. Procrastination is like that addiction that we haven’t quite been able to figure out how to stop. It’s something that we wish we could get rid of, but never quite enough to quit the habit. Most of my friends suffer from procrastination and, even now, as I write this, I’ve stopped about four times and gotten distracted with things like Tumblr or YouTube videos. The unlimited scroll feature on Tumblr is practically designed to prolong the procrastination experience by an extra four hours.

Perhaps the reason millions of my peers and I cannot stop procrastinating is because the work always manages to get done somehow. Even if I can’t bring myself to start the essay weeks before it’s due, the proper motivation (in the form of 3 hours before the Turnitin deadline of midnight kicks in) presents itself eventually. The task will be finished eventually, and that should be enough, right?

Yes, students find themselves still managing to complete assignments and study for tests last-minute, despite their procrastinating habits, however it also builds up stress and results in poor performance. Almost all students will agree that the work they submit after weeks of procrastination isn’t their best. The essays written at three in the morning have significantly less quality than that of the essays you’ve gradually been working on, all typed up and printed the night before it’s due. The midterms you just wrote could have led to better grades if you hadn’t crammed the night before. This kind of stalling and can lead to smallerscale stressors as well. Leaving the dishes in the sink or postponing your readings leads to build-ups that are difficult to make up for later. All in all, procrastination’s negative aspects outweigh any half-baked positives.

tasks have a time limit. It’s best to have them done early so that you can enjoy the day and all it has to offer. Being aware of this problem is the best-case scenario. Knowing that this is a problem, that we have problems scheduling our time, is a good thing because we need to acknowledge the problem so that we can fix it.

Do I have any tips for fixing this problem? Goal setting and making sure to set those goals early seem to be the most popular answer and it’s something that I’ve considered using to help get over my own procrastinating habits.

These habits are a problem that I want to fix, and I am determined to fix them. I tell myself that I’ll get over this and start scheduling better and getting more sleep. I’ll stop putting off assignments and do them in advance so I don’t get overwhelmed by the due dates. I’ll stop procrastinating, and if not stop then at least I will procrastinate less.

So why continue? Some of us just don’t have enough motivation to start something and need that pressure and stress to be productive. Is that a healthy way to produce work? No, but it certainly seems to work. Others, according to some professionals, are afraid of failure and put off the possibility of failing as often as possible. But whether you fail now or fail later, we must face reality, which is that things need to get done and that doing it today is better than doing it tomorrow, no matter how appealing tomorrow seems.

Tumblr posts and YouTube videos are going to continue to exist, but things like assignments and readings and other

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Maybe not now, though. Maybe later.

9

OPINIONS

Counterpoint: A Moderate Approach

On blackface, cultural appropriation and the need for an open dialogue

Josh Scott MANAGING EDITOR In light of recent discussion regarding political correctness and its uses, I’ll start here: the American election has brought to the fore a fundamental problem with the way we speak to each other. Or rather, don’t.

In short, on any contentious issue, there’s a whole lot of semi-coherent shouting from both sides. Neither seems to be a) hearing the other, or b) all that open to listening in the first place. Of this, almost all of us are guilty—myself included. Clearly, there needs to be more communication.

Technically speaking, cultural appropriation exists.

Cultures have traditional symbols that carry representative meaning particular to them, and outsiders wittingly or unwittingly adopt them in trivial ways. That is, people consciously or unconsciously appropriate them. To claim otherwise would be absurd. (Though, as a philosophy minor and forever fan of the underdog, I’d like to see someone effectively stake the claim that cultural symbols don’t exist or have significance on a practical level. Not whether they ought to; but whether they do.)

I can certainly see how those with controversial views on things like cultural appropriation might feel alienated by the entire discussion. After spending some time on a university campus—one that at least seems predominantly progressive—it becomes easy to forget that opposing views exist. Occasionally, when it comes to dissenting beliefs on topics like privilege, racism or cultural appropriation (issues concerning social justice, essentially) the academic atmosphere can be quite stifling; in the name of acceptance and equality, no less.

To clarify, cultural appropriation isn’t illegal. Instead, we’re in the realm of should you versus shouldn’t you, morality type stuff. So, the question becomes whether or not cultural appropriation is a problem. Some instances seem more obviously reprehensible than others. Take the drunk, drugged out music festivalgoer wearing a Native headdress because they find it fashionable. I’d like to think the argument that this person is “sharing in” and “appreciating” Native culture, here, falls as flat for you as it does for me.

Others are more complicated. What about yoga? Better yet, what about Harambe? I’m still trying to figure out how—as many poorly reasoned blog posts have claimed— Harambe jokes are inherently racist. Much of the Harambe movement (yes, movement) seems to derive pleasure from the sheer ridiculousness of itself. Moreover, its makeup appears much too diverse to group its members under the same umbrella. I’m aware of the ugly history of gorillas in popular culture. I know a portion of His followers (yes, followers) have used the name of the Great One (move over Wayne) in racist ways, but I struggle to see how the part speaks for the whole.

http://www.youredm.com/2015/11/15/electric-forest-takes-a-stand-against-cultural-appropriation/

Personally, I don’t think it’s a matter of either/or. I don’t think that any stance on the topic need consist of a choice between two extremes. I don’t think that cultural appropriation must either be bad or acceptable in all instances. This approach seems wrongheaded, and certainly hasn’t lent itself to any sort of meaningful dialogue.

A nuanced approach might be more constructive. I’d question the extent to which accusations of cultural appropriation apply, asking questions like, What qualifies as cultural appropriation? and, To what extent is it wrong?

Blackface, however, is a different story. If you ignore its long history of use to reinforce caricatures of black people in minstrel shows, then it isn’t racist. But symbols don’t work that way. The meaning of symbol is built into its

very nature. Put it this way, would you say that a cross has absolutely no association to Christianity? I mean, you could, but would you really think it true?

Racism still exists—thing is, it’s just less visible. That changes when you wear blackface. When you do, whether you intend to or not, you draw directly upon its lengthy symbolic history. Look up a list of stereotypical black characters. Sound familiar? This is thanks, in part, to things like blackface and minstrel shows.

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On the whole, differing perspectives ought not be relegated entirely to the periphery. They should be challenged in the open. Forced to fester in the shadows, they become strong (like Harambe) in that they become deeply ingrained.

Either way however, if we want the other side to truly listen, we must not misrepresent their beliefs. Constructing and crushing convenient straw-person arguments is easy; having a thoughtful, open dialogue is hard. That is, in tackling complex arguments like these, we should seek out people like Professor Mary Nyquist and steer clear of hastily written blog posts. Otherwise, we risk missing the point entirely.

Generally speaking, in an age where filters abound, now more than ever seems the time to turn some off. Don’t unfollow or completely avoid the person whose social or political views you disagree with. If you can, engage them.

I for one, am going to try. Let’s talk. Better yet, let’s have a reasonable discussion.

Hate Speech or Free Speech?

How we should decide where to draw the line

Micah Ryu CONTRIBUTOR The right to free speech is one of the fundamental characteristics of any liberal democracy, perhaps second onlyto the right to vote. However, every society must decide where to build the fence separating out the speech that is to be deemed unacceptable or hateful. An easy example of such speech is that which openly calls for the genocide of any distinguishable group. However, in identifying hate speech, there need to be certain safeguards in place so that freedom of expression is not hindered.

moon landing or 9/11 conspiracy theories, would that increase or decrease the number of people who think those conspiracies have some merit? The adversarial view of the government held by many people means that when the government bans ideas, those ideas are likely to become more popular, thanks to a cognitive bias known as ‘reactive devaluation.’

The conclusion is this: ideas, as horrendously reasoned or despicable they can be, need to be protected. Criteria as subjective as “inciting hate” or “making people feel bad” cannot be the basis for which a right as fundamental as the one of expression, be taken away, lest our society fall into state-sponsored McCarthyism. If we stand idle while the ideas of others become illegal, there is nothing stopping our own opinions from someday becoming illegal as well.

That may sound fair and uncontroversial, but applying those statements to real-life scenarios can sometimes seem tricky. Could we define hate speech as simply any speech that could potentially hurt others? That would include nearly all speech imaginable. What about speech that is likely to cause harm to others? That could potentially prohibit criticism of any kind towards anyone. How about speech that is certain and intended to cause harm to others? Well if personal insults were illegal, we might all go to jail. Even though that is not a severe case, we want our laws to work relying on facts, not intuition. The problem with the “know it when you see it” approach is that we create unnecessary ambiguity in our legal system through it. Besides, we already have libel laws for the cases where “insults” cause damages and are demonstrably false.

So what speech should we include in our basket of hate speech? Should we fine or jail individuals who perpetuate hateful and preposterous anti-semitic conspiracy theories?

Think about it this way: if we made it illegal to entertain

between races that amount to any sort of superiority or inferiority, are best dealt with in the open where they can be debunked. And indeed, those notions have been debunked thoroughly by study after study. However, if the proponents of such views are barred from making their case, we run the risk of letting these ideas simmer under the surface and even spreading to a silent majority.

“First they came for the socialist, and I did not speak out, because I was not a socialist.Then they came for the trade unionists and I did not speak out, because I was not a trade unionist. Then they came for the Jews, and I did not speak out, because I was not a Jew. Then they came for me, and there was no one left to speak for me.”

“Useful Idiots” by Ben Garrison

Statements that make us extremely uncomfortable and angry, such as the notion that there are genetic differences

Have a strong opinion about something? Share it!

Email opinions@readthemike.com

10

Cubs Win! Cubs Win! Cubs Win!

SPORTS

108 years later: the Chicago Cubs win the World Series Josh Scott MANAGING EDITOR In the words of Chicken Little, “The sky is falling!” For the first time in 108 years, the Chicago Cubs are World Series Champions. The Cubs’ last World Series win came on October 14, 1908; 39,466 days later, they finally have another.

Much has changed since 1908—the year that “Take Me Out to the Ball Game” was written and copyrighted. 1908 saw the first passenger flight in an airplane as well as the first death by powered flight. It also saw the first horror movie, and the patenting of wireless radio broadcasting. In 1908, Albert Einstein presented his first quantum theory of light, Henry Ford’s company built and introduced the first Model-T car (which retailed for $825) and later that year, the first four-wheel automobile brake was invented.

American representation seem to have won in that the Indians’ name and logo, for the past two months or so, have become a topic of everyday conversation. Regardless of how people feel about them, and of the lengths that those people—specifically, baseball purists—will stretch to defend “tradition” of any sort, people are talking about whether or not the Indians’ name and logo are offensive. This, undeniably, seems like a step in the right direction.

For now, temporarily erased from memory are the Cubs’ famous collapses of 1969, 1984, and 2003. In the time between 1908 and 2016, plenty about the Chicago Cubs has changed. The single constant however, has been its fans, who’ve borne over a century of loss with pride and dignity.

I lament what the win represents: the Cubs’ loss of the title of baseball’s In 1908, life expectancy was approximately 50 years, the average worker classiest losers. Arguably, the most patient and loyal fans in professional made 22 cents an hour, and the highest paid player in baseball made sports remain. $8500. Austria-Hungary and the Ottoman Empire ruled much of Europe, and Butch Cassidy and the Sundance Kid died, though their bodies were As a Leafs fan, I relate to their struggle, and rejoice in their victory. I also reportedly never identified. That same year, Chicago White Sox pitcher Ed wonder if it’s too late to ask for any tips.

Walsh went 40-15 with an ERA 1.82—a feat that, given how the game’s evolved, is likely never to be replicated.

In short, the win was a long time coming. 1908 is a date known by even the most casual of baseball fans. With it, the Cubs relinquish the title of longest drought in baseball to their very opponents in Cleveland, who’ve waited since 1948. To call Cubs fans ecstatic would be a gross understatement— estimates show five million people attended the Cubs victory parade: making it, unofficially, the largest human gathering in United States history.

To top things off, the Cubs’ 1908 championship was the second of two consecutive titles. After 2016, who knows? With their present roster, the Cubs might have what it takes to do it over again in 2017.

And while the Indians technically lost, proponents of respectful Native

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An Athlete For Modern America

Conor McGregor, the UFC, and the United States Josh Scott MANAGING EDITOR

To put it lightly, current UFC lightweight and featherweight champion Conor McGregor is a talker. McGregor’s Irish, and a former plumbing apprentice. The UFC is an American “mixed martial arts promotion company” based out of Las Vegas. The two are a match made in heaven.

Brazen McGregor practically exudes selfconfidence. His loud, obnoxious, in-your-face style has won him plenty of fans, and perhaps just as many enemies—not as though that matters: McGregor’s greatest strength seems to lie in his knack for self-promotion. Sound familiar?

Whether or not you care about UFC, McGregor’s done more than grace public consciousness.

If nothing else, people seem to be attracted to the kind of self-confidence McGregor has, in a person. At the very least, given the current climate, they do in a political candidate. Even the people who don’t like him can’t help but obsess over him. Again, the parallels seem obvious.

For now, the partnership between the UFC and McGregor is mutually beneficial. McGregor has no qualms about engaging in the kind of exaggerated trash talk that sells fights, and this in turn generates more money for both parties.

Not to say McGregor isn’t an accomplished Essentially, McGregor speaks in a way that any fighter—at 21-3, his record is stellar. But it isn’t other athlete in any other sport would likely unblemished, a fact that surely contributes to be eviscerated for, by both press and public. his reputation as a scrappy, dogged competitor. Case in point: McGregor’s repeated promises to McGregor’s been knocked down, but each time, “butcher” Alvarez—to end his career by giving he’s gotten back up. Moreover, in the process, his him a permanent brain injury. self-assurance has never wavered.

To be fair, we are talking about a sport in which Among other things, this is what differentiates two fighters attempt to literally bash each other’s McGregor from other more humble fighters of a heads in; in which the most desirable outcome similar mold (for past, see Georges St. Pierre; for for the crowd involves fighter A doing more present, see Demetrious Johnson). Namely, what head-bashing, more effectively than fighter B, sets McGregor apart is his complete immodesty. while nonetheless experiencing severe trauma.

Of course, the incentive to do so is clear: top of the bill guys like McGregor rake in insane amounts of money.

As are the reasons to “hype up” fights. McGregor’s near-meteoric rise has been a function of his proving adept at both building interest and by extension, demand. Likewise, he’s proven more than capable of backing his words up.

Love him or hate him, he’s got our attention.

Apparently, McGregor’s a totally different guy in person, and he doesn’t always mean what he says.

I’m even tempted to believe that. I just hope, for everyone’s sake, that his political counterpart is similarly so.

http://www.serplogic.com/all-things-marketing/marketing-conor-mcgregor

SPORTS

Taking the Game Out of the NFL

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A view on the NFL’s declining viewership Rory McCreight SPORTS EDITOR It’s been a rough year for the NFL. From its unwillingness to punish domestic abuse (and the negative PR brought by this) to the reality that former players are passing away young due to CTE brain disease directly tied to their playing days.

don’t care enough about the Jaguars and the Titans to even think about football on a Thursday.

Even the players agree: Cam Newton, reigning MVP and dabbing superstar, challenged the refs and commissioner Roger Goodell after a game where he felt the refs weren’t calling dangerous hits against him. “It takes the fun out of the game.

At times, I don’t even feel safe,” said Newton.

On top of all that, viewership is down. What’s gone wrong with the entertainment juggernaut?

The ethical problem for the NFL is its inability to acknowledge wrongdoing. In both the case of domestic abuse and the CTE (short for chronic traumatic encephalopathy) epidemic, the NFL either takes an ambivalent stance or outright denies accusations. For domestic abuse, the NFL gives a one-game suspension for first time offenders: a mere slap on the wrist in hopes that it won’t leak to the public. When the details of these cases eventually do just that (such as in the case of Ray Rice, where video surfaced of him punching his wife in an elevator) the NFL steps in and doles out bigger punishments and an ad campaign to right their earlier wrongs.

On top of enabling injuries, the league penalizes players for celebrating—as though passionate athletes don’t make for exciting television.

Ultimately, money talks. Until the NFL stops making money, it has no reason to change.

Andrew Weber / USA Today Perhaps this recent ratings drop (displayed The recurring pattern here is the NFL’s attempt below) will be the impetus it needs to fix itself. to maintain a squeaky clean corporate image. It seems the NFL thinks that if they continue to deny CTE’s connection to football and deal with domestic abuse cases quietly and in-house, the sponsors will stay. This clean corporate image— and remember, the NFL took in 12 billion dollars last season (a 14.5% increase from 2014)—seems Dr. Bennet Omalu’s 2005 CTE findings were more important to the NFL than its public image. even denied outright by the NFL, who called By either turning a blind eye to ugly realities,or them “completely false.” In response, Omalu outright denying them, the NFL has been able to published a second paper in 2006 that purported maintain their brand and see ad revenue continue the brain of former NFL player Terry Long to skyrocket. (who died of suicide brought on by depression at 45) contained tau protein consistent with the To the average NFL fan, perhaps none of this kind found in the brain of “a 90-year-old [with] matters. They could argue that the league advanced Alzheimer’s.” shouldn’t have to police the private lives of grown men and that those same men chose to engage in a gladiatorial blood sport willingly, knowing the consequences. All fair points, but even they wouldn’t be pressed to admit that the league has become a bit boring.

Reuters

Football began as a Sunday tradition. You would flip between regional games during postchurch family brunch and then watch the one big primetime match up that ended after your parents sent you to bed. In recent years, the NFL has branched out its programming, moving its smaller market match-ups to other nights of the week—or to London—in order to generate more hours of profit. Sure, this boosts ad revenue, but most fans outside of Jacksonville and Tennessee

CALL FOR SUBMISSIONS: The Trinity Art Show 2017 is seeking work that is an interpretation and articulation of artistic processes and reductive visual forms. The Art Show welcomes artistic interpretations of this theme. The art work may be of any media, medium and materials.

Current University of Toronto students of all three campuses, and recent Trinity Art Show alum are invited to submit works. All submissions will be reviewed. Selected artists will work with the Art Show to arrange appropriate technical requirements for the installation of their work.

To submit, please email artshowtrinity@gmail.com with the following: - Application - Email images of work/s (scans, links, jpegs welcomed) For any questions regarding the submission process, please contact artshowtrinity@gmail.com

FAITH & THOUGHT

Falling Back On Religion

12

My one constant, in life Livy Wren CONTRIBUTOR

I grew up with religion being a central point in my life. I went to church every Sunday morning with my family and went to a Catholic elementary school. However, as I got older, things changed. Soon, hockey schedules got in the way of church and I was transferred to a public school.

Needless to say, religion became much less centralised in my life and the influence it had decreased. This is not to say that I’ve become any less religious. If anything, I would say I am more religious today than I ever was when I went to church weekly. As the influence of religious institutions in my life decreased, my actual faith increased.

of the tunnel, this is when I turn back to my faith. This is due to the fact that religion has always been a constant in my life. No matter how long it has been since I have been to a church, I always feel at home whenever I walk into one.

Despite a slight change in liturgy wording over the last few years (i.e. “and with you” becoming “and with your spirit”) mass has been one of the few things in my life that has remained the same. Friendships, schools and interests have all changed. But religion has not. Thus when things are not going my way I know I can turn to my faith to comfort me and offer In my experience there is little discussion in Catholic schools or church me stability. as to what faith truly is. The meaning and importance of faith are seen to have already been decided and seem so scarcely debated. It is outside of My faith has not been an essential part of my everyday life for some these institutions that one’s faith can be found on a personal level, as time now. Nonetheless, I can trust that when I need it, my faith will always it is here that faith can be personal and not communal. The difficulty with be there for me to fall back on. this is that, as with most other personal aspects of one’s life, there are ups and downs. When it comes to faith, these ups and downs are seen in times where one leans on it or overlooks it.

Personally, while I always identify as religious, my faith is not a large part of my life when things are going well. In times of complete happiness and content there is little need for religion. I know this is wrong, as you should thank God for the good and not simply ask him to fix the bad. However, when things are all dandy I tend to forget that my faith may have had a hand in the happiness. Be this good or bad, it is something that I seldom notice in good times.

It is in times of hardship that my religion becomes crucial. When things are not going my way: when I’ve had an argument with a friend or when assignments are due and I can no longer see the light at the end

Livy Wren

Finding Faith

Uncuffing the shackles of culture N. Aboud CONTRIBUTOR Faith is a miraculous, spiritual conception that has the power to alleviate (almost) any misgiving.

Whenever I find myself frantically gasping for air I somehow find faith and suddenly, all is right with the world. The adoption of faith did not come instinctively to me and was in fact an issue of personal struggle. For years I was led to believe that my culture’s idea of faith was the only “right” faith, which meant that no tolerance existed for the contemplation or entertainment of any of my persistent doubts.

The impression that the beliefs I was taught weren’t exclusively correct for everyone was never even allowed to cross my mind, and for 18 years, that was the only way I saw the world, through that one lens.

I left the comfort of my home and the familiarity of my cultural bubble and came to UofT in 2013 where, for the first time, my faith was tested (and still continues to be tested on a daily basis). Like a fish out of water, my first year felt like my whole world was turned upside down. I, the moral compass, stopped being able to tell “right” from “wrong”. Concepts that I was shielded from my entire life, that according to both my faith and culture were inconceivable, were now all around me and I had no idea what to think. Never had anyone or anything truly made me consider why I did the things I was taught to do, and why I stayed away from the things I was told to stay away from; I

panicked all the way into a shell of seclusion, shielding myself from anything that could make me “doubt”. That phase lasted a year. I guess it’s just more comfortable not to think; but how can anyone call themselves a believer if they just follow a set of instructions shoved down their throat by society the moment they leave the comfort of the womb?

and I began truly accepting. For the very first time, I was able to confidently say: “I have found my faith.” Through questioning, I realized the beauty of the faith given to me at birth, which was lost in, what I believe to be centuries of false interpretations working to serve the agenda of the regimes in charge and to satisfy a cultural predisposition. I came to categorize the “one size fits all” model I was My second year of university was spent in forced to adhere to as a mode of social control Europe, where I became friends with a group rather than genuine faith. I chose to continue to my age, who came from a similar background. have faith because amidst all the doubts, I still There was however, a fundamental distinction: believe in a bigger picture, one that may not they were all fleeing a war. One of them was always make sense when looked at from a narrow forced to start over all on his own because scope, but once remembered makes the world the war had torn his family apart. Needless to seems a whole lot better. say, traumatic experiences change people; at one point, these individuals were adamant believers As obvious as it may sound, here’s what I’ve of a higher power, but their faith could not learned: you can never truly believe in something withstand the anguish of war. In the midst of just because you were instructed to. As their skepticism they would ask me questions members of the global society, a distinct culture, pertaining to my beliefs that I had no answers a particular religion , or faith, we are subject to; and so, I questioned my faith, I questioned my to a colossal pressure to conform to certain philosophies, and I started digging for the very expectations. This weight might possess more first time. significance in some places than others, but it is a universal truth nonetheless. No one wants As I allowed myself to contemplate, I realized to be an outlier. When it comes to establishing that I was shedding the persona I was forced one’s faith, breaking away from the flock is to display for the entirety of my existence, exceptionally difficult but no less essential. For and there was really no turning back. I started it is only when you fundamentally choose your making sense of certain practices, I stopped faith does it become able to carry you through doing things I never intrinsically believed in, the hardships and stumbles.