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ARTS & CULTURE
Grace Paizen, staff If there was ever a textbook example of the Dickensian nature of our country’s court system, particularly in its treatment of sexual abuse survivors, Donna Besel’s new memoir would be it.
In The Unravelling: Incest and the Destruction of a Family, Besel documents the stresses — physical, emotional and financial — on her life from 1992 to 1995 as she navigates the trials of bringing her father to justice for the sexual and violent crimes he committed against his wife and children.
The book begins with an epigraph from Adolf Hitler — startling and unconventional, yet appropriate in the context of describing how abusers operate by wielding the weapons of fear, terror and force to divide and conquer their victims, preventing them from seeking help.
The memoir is an incredibly brave and thoughtful recounting of Besel’s abusive childhood.
By drawing parallels between the
betrayal of her father — historically a trusted figure — and the betrayal of the legal system which claims to protect and stand by victims of crime, Besel emphasizes the abortive and disillusioning process of seeking justice.
A child herself at the time of the abuse, it is excruciatingly obvious in Besel’s narration of events that the justice system comfortably accommodated the perpetrator yet offered no support to the now-adult victims still carrying the burdens of abuse, as highlighted by the court’s reliance on the efforts of the victims themselves to gather evidence.
Moreover, the constant insistence that incestual crimes are simply “a women’s issue” adds a sickening note of the patriarchal hegemony western law sits atop.
The memoir’s other heavy theme is the constant reminders given to the author to simply forgive and move on from the atrocities of her past, as though it were so simple.
In fact, Besel’s book reads as a reminder to question the popular custom of forgiveness — why should a child be responsible for forgiving the violent actions of an adult?
The discomfort of those who do not wish to acknowledge uncomfortable subjects is palpable throughout the memoir and relentlessly disheartening between the spare moments of hope.
The blaming of victims who chose to step forward is also punishingly rampant and ridiculous. The acknowledgment by the victims of the criminal acts committed against them is regarded by acquaintances and family members alike as tearing the family apart, where the selfish and cruel acts of the perpetrator go overlooked.
Besel herself laments “it was no small wonder sexual assaults were so under-reported,” between the fractures and schisms of her own family and the ugly reality reflected by surfacing uncomfortable truths.
There are gleams of community, hope and love that shine through the book, especially the community of friends — mostly women — who support Besel through her three years of hell.
/ provided University of Regina image /
The Unravelling is an education in the mind of a sexual assault victim and the physical effects of acknowledging such violence. It’s also a stark reminder of the failings of the justice system in an area where women and children are predominantly the victims.
The Unravelling: Incest and the Destruction of a Family is available at major retailers.
arts@themanitoban.com
Looking forward and looking back
‘The War Being Waged’ is a melange of monologue, movement and meaning
ARTS & CULTURE
Shaylyn Maharaj-Poliah, staff After a theatre drought going on nigh two years, Prairie Theatre Exchange (PTE) has opened its doors to smaller, vaccinated audiences for the world premiere of The War Being Waged, written and co-directed by Manitoban playwright Darla Contois.
Patrons are required to show proof of vaccination and photo identification upon arrival at the theatre and wearing a mask is mandatory at all times. In addition to the in-person run of the show, the play will also be available to view online in December.
Thomas Morgan Jones, co-director of the production and PTE’s artistic director, is thrilled to welcome patrons to “a new era of theatre in Winnipeg” with Contois’s evocative piece, which has been in development for the past three years and has debuted at the perfect time.
In his program notes, Jones said, “Darla’s voice has brought us all back together. To consider. To reconsider. To see ourselves. To see the world around us. And to hold on to love as a way forward. To remember the power of love. This is how we begin again.” Described by Contois as an “incredibly personal” narrative, The War Being Waged tells the story of three generations of Indigenous women through three different performance genres — monologue, poetry and contemporary dance — and holds “remnants of real people, real conflicts and real relationships” from Contois’s own experiences. The piece deals with difficult subject matter and ultimately seeks to answer what she calls “one of the most important questions” Indigenous people ask themselves: “What are you fighting for?”
Upon entering the theatre space, patrons are met with a feast of soft nature sounds, including whistling winds and water droplets, accompanied by a melancholic piano melody which sets the tone for what is to come.
The innovative set, courtesy of Andy Moro, is comprised of moveable, elevated plexiglass platforms with a box at the centre that doubles as a storage space. Actor Tracey Nepinak occupies this seat before the lights dim and, when she does, the room goes dark and the performance begins. Nepinak exudes a quiet strength in her role, her voice rich and clear as she recounts stories of past trauma, family conflict and pain. The storytelling element in the performance is intimate and compelling. Nepinak speaks to the audience as though she is addressing each person individually as they hang on her every word.
About a third of the way through the 70-minute performance, Emily Solstice Tait joins Nepinak on stage as an enigmatic dancer. Her sharp, precise actions as she tears through Jera Wolfe’s choreography evoke powerful imagery and create fascinating stage pictures — both with Nepinak and with the video projected onto the set itself. The imagery presented ranges from nature and fire to astral figures and glittering stars.
provided / / Prairie Theatre Exchange image
The War Being Waged is not a typical theatre piece — it sets up certain expectations and then upends them completely — and this fresh take on the art form, along with the highly interpretive content, is sure to stir up some intense conversation. It is a strong start to PTE’s 2021-22 season. And, Jones said, “There is so much more theatre to come.”
The War Being Waged runs in person at Prairie Theatre Exchange until Nov. 24 and digitally from Dec. 2 to 12. For more information, please visit pte.mb.ca.
U of M football heading to Hardy Cup
Bisons beat Golden Bears 43-17 in a snowy Canada West semifinal
SPORTS
Matthew Merkel, staff The U of M Bisons football team will play in the Hardy Cup final for the first time since 2014.
On Nov. 13, the Bisons defeated the University of Alberta Golden Bears 43-17 in the Canada West semifinal.
Playing on a snowy IG Field, the Bisons hosted its first playoff game in eight years. The herd faced a Golden Bears team that had finished third overall in Canada West with a 3-3 record, losing to the U of M 31-17 on Oct. 1.
The Bisons would come out the gate firing, piling up 16 points in the first quarter. Running back Breydon Stubbs scored on a hand-off from quarterback Jackson Tachinski, rumbling into the Golden Bears’ end zone.
In the second quarter, Tachinski called his own number, tumbling two yards into the end zone and scoring the Bisons’ second touchdown of the game. Tachinski was also deadly with his arm on Saturday — he threw 32 yards to Gavin Cobb, who made the catch over his shoulder and jogged into the end zone, and then later in the fourth to Macho Bockru on a screen pass that the receiver ran 10 yards to the house. Throughout the game, Bisons kicker Cole Sabourin sent three field goals through the uprights, helping the Bisons put 43 points up on the scoreboard.
The Bisons were also up to task defensively, limiting the Golden Bears to 17 points. Linebacker Isaac Dokken led the way with six-and-a-half total tackles, two broken-up passes and a forced fumble, while defensive back Arjay Shelley had four tackles and the lone interception for the Bisons.
With the win, the Bisons will move on to the Hardy Cup final to face the firstplace University of Saskatchewan Huskies Nov. 20.
sports@themanitoban.com
staff Dallin Chicoine / graphic /
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