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Graduate students connect over games, food and leadership at vibrant outdoor event
Roy Albright Obah, staff
The U of M Graduate Students’ Association (UMGSA) hosted a vibrant ‘meet and greet’ on Saturday, June 27 at St. Vital Park, bringing together graduate students from across faculties for an afternoon of fun, food and informal networking.
The event kicked off with a welcome address from Vice-President, Events and Clubs Diwan Oulai, who encouraged participants to engage freely in the relaxed atmosphere.
“The idea behind that is to have graduate students to connect with one another, and also to meet their executives in an informal way,” stated Oulai. “So, we set up some activities that would allow the graduates to connect with their executives.”
Throughout the day, attendees participated in various activities including board games, football challenges, and a poster board where students shared both uplifting messages and suggestions for the GSA executives.
A highlight of the day was the draw for two gift cards, where two lucky winners were selected, much to the excitement of the crowd. Informal games also saw students show off their football skills, cheering each other on and fostering team spirit.
GSA President and Senator Timilehin Oluwajuyitan, who was in attendance, emphasized the importance of such gatherings. “We have a lot of students coming from the Bannatyne campus to participate in this, so it’s not just a Fort Garry event, and then this means you get the opportunity to meet your colleagues from Bannatyne Health Sciences and then you get the opportunity to network with them, interact with them,” he said.
Oluwajuyitan also touched on the mental wellness benefits. “This would help us mentally to release off the stress of the graduate school, being in the lab, having assignments that you have to deal with, [and] having deadlines.”
Volunteers were key in coordinating the event. Student volunteer Andile Ndlovu shared her thoughts. “I think it’s a very good experience. I would give it an ‘A.’” On the value of volunteering, she added it is “effective to volunteer for school programs and the people you care for and make a difference.”
Also present was Hreetesh Juneja, student office assistant with IDEA START, the university’s newest entrepreneurship hub. He explained that the platform supports innovative ideas from students, staff and faculty with mentorship
and guidance. Juneja introduced the upcoming Falling Walls Lab Manitoba pitch competition, encouraging students to apply by July 15. “The winner gets to go to Berlin fully paid and win a thousand bucks cash.” He added that participants will pitch their ideas in just three minutes and meet global researchers, innovators and
investors. He described the application as “simple,” along with its selection process.
As music played and barbecue was served, students gathered at the photo booth to capture fun memories of the day.
Looking ahead, Oulai announced more exciting programming. “Next month we are going to have our beach trip to Gimli […] in collabora-
tion with the business centre.” Oluwajuyitan wrapped up with words of appreciation. “Thank you to all who participated,” he said, “and those who missed out, be on the lookout for the next event, we would be more than happy to have you.”
N ational Indigenous Peoples Day (NIPD) marked its 29th anniversary on Saturday, June 21, celebrating First Nations, Inuit and Métis cultures. The day is rooted in a 1996 proclamation and ongoing reconciliation efforts by former Governor General Roméo LeBlanc.
As part of Indigenous Month celebrations, CBC Manitoba spoke with Indigenous scholars driving change in the broader community. Over the years, both academic and non-academic Indigenous leaders have engaged the younger generation in developing stronger leadership.
Here at U of M, Justin Rasmussen, an Indigenous scholar, has been a major contributor to Indigenous leadership. As one of the Indigenous scholars invited to speak, Rasmussen joined CBC Radio’s
Talk Noon with Marjorie Dowhos, where he reflected on the significance of NIPD and shared his ongoing work with the Indigenous Leadership Program (ILP) at U of M.
“I try to create programs that focus on leadership development and community connection […] Two of our core programs are the Indigenous Circle of Empowerment (ICE) and the Bison Spirit Indigenous Leadership Program,” he said.
The ILP aims to support Indigenous students through culturally-centered leadership development and community engagement. ICE, as one of the core programs, seeks to provide a wide range of activities designed to nurture leadership development and build community and involvement.
Since its development in 2009, the program has pro-
vided Indigenous students with exceptional leadership development opportunities. Applications for the 2025–26 ICE program is open until Sept. 16.
Rasmussen said, “these programs are about creating opportunities for students to discover their gifts […] A lot of students come with a lot of strengths to the university. It talks about building relationships and learning from elders and Indigenous leaders in different sectors of our society.”
He expressed appreciation for the “students, advocates, faculty members, and staff over the years, that have made the university a place where students can thrive, and get their degrees, and do so being proud of who they are.”
Rasmussen emphasized the importance of celebrating NIPD. “I feel it’s a time to celebrate […] Indigenous bril-
liance and […] the incredible diversity and beauty of all Indigenous peoples and cultures.”
For Rasmussen himself, he shared “it also serves as a reminder to me personally, to remember the responsibilities that I carry, and we all carry, to support each other, to protect our languages, to protect the lands, and to move forward with pride in who we are.”
Reflecting on these successes, however, Rasmussen added, “we still have a lot of work to do.” The ILP, founded and sustained through the generosity of the Mastercard Foundation and “dependent on the generous support of the community” currently offers three programs, two of which are under his supervision.
In a recent ceremony at U of M, Rasmussen was one of the recipients honoured for transformative contributions
to the Indigenous landscape. The honourees included six students, two staff members, one faculty member and one legacy recipient. Their contributions span a range of fields, including healthcare, science, education, and law. On being acknowledged, he shared, “it means a lot to me. The work we do is very personal because it is about creating spaces where Indigenous students can feel seen, where they can feel supported, and they can feel proud of who they are.”
Rasmussen, director of ILP at the University of Manitoba, is a proud member of the Red River Métis Nation. Born and raised in Île-des-Chênes, Manitoba, his roots continue to inform his work at U of M.
PHOTO PROVIDED BY UMGSA
Portage and Main open for the first time in 47 years
First steps across the iconic intersection in almost half a century
Jesse Brogan, staff
F or the first time in nearly half a century, Winnipeg’s most famous intersection, Portage and Main, is open for pedestrians to cross at street level.
Friday morning, on June 27, crowds of Winnipeggers streamed onto the intersection as if reclaiming a landmark long out of reach. Excited visitors snapped photos, waved at passing cars, and paused in the middle to soak in the view of Winnipeg’s skyline from a perspective that had been off-limits for generations.
From early morning through the afternoon, groups of friends, solo commuters and curious onlookers took their time crossing all four corners. Some walked loops around the entire intersection just for the novelty. Dogs on leashes, babies in strollers, guitarists, a bagpipe player, and even a turtle joined in the first-day spectacle.
Mayor Scott Gillingham walked among the crowd, stopping to shake hands and chat with people at the newlyopened crosswalks. The moment marked a historic change for downtown Winnipeg. Since 1979, pedestrians wanting to cross Portage and Main had to use the underground concourse, which remained the only option for decades despite persistent debate about reopening the intersection to foot traffic.
Discussions about removing the barriers have long divided the city. In 2018, thenMayor Brian Bowman put the question to a plebiscite. The result was famously visualized in the ‘doughnut graph,’ where the central downtown postal codes largely voted yes, but surrounding suburban areas overwhelmingly voted no.
Ultimately, practical considerations pushed the project forward.
“This came down to a practical decision. The underground concourse needs to be repaired and requires at least $73 million dollars compared to $20 million to open up the intersection,” said Gillingham.
The move was not only about economics, but also about revitalizing downtown life. Many downtown workers welcomed the change, hoping it would make the core feel more vibrant and connected.
“Traffic is moving seamlessly downtown and there are more people than I am used to seeing on a Friday,” said Morgan Shipley, who works near the intersection.
“I think this will encour-
age myself [and] colleagues to go out,” said Shipley. “There’s going to be more energy about doing things downtown other than just coming to work.” For some, the reopening was more than practical — it felt symbolic.
“It felt right. It felt empowering [to] walk around the intersection. It’s always been a gathering space, right? If the Jets win, we’re here. If there’s an important protest, then this is the place to be,” said Liam Speirs, local bagpipe musician.
For a city that often debates how best to support its downtown, the return of pedestrians to Portage and Main is both a logistical move and a cultural moment. Whether it will transform downtown Winnipeg in the long term remains to be seen, but on Friday, at least, the people made it clear they were ready to walk.
Bus changes and Graham Avenue ‘re-imagined’
A new way to experience our downtown and transit arrives
Jesse Brogan, staff
This summer, one of downtown Winnipeg’s busiest transit corridors is getting a major makeover. Graham Avenue, long known as a dedicated bus route, is being closed to vehicle traffic over a four-block stretch to create a new pedestrian and cyclist-friendly street filled with art, activities and places to hang out.
The transformation is part of the city’s “Reimagining Graham Avenue” initiative, designed to turn the street between Carlton and Garry into a lively, pedestrian-first street. Instead of the usual lineup of buses, Winnipeggers can expect bright murals covering the asphalt, street furniture like benches and picnic tables, protected bike lanes and even ping pong tables set up for public use.
Marcede Sebelius is the owner of Lavanda Café, which sits near Graham Avenue. Sebelius said, “it is such a positive change. If we look at bigger cities, a lot of them have similar things.
“Winnipeg’s intentions to
create a better space downtown will be great for walking traffic and less vehicle traffic,” she added.
The street is one of just ten projects across North America to receive funding from the Asphalt Art Initiative by Bloomberg Philanthropies, which awarded Winnipeg a $100,000 grant to support large-scale mural installations. Starting this week, local artists will be out on the asphalt, painting roughly 18,000 square feet of surface area.
Beyond the art itself, the city plans to install new landscaping, planters, lighting and custom-designed furniture to encourage people to linger, meet friends, or simply enjoy a walk through the downtown core. The hope is to give Winnipeggers one more reason to visit and explore the area, discover local businesses and cultural destinations nearby.
The bus changes and Graham Avenue redesign could be just the start.
“I’d like to see more businesses down here. It’s easier said than done, but when
I walk downtown or drive, I’m seeing empty spaces, and I think, ‘oh! A business would be so great here,’” said Sebelius.
“The more businesses and shops we have down here the more we’ll attract people.”
The redesign of Graham Avenue aligns with Winnipeg’s larger transit overhaul launched Sunday. As the city rolls out its new Primary Transit Network, a spine-
and-feeder model that shifts many routes off downtown streets, Graham Avenue will see most buses routed elsewhere. Rather than reintroduce car traffic to the space, the city chose to prioritize walking and cycling, using the freed-up street to experiment with placemaking and public art.
While only a pilot project for now, these changes reflect a growing push to make Win-
nipeg’s downtown more inviting and accessible for everyone, not just drivers and commuters passing through. For students and young people living, working, or studying downtown, Graham Avenue is set to become more than just a way to get somewhere else. It is being reimagined as a space to explore and connect in the heart of Winnipeg.
U of M updates copyright guidelines for students
Vice-provost urges respect for instructor-created content
Roy Albright Obah, staff
The U of M has issued a revised set of copyright guidelines following a reported increase in the unauthorized sharing of course materials created by instructors.
In a campus-wide email circulated on June 18, Vice-Provost (Students) Laurie Schnarr stated the Copyright Office had received “numerous reports” of students distributing class content without permission. The materials in question include lecture slides, handouts and instructor-prepared notes.
“It’s important to understand that course materials created by an instructor or professor are copyrighted content,” Schnarr noted.
The new policy explicitly prohibits students from uploading or distributing such content on personal platforms or commercial sites such as Course Hero and Chegg, unless granted express authorization by the content creator.
Copyright infringement is a legal issue relating to a copyright owner’s right to determine how their work is reproduced, performed, or published subject to limitations
under the Copyright Act. The Copyright Act offers remedies that copyright owners may pursue through Court if they believe a use of the work breaches copyright protection. Both civil and criminal penalties are possible outcomes of copyright infringement.
According to the email, violations of the updated policy may result in disciplinary action under the U of M’s Student Discipline Bylaw, Student Academic Misconduct Procedure, or Student Non-Academic Misconduct and Concerning Behaviour Procedure.
The policy update is part of a broader effort to reinforce academic integrity and promote respect for intellectual property within the learning environment. The Copyright Office encourages students to consult their website for guidance on what can be legally copied or shared.
Students who require help understanding their rights or navigating academic procedures are advised to contact Student Advocacy.
Schnarr concluded her message by encouraging students to uphold the university’s values of “respect, inclusivity and understanding,” and affirmed that honouring copyright is central to maintaining academic excellence.
To further support awareness and compliance, the university will host a series of copyright workshops throughout July and August. Topics include “Copyright and Generative AI” on July 10, “Copyright: What Faculty and Instructors Need to Know” on July 15 and July 23 and “Using Images” on Aug. 14. Students and staff are encouraged to register in advance via the UM Lib/ lib-umanitoba.libcal.com/ event/3901660.
GRAPHIC BY EMMA GILLICH / STAFF
PHOTO BY JESSE BROGAN / STAFF
Convenience or conviction?
U of M researcher explains the reality behind ethical consumerism
Mansura Akter Meghla, staff
How do brands shape our choices? For sociologist Sonia Bookman, the answer lies in exploring the act of everyday consumption. She studied the connections between brands, culture and daily life, with a focus on cosmopolitanism and class. Bookman recently completed her SSHRC-funded research project, Cosmopolitan Consumption, Markets, and Culture in Canadian Society
The research explored how brands communicate ideas of cosmopolitanism. It particularly focused on the moral dimension of cosmopolitanism — a sense of responsibility and respect for people and their environment, both locally and globally. It examined how brands position themselves as socially responsible and how consumers engage with these messages through their everyday purchases.
Bookman said, “we’re looking at how [IKEA, Amazon, H&M, and McDonald’s] essentially mediate cosmopolitanism and how they are doing so in part with corporate social responsibility (CSR).”
“Some companies like lKEA, really bring it into their ‘brand scaping.’ So, you go shopping and […] there’s a sign that says, fill your cart with consciousness.” This is how brands encourage shoppers to shop more ethically, explained Bookman.
Her interest in this topic stemmed from her doctoral research and long-standing work on branding and ethical consumption. She said brands encourage consumers to feel good about their consumption choices, in ways that relate to both people and environments.
In the current study, Bookman and her team interviewed consumers associated with popular global brands like IKEA, Amazon, H&M, and McDonald’s. The research revealed that these companies offer what Bookman termed “cosmopolitan affordances” — opportunities that allow consumers to feel like responsible global citizens, such as recycling clothes at H&M or buying eco-friendly products at IKEA. The findings suggest that while these actions are meant to help consumers express ethical values and build a connection with the brand, most people do not engage with them deeply or consciously.
Bookman noted that consumers’ choices were mostly
driven by convenience rather than conscious ethical reflection. “They were doing it as a matter of practice and convenience. Something that they just came across, they were not really thinking about it.” Choices like “buying the low flow shower heads and bringing batteries to recycle” were often made because they were “affordable, easy, and convenient” — a practical way to express their own cosmopolitan outlook, Bookman explained.
many people were skeptical about corporate motivations. They often perceived CSR initiatives as mere PR tactics rather than authentic ethical commitments.
Participants in the study expressed doubts about the sincerity of certain brands, especially large corporations. Some pointed to contra-
ing, supporting local producers, or engaging in mutual aid.
Bookman also found that cosmopolitan consumption can reflect social status, with age and opportunity shaping consumers’ expression of ethical values.
“Market cultural forms like brands are actually really impactful. They are very powerful actors in our society”
— Sonia Bookman, Associate Professor in the U of M’s department of sociology and criminology
This gap between brand messaging and consumer engagement was particularly striking to Bookman. Even though many participants identified with cosmopolitan values, expressing concern for the environment, labour rights and global justice — they did not see brands as central to how they practiced these values.
According to Bookman,
dictions, such as questioning H&M’s environmental initiatives given the brand’s reliance on fast fashion — a business model associated with high environmental costs. Rather than connecting with brand messages, consumers spoke of more personal, community-rooted forms of ethical practice like shopping at farmers’ markets, volunteer-
Younger consumers, particularly those engaging with H&M, were more likely to reflect on their consumption habits and express values of responsibility and sustainability. Bookman added most consumers focused more on environmental concerns over social issues in their expression of moral cosmopolitanism.
Issues of human rights, labour conditions and global inequalities, were usually less important to them than environmental responsibility. This focus on the environment reflects broader societal
trends and global conversations prioritizing climate change, she explained.
Bookman is currently writing up the findings from this research as a journal article, which she has presented with her research assistant, Benjamin Ayamga, at conferences in both Canada and the U.K. Bookman emphasized, “market cultural forms like brands are actually really impactful. They are very powerful actors in our society.” Her research showed brands may influence how we think and talk about being responsible global citizens. “We need to pay attention to brands and to consumption practices which […] have a lot of significance in terms of shaping ideas, identities […] in contemporary society,” she said. For students and researchers exploring consumer culture, her advice is to stay curious and follow the questions that genuinely matter to them.
GRAPHIC BY EMMA GILLICH / STAFF
The importance of animation Animation lives where live-action falls flat
Quinn Mayhew, staff
Animation has always been one of my favourite parts of the film industry. You can see life behind every single character’s eyes, despite these characters never being alive to begin with.
I think animation in movies is so deeply intimate and special because you can feel the time, effort, and craft it took to infuse life into the characters and world of these animated films.
By watching animated films throughout my life, I have come to one conclusion — animation is less driven by profit and more by a passion for the craft. I see film studios trying to remake animated films in live action, and I can never stop from feeling disappointed when I see the results.
The Little Mermaid, produced by Disney in 1989, was a box office success. It became a world-renowned classic that has been treasured and rewatched over and over again, decade after decade.
In 2023, Disney released the live-action The Little Mermaid, with many people running to the movies to rewatch this classic. I also flocked to the box office on opening day to rewatch the film that was pivotal to my childhood, hoping to relive some of that childhood nostalgia, despite never being a huge Disney fan. As I watched, I found myself feeling like this was not the movie I signed up for. Although I appreciated that Ariel and Eric’s bond had a more detailed backstory than just meeting each other on a beach and falling in love, the movie seemed to neglect some of the key points that made the original a classic.
In my opinion, this movie lacked the musical elements that made this film so intriguing and captivating to begin with. In the live-action movie, when Ariel and Sebastian are singing “Under the Sea,” there are no backup singers like the original had. There are also no animals playing instruments which made the song highly catchy when it premiered on screen in 1989.
The live action neglected the musicality and small elements that made this movie ultimately a Disney classic, and what makes it so memorable.
We see this taking place with other animated films like How to Train Your Dragon being reproduced into liveaction films. This begs the question — why do produc-
tion companies feel the need to reproduce these classic animations into live-action?
In my opinion, these beautiful, animated films are being made into live action either because production companies believe they can improve the original plot or change certain aspects of the plot to suit modern audiences. There’s so much soul within animated films, despite no real people being seen. The people creating these films infuse their souls and emotions into these characters that make up the
world of animation.
Animated films are often viewed as being made for children, but everyone can benefit from the stories that animation tells. Animation is more than just a form of enter-
in their rawest form within a character created from inspiration.
The emotions of loss, regret, humour, joy, sadness and disgust can be seen within the creation of characters that represent human emotion.
There’s so much soul within animated films, despite no real people being seen.
tainment; it’s a form of art. It shows emotions in their purest form.
We see ourselves and relate to complex characters within animation that are sometimes harder to portray in liveaction, as these emotions are
I assume we all sometimes dream of superpowers, different worlds, robots, or mythical beings — and I think animated films bring us closer to that escape. They invoke emotions from childhood — a time when we were encouraged to dream big.
I think with animation studios, it’s less about making money and more about the quality of the film. Movies like The Lorax Soul How to Train Your Dragon and Fantastic Mr. Fox, all have human emotion and just a little bit of ‘magic’ behind them, which makes all these films classics and memorable.
I have always believed that animated movies are some of the most impactful and inspirational forms of media there are to watch — that every animated film is created with the intent to inspire someone, somewhere.
GRAPHIC BY EMMA GILLICH / STAFF
Do influencers have too much influence?
How brands hijack your feeds through influencer marketing
Quinn Mayhew, staff
I have always struggled with the question of what is influencing? Why is this generation so captivated by individuals who appear on screen dancing and then telling you to buy a health supplement that they are not qualified to recommend?
The idea of influencing within this generation has always eluded me. Why give a platform to people who have no qualifications to tell the public how to lose weight, how to fix a car or how to maintain flawless hair or skin?
Although I complain about influencers, I am not a stranger to scrolling through TikTok and buying something an influencer recommends.
Whenever I see an influen-
cer I like wearing something cool or using a certain makeup brand, I feel compelled to buy it. Whether to create a certain look or to capture a sliver of their flawless aesthetic, I feel as though I have no choice but to buy the product they are promoting.
I think a big part of why advertising companies are moving away from televised ads and toward making influencers brand ambassadors is due to the increased online presence of the younger generation.
Gen Z is constantly on their phones, scrolling through apps such as TikTok and Instagram multiple times a day. The addiction to scrolling is a big part of how advertising companies now deliver these
short video ads as a marketing strategy.
These short videos are conveniently delivered to us through our very own handydandy cellphones. This is done via apps like TikTok and Instagram, crafting a personalized feed catering to exactly what ‘we want’.
I feel as though everyone has had the experience of talking to a friend about something of interest, only to strangely see an ad or a post about it on Instagram later — making you question whether your phone is listening to you.
Instagram has created the illusion that by buying this pair of pants or that trendy top, you can achieve a certain look — an ideal of achievability often pushed by cer-
tain influencers or brands.
By using this ‘influencer-marketing technique,’ brands can access audiences more easily. Algorithms are then used to target potential buyers based on their clicks, likes and dislikes – ultimately feeding them tailored content with the hopes of prompting a purchase.
This, yet again, begs the question of how we decide who becomes an influencer. I think a key factor in why we keep watching these influencers’ videos is a mix of a few things: envy, relatability and ability to keep audiences engaged within a brief period.
I see creators like Emma Chamberlain and Ilona Maher, and cannot help wanting the life they have. Whether
it’s personality, wardrobe, life or looks, I find myself feeling jealous.
The appeal is in the illusion that by buying these products we can become a little more like these influencers we admire, or that we can get a little closer to achieving that life that seems so out of reach.
I think at the end of the day, perhaps we are giving influencers too much influence over what we choose to spend money on. Maybe the way to stop overspending is to realize that what you have is good enough — you don’t have to spend copious amounts of money to try to look like someone you have only seen through your screen.
GRAPHIC BY EMMA GILLICH / STAFF
Diversions
To complete Sudoku, fill the board by entering numbers 1 to 9 such that each row, column, and 3x3 box contains every number uniquely. In Straights, like Sudoku, no single number 1 to 9 can repeat in any row or column. But rows and columns are divided by black squares into compartments. Each compartment must form a “straight.” A straight is a set of numbers with no gaps but it can be in any order, eg [7,6,9,8]. Clues in black cells remove that number as an option in that row and column, and are not part of any straight. Glance at the solution to see how “straights” are formed.
Straights Puzzle by Signdicated Puzzles
Puzzle by Signdicated Puzzles
Sudoku
Sudoku Solution
Straights Solution
20 by 60 orthogonal maze
COLOUR ME!
Provided by Emma Gillich
The whimsical world of medieval manuscripts
From sacred texts to axe-wielding rabbits
Boris Tsun Hang Leung, staff
I have always been captivated by the opening titles of classic Disney films like The Sword in the Stone and Sleeping Beauty. The story begins in a bedazzled fairy tale book with gothic lettering and colourful illustrations. This art style never fails to evoke a whimsical world of dragons and wizards, but did you know that it has roots in a sacred tradition that is almost 1,500 years old?
In his book Illuminated Manuscripts, writer and historian Richard Hayman explains that illuminated manuscripts are handwritten texts that are decorated with gold, silver or other rich colours to bring light to the pages. These manuscripts were once popular in medieval Europe before the invention of the printing press, but they remain some of the finest works of art from the Middle Ages.
According to Hayman, manuscripts are made of vellum, or cleaned animal skin, folded together to make quires. The scribe writes on the vellum using black or brown ink from soot or oak gall, then the illuminator applies pigments and gold leaf to the pages. Finally, the pages are bound in leather or fabric and sometimes decorated with enamel, jewels, and ivory.
Most of the early medieval manuscripts are religious texts and would have been produced by monks to celebrate and reaffirm Christian messages. One famous example is the Book of Kells, an 8th century manuscript of the Gospels created by Celtic monks in Iona, Scotland before it was brought to Ireland to escape Viking raids. The book
is decorated with interlace motifs as well as illustrations of animals that symbolize evil or Christ’s resurrection.
However, Hayman writes that by the 13th century, the production of manuscripts began to shift away from monasteries to the public — royalty, wealthy aristocrats and even laypeople started to commission artisans to produce books of hours, a type of prayer book, in great quantities. Secular works on fictional beasts and mythical characters such as King Arthur also emerged.
Hayman argues that due to this shift, amusing and mischievous illustrations became more common in book margins. For example, drawings of axe-wielding rabbits and knights fighting snails started to appear, though many of the symbolisms of these strange creatures are long lost to the sands of time.
While these ornate works of art may seem distant and exotic to Winnipeggers, U of M archives house several notable historical texts from this period. For example, the Rare Book Collections on campus contain Pomianyk of Horodyshche, one of the oldest Cyrillic manuscripts in North America dating from the 15th century, as well as a 1438 printed edition of the Latin Bible.
Illuminated manuscripts continue to bridge the sacred to the secular and bring whimsy to our lives centuries after their creation. The next time you revisit your favourite fairy tale or gaze upon the university libraries’ rare books, know that you might well be looking at the echoes of a medieval hand, gilding pages with light.
PHOTO BY MILAN LUKES / STAFF
SofA student gallery presents Faith: Who Do You Trust?
U of M student questions faith and religion with art
Boris Tsun Hang Leung, staff
he School of Art stu-
T
dent gallery unveiled its latest solo exhibition on June 25 — Faith: Who Do You Trust? Featuring works by U of M student UV Chawla, this exhibition includes installations, paintings, sculptures and a live performance to explore the artist’s thoughts and struggles with identity, faith and trust.
Chawla is a second-year fine arts student who is interested in installation art, conceptual works and performance art. In an interview, he explained that he grew up religious but struggled with faith as he grew older and moved to Canada. This exhibition began with him questioning his beliefs.
“It started off with the question of can I trust religion? Can religion be trusted at all? And if I do trust religion, why do I trust it? That was a very simple idea that I wanted to just explore […] So from that, it became this huge question of trust in general, like, how do I trust anyone? Do I even trust myself? It became a huge question to me, and it just kept on growing and growing, and it became this entire exhibition,” he said.
At the same time, Chawla pointed out the fragility of trust and faith.
“Trust is so, so fragile, and it’s so delicate that it can break at any [moment]. So that was [the] simple idea of this exhibition, of how simple trust is to gain, but how simply it can be broken down.”
As a part of the exhibition’s opening ceremony, Chawla performed a piece that symbolized his internal conflicts about where he should place his faith. In the performance, he dressed in all black and prayed to four different religions.
“[In Islam] they do the prayer five times a day. I did that once […] In Christianity, I did Hail Mary and [Our] Father in Heaven. In Hinduism, I did Shiv Chalisa […] a very common prayer in Hinduism, as well as Sikhism, where I did the Japji Sahib,” said Chawla.
“Once all of those were done, in the end I slap my head on the altar, repeatedly screaming, asking for help, and literally just questioning […] ‘Are you even listening to my prayers now? Are you going to come on and help me?’ […] And for about three minutes, I do that, and then I stand up,” he said. “I actually fall on the ground, and it’s supposed to symbolize that I’m broken.”
Evidently, Chawla’s work is marked by turmoil, torment and uncertainty. When asked what he wanted viewers to take home with them after seeing his work, Chawla emphasized the importance of listening to
your intuition and feelings.
“If you really read every single thing that’s in the exhibition […] it’s going to lead to trust[ing] your heart. That’s the main idea — [to] follow your heart, and that’s the only thing that’s always
going to be there for you,” Chawla said.
“People say it’s a gut feeling and I’d say 100 per cent go with your gut feeling because that is where your heart is speaking to you. Just follow it.”
Faith: Who Do You Trust? is on display from June 25 to July 9 at the school of art student gallery (158 Taché 2). The gallery is open Monday to Friday from 8:30 a.m. to 4 p.m.
PHOTOS
2025 Manitoba African Cup of Nations kicks off
Co-founder and operations manager shares insights into annual soccer tournament
Abdul-Jalilu Ahmed, staff
The Manitoba African Cup of Nations returns to unite various countries in friendly competition.
Seidu Mohammed, the co-founder and operations manager of the annual soccer tournament has shared the inspiration behind organizing the competition and the community it fosters. He encouraged other countries to partake in the tournament.
“Manitoba African Cup of Nations is about the community,” said Mohammed. “In the history of Manitoba, there is this kind of tournament that goes on before, but it wasn’t organized or wasn’t kept well. We have to bring it back. This tournament started in 2019 with four teams: Ghana, Eritrea, DRC, Congo, and Senegal. Those are the teams that we started this tournament with. And the reason we brought this tournament is about the unity. We want to unite the African communities.
“Through African communities, we can get all the African communities come together so that we can have a common goal,” he explained.
“And, in Africa, we love soccer, and soccer is a universal language for everybody. That’s why my president and I wanted to bring this tournament out so that the African communities can come out, have a common goal [and] at the same time, learn about each other’s culture. It’s more about the African communities.”
Mohammed added that their motivation as planners come from their desire to give back to the community. “What motivates us is about the refugees and immigrants that come here in Canada. And when we go there, we got a lot of help from communities. They help us, they give us resources. It’s like paying back to the community. Where they help us, we also want to make sure we give it back to our community. That’s what kept us going, that’s what kept us moving.”
He included, “there’s a lot of immigrants and refugees who are participating in this tournament, students and all that. It’s part of the motivation that we had to organize this tournament.”
Mohammed confirmed that the tournament has seen growth in the number of teams participating each year.
“It has been [expanded] each year.” He added, “in 2020, we got eight teams, and the eight teams are Senegal,
Ghana, DRC (Congo), Nigeria, South Sudan, and Eritrea. And there’s two teams that came and joined [...] since then, it’s been expanding every year. So that each year that we go, it’s more exposure. It’s exposed everybody, and everybody come here and watch [...] In 2021, we got 12 teams [...] 2022, we got 12 teams, and 2023, we got 16 teams. 2024, we got 16 teams, and this year, we got 12 teams.” He discussed the efforts involved in organizing
the tournament and the challenges that come with it.
“[It’s] very challenging, because one, we have to book the field six months ahead, because without a field, we cannot get everything organized. The field alone is a lot of time to put in. And also, to organize and call, send emails, call the teams, and make sure everybody is registered, it’s also challenging. It’s not an easy thing for us. And we always make sure we want
to keep everything organized [...] because we have our guidelines, we have our rules, we want everybody to follow the rules. If you don’t follow the rules, you are not allowed to play. It’s very difficult from day one to this day.”
Mohammed talked about how the future looks for the tournament.
“The future is bright [...] the teams are very passionate, they are very proud of their country and their commun-
ity here in Manitoba.” He said, “we are happy to always have this tournament going. We never want it to stop, because it’s something that we want [for] the community, we want to make it more inclusive, not exclusive.” Mohammed said there have been guest teams since last year, “Ukraine are here this year, and Haiti also are here. We want to make it more [inclusive] for other communities to join, so that we can all learn the culture
PHOTOS BY MIKE THIESSEN / STAFF
that we have.”
He encouraged more countries to join the tournament, reiterating the goal of commitment to diversity and inclusion.
“We hope to have a lot of teams that come on, because we know there’s some com-
munities who don’t have bigger communities here like Nigeria and DR Congo. And now you see Ghana, they are getting more population here in Manitoba. We want to make [the competition] more diverse. A country or a community that doesn’t
have enough players, they can get some people to come in, which also makes them know the culture of these communities.
“We want to make sure we get all the communities involved, because without them, we couldn’t have gone
this far. They have supported us since day one, and we are [grateful].”
In this year’s tournament group stage, Group A features Ivory Coast, Kenya, Rwanda, and South Africa. Group B includes Ghana, Haiti, Ukraine, and Senegal, while Group C is made up of DR Congo, Eritrea, Cameroon, and Tanzania.
Upcoming group stage games are taking place on July 5 and 6 at Shaughnessy Park Turf Field, starting at 4:30 p.m.
PHOTOS BY MIKE THIESSEN / STAFF
Bisons make efforts
The Bisons men’s and women’s teams compete last season
Abdul-Jalilu Ahmed, staff
The Bisons men’s and women’s teams participated in different competitions in the 2024-25 season.
For Bisons volleyball, the women’s team made a major mark by winning their first national title in 11 years, defeating the Montreal Carabins 3-1 (25-20, 25-19, 24-26, 25-16). The Bisons delivered an impressive offensive display, hitting .357 compared to the Carabins’ .184.
Athletes Raya Surinx, Katreena Bentley, and Light Uchechukwu played a notable game for the Bisons. Surinx had 23 kills, 10 digs and a .400 efficiency, Bentley recorded 47 assists, and Uchechukwu came through with 11 kills and 10 digs.
Following her remarkable performance, Surinx emerged U-Sports Player of the Year for the second consecutive time. Surinx and Jackson Tachinski claimed Bisons Sports Athletes of the Year. Additionally, Surinx has been named to Canada’s Senior National Team for the Volleyball Nations League. The Bisons women’s volleyball coach Ken Bentley was honoured as Bisons Coach of the Year.
In the basketball competition, the Bisons men’s team secured a 70-67 win over the Thompson Rivers WolfPack in the Canada West championship quarter-final game. Athletes Mason Kraus, Tito Obasoto, Darren Watts, Manyang Tong, and Cieran O’Hara represented the Bisons in the quarter-final game.
However, the team was defeated 79-87 by the British Columbia Thunderbirds in the championship semifinals. The Bisons later lost 85-97 to Victoria Vikes in the bronze medal game.
Despite the tough finish, Kraus was named Canada West First Team All-Star. A consistent presence on the court, Kraus has been a regular starter for the Bisons since his first season in 2021-22.
The Bisons men’s football team qualified for Canada West semifinals after recording a 51-38 win against the UBC Thunderbirds. In the semifinal game, the Bisons lost 25-28 to the Regina Rams.
Athletes Jackson Tachinski and Giordano Vaccaro, as well as head coach Brian Dobie were recognized by Canada West for their individual efforts.
Tachinski was named Player of the Year, Vaccaro earned Lineman of the Year, and Dobie received the Coach of the Year award. This marked the first time since
2015 that three Bisons football team members had received Canada West major honours. Also, Maya Turner became the first-ever woman in U-Sports history to be named a Canada West All-Star. Following the retirement of Dobie, Stan Pierre has been named head coach of the Bisons football team.
The Bisons women’s soccer team completed the last season with a 1-1 draw against the Regina Cougars. Before the start of that match, athletes Jessica Tsai, Camila Goldsztein, Janelle Chomini and Alexandria Paul were honoured for their respective performances. Before the final game, the
Bisons drew 2-2 with the Winnipeg Wesmen and played a goalless draw against the Saskatchewan Huskies. Tsai had 121 career shots on goal and was included in the Canada West Second Team All-Star. Meanwhile, Nyema Prentice-Whyte earned a spot on the U-Sports All-Rookie team.
Mark Colvin has been appointed the new head coach of the Bison’s women’s soccer team for the upcoming season. Colvin has over ten years’ experience in coaching, including three years of coaching abroad in Sweden, and holds a UEFA A license from the Scottish FA.
