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News

Why we closed restaurants during the pandemic

Experts say this is a necessary sacrifice to fight the pandemic

Walking in through the glass door off Beaubien Street, Café l’Étincelle offers a warm respite from the cold November air. Edison bulbs hanging from industrial light fixtures, colourful orange walls, and the smell of freshly brewed pumpkin-spice lattes billowing from behind the counter are what draws in the hip local Rosepatrian crowd.

Rémy Deloume opened the cafe in 2016 with his father and brother. They wanted to create a welcoming space where people could come to work, socialize and feel at home.

But the tables that once were filled with self-employed workers and university students now instead lay host to rows of bags of Nicaraguan blends and ceramic tumbler take-out cups.

On Oct.1, provincial measures forced Deloume to shut his dining area for the second time in six months. The restrictions were further extended on Nov. 13, now going until at least Jan. 11. These rules mean the only way he can create revenue is by selling take-out coffees and merchandise.

“We haven’t had a single case of Covid since we reopened,” said Deloume, adding he felt confident he could reopen his booths and still offer a safe environment for his customers.

Yet most experts are not in agreement. Dr. Colin Furness, an epidemiologist and infection control specialist and professor at the University of Toronto, said that restaurants are “a perfect storm” for the spread of COVID-19. He said that a combination of environmental, scientific and social factors make restaurants particularly dangerous.

“What [COVID-19] really likes is spreading by fine droplets in situations where people are together, sharing air, with poor ventilation and no masks,” said Furness. These factors make restaurants a perfect environment for the virus, as they are often cramped, poorly ventilated places where people generally spend long hours socializing.

Furness said there was a common misconception that closures are in place to protect patrons, when in fact they are there more so to protect staff.

“Their exposure time to the aerosols in the air is much higher,” said Furness, adding that staff are openly interacting with hundreds of unmasked customers every day.

Given the measures that were put in place over the summer to protect customers, like plexiglass dividers and obligatory mask-wearing when moving around, patrons are at a lower risk of contracting the virus in a restaurant or bar than the workers.

The problem arises when a staff member gets sick.

“The virus moves from the waiter to other waiters to family members,” said Furness, demonstrating how outbreaks can stem from restaurants.

Hospitality workers are generally younger, meaning contagion often goes undetected as many cases are asymptomatic. The spread is also further compounded when considering the active social lives of young restaurant workers.

But many restaurant owners, including Deloume, feel the government is not being transparent enough in sharing the data that links restaurants to the spread of COVID-19.

In October, a group of business owners in the industry co-authored an open letter demanding the government to share its data to justify its policy.

According to David Lefebvre, vice-president of Restaurants Canada and co-signatory of the letter, increased data sharing would be a benefit for all involved.

“It would give a better explanation, and people would probably buy in a little bit more,” he said, adding that business owners would feel more involved in the decision-making process.

But Furness said it is difficult to achieve this, as much of the data the industry is asking for still doesn’t exist.

“It’s very hard to find an epidemiological link to a restaurant event,” he said, as many cases go unreported and little formal research exists.

Regardless, Furness said the link was obvious when comparing the similar conditions between super-spreader events.

“It’s invisible, but it’s there, much like the force of gravity,” he said.

Because of these factors, government officials and experts say restaurants cannot reopen until the pandemic is under control, suggesting instead that these businesses stick to take-out, catering and alcohol sales.

“If there were a way for people to be in a restaurant, eating and drinking, and still be wearing masks, I would change my story, but there isn’t,” said Furness. He concluded by saying it was the government’s responsibility to better communicate these facts and help all business owners get through this period.

Yet, Deloume still feels this will not be enough. It has now been two months since the initial closures, and he said it would not have been possible to stay in business if it weren’t for the time his family has put in.

“We work one-hundred-hour weeks,” said Deloume.

He understands the reasons behind the closures and believes protecting lives is the number one priority, but still wishes the government would include stakeholders in its decision-making process.

“We want to feel like we’re all in the same boat, but not that our future depends on a government decision,” Deloume said.

In the meantime, Deloume said he would continue to respect public health orders, serving take-out coffee and food. He also hopes that everyone’s efforts pay off and that restaurants will be able to reopen soon. Deloume said he hopes to soon return to the motto of his café, Ralentir, S’ennuyer, Rêver, and fully reopen so his patrons will be able to once again slow down, disconnect and daydream.

Graphic by Taylor Reddam

Categories
Arts

Networking: not just for entrepreneurs

Discover emerging artists at DécouvART 

I have been to many vernissages and gallery openings. They are all more or less the same; upbeat music plays on a sound system – or a DJ, usually a friend of the artist, plays a live set – the crowd consists of young creatives and their friends or a well-established artist and middle-aged art enthusiasts looking to purchase a work or pass the time. While lively, these events are generally not like anything you see on TV.

The second edition of DécouvART, however, was very much like something out of an episode of Sex and the City, Gossip Girl or any show who’s premise evolves around Manhattan’s elite. Upon entering into the lobby elevator, one could hear loud, upbeat electronic music, played by a DJ. Cameras flashed continuously as photographers captured artists posing in front of their works, and groups of young people stood poised, cocktails in hand, as they conversed.

As the name DécouvART suggests, the space was provided as a place for discovery of current happenings in the Montreal art milieu and aimed to promote emerging artists in Quebec. Held at Gallery Gora, the event was hosted by Fondation Proaction International, whose mission is to support artists as a means of enriching the arts and culture sector.

The featured works were selected among artist applications and included painting, sculpture and photography. Collectors, gallery owners, agents and Quebec’s minister of culture were among the invited guests. Attendees were invited to vote for the best artist and were given the opportunity to win up to $10,000 in prizes.

Karine Demers’ Pliage 63/Architecture consisted of black and white pieces of paper, folded geometrically, and assembled to form various shapes. The origami-like work changed colours depending on the angle from which it was being observed; a peach tone if looking from the right, and a bright yellow from the left.

Alexis Couzino’s series of three works named Nage Macabre consisted of black velvet mounted on canvas and sequined silver fish. The work offered a representation of the current state of the oceans, as caused by society, and the romanticized beauty of the world, which is gradually being destroyed.

The variety of innovative artworks, the large crowd and upscale environment of DécouvART demonstrated that networking events don’t have to be exclusively for entrepreneurs. The overall reach and presence of the press seemed to promise opportunity for emerging artists in the Montreal area. While it is another topic to be had, DécouvART helped contribute to the idea that there should be a reward for creative work.

After all, exposure doesn’t pay the bills.

For more information about Fondation Proaction International and upcoming DécouvART events, you can visit their website at http://fondationproactioninternational.com.

 

Photo by Brittany Clarke

Categories
Opinions

The feminism we are exposed to

One student’s experience with being told “no,” and how that led to an epiphany

A few weeks ago, I was at my aunt’s house with my parents, my cousins, my great-aunts and uncles for Saturday supper. It’s a tradition that after our family’s Sunday supper together, the men go to a local Italian bar to have coffee. Every time, not one of the women is asked to go, simply because it’s not customary.

Recently, I’ve been super busy and, although I had brought my laptop to supper to work on assignments, I decided I wanted to take a break and get a coffee. I was looking forward to a freshly brewed espresso and some down time with my cousins away from my laptop. That is, until I was met with a sentence I’ve never been told in my life: “No, because women aren’t allowed to come.”

I immediately got defensive. I told my great-uncle I just really wanted to get a coffee; it’s not like I was intruding on anything. To no one’s surprise, I guess, arguing with an old Italian man and getting around being told “no” was futile. I got upset and emotional, struggling to hold back tears.

You may think I was being dramatic and that my reaction, while not unwarranted, was not necessary. But this experience made me realize a plethora of things I hadn’t really put too much thought into before.

My entire life, my parents—my mother, in particular—have raised me to be able to do anything and everything. As a small child, I knew how to use a hammer and a screwdriver; I could paint a wall, install pavé-uni (yes, even that), do basic plumbing, change a lightbulb, and maintain the pool. In our house, being a girl was never a factor for discrimination. I knew how to do all of these chores because they were the tasks that needed to get done.

My mom passed that mentality on from her childhood when she and her three sisters were taught how to do everything and pull their weight too. That was passed down from my grandparents. My nonna knew how to paint and fix things around the house, and my nonno would cook, do groceries and even the laundry, which was super uncommon at that time. Likewise, my 70-year-old aunt is and has always been the one who does the gardening, mows the lawn, all while being the one who cooks and cleans up after 15 people at family gatherings.

She and my great-uncle are of the same baby-boomer generation. Since the incident, I struggled to understand how two people of about the same age, especially from that generation, could have such different values. Then I realized that even within my own generation, which is supposedly “woke” and informed about social constructs, there is disparity. I have come to the conclusion that it all comes down to what you were and continue to be exposed to.

Luckily for me, I come from a few generations of feminists (I use the term lightly here, although it’s applicable nonetheless) even if they didn’t know it. My nonno raised four strong daughters; my mom went on to teach me the same values and, along with my dad, instilled in me that I don’t need a man and I should never take “no” for an answer.

Graphic by Ana Bilokin

 

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