Categories
Music

Why are concert ticket prices so high?

When will ticket distribution companies learn that raising ticket prices will ultimately ruin their rapport with customers?

Picture yourself going online to buy a ticket for your favourite artist or group. You’re ready to spend your hard-earned cash to experience a live show. With dismay, upon checking the prices of just the nosebleed section tickets, you put your laptop away in disgust.  

In my case, it was ’90s Québec star Daniel Bélanger. He’s most known for writing hits like “Les Deux Printemps” and “Rêver Mieux.” I figured tickets to see him live would cost around $60 a piece, max $75. Little did I know that when I checked the website Event Tickets Center, tickets ranged from $160 to $315. I’m sorry, but even if you are someone who is considered to be a national treasure of Québec’s music culture, that doesn’t excuse $315 tickets. 

Honestly, it doesn’t seem worth it to go see a single group perform live for that much money. Rock and rap fans have it worse than the other genres, too. According to data analysis conducted by FinanceBuzz, from 2017 to 2021, the average rock ticket cost around $160, while rap ticket prices averaged $135. These prices have not budged since.

That being said, bands do have to make up for expenses. They have to pay the venue their cut, and they have to pay their roadies, their sound technicians and their travel costs. Buying gear and renting studio rooms are expensive, and those expenses will grow exponentially once you go on tour.  

Who is at fault here? Is it the artists/groups, the venues, or distribution companies? Could we even blame “good old inflation?” I can assure you that it’s a lot more complicated than that. 

In the case of Taylor Swift’s The Eras Tour, it was the fault of LiveNation, who owns the ticket-distributing site known as Ticketmaster. LiveNation’s secondary ticket service, TicketsNow, and eBay’s subsidiary StubHub were reselling the tickets, charging fans upwards of $22,000. That’s the cost of like… four courtside Boston Celtics tickets. 

Will we ever see ticket prices drop? Probably not in the near future; however, artists are trying to help ease the pain of buying tickets. Pop star Caity Baser stated recently that her 2023 tour would “keep tickets affordable for all.” We have yet to receive a number on those prices. Sam Smith and Mod Sun are also charging less than the average, costing around $55 for the “Unholy” singer and $49 for the latter, according to SeatGeek. 

Hopefully, concert ticket prices will turn a new corner in the next couple of years because my wallet is skin and bone from last year’s and this year’s purchases.   

Graphic by Eric Wieder

Categories
Arts

Le roman de monsieur de Molière at the Théâtre du Nouveau Monde: A review

Between modernism and traditionalism: the constant debate between Corneille and Molière

The theatre adaptation of Mikhaïl Boulgakov’s novel Le roman de monsieur de Molière by the Théâtre du Nouveau Monde comments on the playwright’s chaotic life, and paints a vivid picture of the anxieties of devoting one’s life to being an artist. 

The audience did not need to be an aficionado of Molière to understand the intricacies of the play. 

The newly-restored Théâtre du Nouveau Monde, following the fire that erupted in the building earlier this year, seated 800 people and was nearly full. Most of the audience seated in the orchestra seemed of retired age, while younger people sat in the balcony.  

Though Molière’s life has been profusely copied and reimagined, this performance is contrasted by the unique proximity between the author and Molière. 

The 20th-century Ukrainian author Mikhaïl Boulgakov, much like Molière, was an artist unrecognized for his genius. They were both censured and silenced for their prose, receiving recognition after their deaths. 

Boulgakov plays on this theme in his novel, as is also present throughout the play, standing on the sidelines observing his written work unravel in front of him. Boulgakov’s and Molière’s characters intertwine and untwine themselves to unite and individualize their realities. 

For instance, Boulgakov frequently uses the first-person singular when narrating the play, as if he was himself Molière. While the story unfolds, Boulgakov never leaves the stage: he stays still, as a spectator. 

The audience barely notices him, as his movements are often immobilized by his role as narrator. He uses asides when he notes something specific that cannot be translated into action. 

The two-hour play, without intermission, highlights the continual chaos that surrounded Molière’s life as he was exposed to the pitfalls of wanting to resemble the great Corneille in tragedy, while never receiving the appraisal he thought he merited. 

The show played between themes of modernity and tradition, the former being reflected by Molière and the latter by Corneille. Their rivalry occupied most scenes, and made for a constant battle for mastering words that were both dramatic and entertaining. They played on words taken from their works while inlaying humorous formations as a form of satire. 

Jean de La Fontaine, the 17th-century French poet, was represented as a medium between the two. His character spoke his lines comically, referring to his previous works quite humourisly.

Boulgakov narrated Molière’s life as he acted on stage. This gave the audience a deeper understanding of his inner thoughts. There were short representations taken from his other plays, namely L’écoles des femmes, L’Avare and Tartuffe. 

Molière and his company L’Illustre Thêatre would often play out scenes that foreshadowed the well-known plays that would then be created. For example, when Molière was sick, and his wife Armande responded that no doctor would come to see him because of his work, the audience understood that Le médecin malgré lui had been written. 

The audience could understand the chronology of the story and Molière’s rising fame through costume changes. The dresses of the comedians became fancier and more intricate, and the vest Molière wore went from simple black to polished silver — a symbol of his rising social standing as a comedian who was being acknowledged. 

The first scene mirrors the last, as a bath is used for Molière’s birth and death. 
The show will go on tour across the province beginning Jan. 18.

Categories
News

Queer Montrealers gathered for a vigil in memory of the victims of the Club Q shooting

The local LGBTQIA+ community met in solidarity with queer Americans after a shooting in an LGBTQIA+ club

On Nov. 26, Montrealers gathered in the Gay Village for a solidarity vigil sharing their thoughts and grief surrounding the recent Club Q shooting. For many, this was a time to discuss the violence queer people experience on a daily basis.

On Nov. 19, the eve of Transgender Day of Remembrance, a gunman entered the LGBTQIA+ club in Colorado Springs and opened fire where 25 people were injured and five were killed. This event has left Colorado’s queer community devastated, serving as a reminder of a past shooting that had killed 49 people at the Pulse gay club in Orlando, Florida in 2016. LGBTQIA+ people throughout the world have spoken out in support of the victims and their loved ones. 

“Five lives were stolen away by systemic homophobia and transphobia,” said Celeste Trianon, one of the organizers of the vigil.

Trianon said that, while the shooter was responsible for the tragedy, the system itself was at fault. According to them, queer people experience systemic violence due to the spread of a far-right political agenda in North America.

“What kills us in the end is isolation, poverty, officials who never respect our identities,” said Trianon. “It is all the forms of hatred that we live every day that kill us and that is what we must fight against.”

Gabriel Paquette, a speaker at the event, said they came to support their American counterparts. 

“The thing about the queer community is that we’re not blood related so we’re all a little bit family, as idealized as that idea may be,” said Paquette. “When there’s an attack on a few of us, there’s an attack on all of us, especially when it’s in a space where we’re celebrating our joy of being ourselves, especially on trans day of remembrance. It shocked us to the core of our being, but we knew it was coming with the legislative violence in the US.”

Paquette also denounced the growing climate of hate and fear surrounding queer people in the US, a sentiment echoed by many in attendance.

“In Canada it’s coming as well. For example, in Ottawa there was an anti-trans demonstration yesterday [Nov. 25],” said Paquette, referring to an incident at an Ottawa high school surrounding transgender students using the restrooms corresponding with their respective genders.

They also mentioned how candidates in the most recent Ontario elections pushed for the abolition of support for queer children.

“In Quebec we have the particularity that there are language barriers so the American and British philosophies take longer to reach us but that doesn’t mean that we don’t have organizations that have the same issues […] and that are doing political lobbying to take away our rights in the long run,” explained Paquette. 

They cited, among others, the organization Pour les droits des femmes du Québec, a women’s rights group receiving funding from the provincial government and known to be trans-exclusionary.

The last survey conducted by the Bureau de lutte contre l’homophobie et la transphobie in 2017 found that “over 40% of the population surveyed has witnessed an act of homophobic or transphobic discrimination.”

Participants shared their worries but also their hopes, hugging those who were crying and trying to comfort each other.

“Today was about getting together as a group to try to send some love to those who are there [the US], our distant family,” said Paquette.

Categories
Opinions

An ode to all Sagittarius babies out there

I won’t forget about you this crazy holiday season

My birthday is 10 days before Christmas, and like all of my fellow Sagittarians, I get to celebrate my birthday at the most inconvenient time of the year.

Even though I might’ve been a Christmas miracle to my parents, the birthdays that have followed since 1996 would never get as much hype as the Christian holiday.

It sucks that the festivities tend to overshadow our special day. As everyone around us also has a reason to celebrate, my turning of age seems like “just another party” for them.

Sagittarians might be prone to selfishness, but it’s because we’re misunderstood. We never get to be selfish on our birthday because sometimes we don’t even get to celebrate it.

At every point in my life, there will always be some inconvenience around my birthday. When I was a kid, all of my friends were out of school, either on vacation or just spending time with their families. When I got to higher education, it’s exam season. And when I finally reach my adult life, office christmas parties are in the way.

And don’t even get me started on the weather. As a Sagittarius baby, especially in Montreal, you have to pray that a snow storm won’t ruin your plans because it’s not like you can reschedule anyway.

The planning of my birthday is now a month-long process that needs to start around Halloween, in order to make sure I get the proper reservations. And with most businesses being at their busiest around this time of year, if I want to order a cake, decorations, or a special birthday outfit, this also needs to be done right after Halloween to make sure I get everything on time.

With that kind of preparation process, it’s easy to understand why I’m always the one in charge of organizing my own birthday parties and ordering my own cake.

With everyone’s busy schedule around this time, I know I’ll never get a surprise birthday party. But it’s okay, I’ve come to terms with it.

December babies just want you to understand that we want to be a bit selfish for that one day. We just want you to show up and not mention the C-word. After all, it’s not like we can forget about what time of year it is anyway; the music and decorations will always be there to remind us. Not to mention every other table in the restaurant is usually celebrating the holiday too.

After 25 birthdays, I’ve tried it all — from celebrating at home (but the damn decorated tree is constantly just there) to celebrating my half-birthday in June, but then it just doesn’t feel right.

I might not have the ultimate solution for the sagittarius to have their time to shine, but I know we need the other signs to understand the need to make it a little bit more about us on our birthday.

Categories
Opinions

The Arepa ‘Unstuffed’

Can the arepa do for Venezuela what the taco did for Mexico?

It was quite the moment, seeing an arepa on the big screen as depicted in Disney’s Encanto. It made my eyes water. It was such an important moment for me, especially as a Venezuelan woman with Colombian ancestry. Seeing an arepa with queso in a character’s hand validated my experience and belief that all Latin American cuisines deserve to be in the spotlight, explored and tasted by all.  

It’s quite interesting that food references have had to widen their perspectives from a French and European focus, but the arepa’s popularity has been blooming in the North American media. We see this with Encanto, where Colombian arepas and characters are at the centre of the story.

As an introduction to solid foods, Venezuelan babies are fed the inner fluffy dough of the arepa, making it an essential part of growing up Venezuelan. My parents weren’t any exception in raising me with an intense love for arepas.  

It’s quite common to see children bring arepas wrapped in napkins or aluminum foil in their lunchboxes. I often brought an arepa for lunch in my elementary school days, which continued into high school and even CEGEP and university. Other kids were shocked at what I was holding in my hands. Since the gesture of holding it reminded them of a sandwich, the interest would soon fade. “It’s just a sandwich,” they’d all say.

It’s much more than Venezuela’s bread; it’s such an important part of the collective Venezuelan gastronomic conscience. The arepa represents venezolanidad — it’s at the core of a Venezuelan’s DNA and identity. It’s a food that creates an identity and immediate connection. Even when outside of their motherland, Venezuelans are drawn to the arepa. I am, personally! My family buys corn flour weekly and enjoys arepas often. 

The arepa is a round, mostly flat, corn maize split in the middle and eaten like a sandwich, with any topping you like. It’s a staple meal for Venezuelans, as it has been eaten for centuries. The arepa is vegan and gluten-free. In Quebec, 13 per cent of the population is Latin American, but despite that, there aren’t many places where the arepa is celebrated.

Why is the arepa, despite being such a versatile and healthy meal, so underrated? It doesn’t make any sense at all! The arepa has been loved and eaten by millions of Venezuelans for centuries, including me. It deserves to have its own spotlight and be appreciated for its own history and flexibility. 

While Mexican cuisine remains popular in North America, I’m hopeful and optimistic that this will change in the years to come. I’m sick of people only associating Latin America with Mexican cuisine. Ignoring the fact that Latin America is filled with vibrant, colourful dishes that deserve every ounce of appreciation is wrong. It’s time to celebrate all of Latin America, not just a select few countries! 

Let’s make the arepa global, especially since it can accommodate most diets.

It’s hard not to fall in love with what the arepa represents. It’s a small portion of pre-colonization that has outlived Venezuela’s ever-changing society. Of course, the arepa has been modernized with the invention of the tostiarepa, an arepa maker, and the corn flour that has aided in making the preparation process much easier than with maize grains. Its core ingredient, maize, has not changed in the slightest.

The name arepa comes from “erepa,” which originates from the Indigenous tongue of Cumanagoto. Erepa simply means corn, showing just the humility and simplicity of what the arepa has always been. The arepa is also one of the manifestations of the importance of corn in many Latin American gastronomies.

It’s much more than what may seem a one-dimensional, one-time item. In fact, any ingredient can be used as filling, from chicken, avocado to braised beef and cheese. There’s no wrong answer when it comes to arepa — the sky’s the limit!

Although it may look simplistic in its preparation and presentation, reminding many of another iteration of a sandwich, the arepa has filled dining tables at sunrise, midday and after sunset. 

As a Venezuelan woman who has lived in Montreal since she was seven, I’m pretty sure that at least one of my DNA strands is made out of fluffy, inner-arepa dough. The arepa has such a big significance for Venezuela, showing its multicultural idiosyncrasies. 

It highlights the impact of not only the Spaniard Conquistadors or the African Slaves who left their mark on Venezuelan cuisine, but also the country’s first inhabitants. It’s also a representation of the inclusion of the many immigrants that Venezuela welcomed during its days of glory.  

What’s intriguing about arepas in other countries is how they put their own twists on the ingredients. It becomes much more than a food item; it turns into an experience. It’s interesting to note that areperas (arepa-only restaurants) weren’t being gatekept by Venezuelans and were enjoyed by many, as they welcomed migrants from all over the world. 

An important facet of globalizing the arepa is through areperas that have popped up all around the world. The importance of Venezuelan restaurants and areperas outside of Venezuela can be the key to a smooth transition in immigrating from one side of the world to another. In Montreal, we have such places where we can sense a beautiful blend of Spanish and French in the air, being reminded of the beauty and importance of embracing Montreal as a home to multiculturalism. 

I firmly believe that the arepa will help Venezuela be even more known and beloved by the masses. The future is as bright as the inner, white fluffy dough of the arepa and can take any shape like its endless list of fillings.

Categories
Sports

Recruitment is well underway for the Concordia Stingers’ men’s soccer team

With many veteran players leaving, this recruitment season is busier than usual

After a season that ended too quickly on Oct. 23, the Concordia Stingers’ men’s soccer team has started its recruitment process with many empty spots to fill.

“It’s going to be a little bit of a challenge,” said Stingers’ head coach Greg Sutton. “Roughly nine to 10 players are graduating, so we have a bigger class than normal coming in and graduating. It adds to more recruiting and more work, to be fair.”

Among those graduating are several core players who were starters on the team. Centre defender and captain Sean Holmes is leaving the team after five years with the Stingers, something that is “surely going to affect the group,” according to goalkeeper Jordy Kerlegrand.

“It’s going to be hard to replace them,” Kerlegrand added, also mentioning midfielder John Cevik as a player he’ll miss. “Cevik is probably one of the best players I’ve ever been on the same team with. It’s going to hurt because when he was on the field we won and when he wasn’t, his absence was felt.”

Both Cevik and Holmes were named to the RSEQ’s second all-star team.

Although core players are leaving the team in high numbers, the recruitment has been going well so far. The Stingers’ men’s soccer team will be holding open tryouts on Jan. 10.

Sutton said that social media has been making the recruitment process easier than it was in the past. He also finds new players through current team members.

Additionally, for several years now the team has been hosting their ID night, an event that reunites the top potential recruits. It’s a chance for Sutton to assess the more specific details of rookies’ abilities and see whether they’d be a good fit. This year, their ID night has been especially positive.

Sutton began signing players a while ago. One of them, 21-year-old defender Zackiel Brault — who formerly played with the Montreal Impact Academy and FC Laval — was recruited last winter.

“The Stingers are creating a really good team and they’re getting big players,” Brault said in response to why he chose Concordia. He also said that he wanted to experience varsity soccer and was attracted by the league, the players, and the level of play.

Kerlegrand emphasized the team’s need for a good defensive line and Brault hopes he can bring value to the team with his 16 years of play.

“He’s just a complete defender, very difficult to beat,” said Sutton. “Offensively, he’s good on the ball and is able to keep possession for us in the back.”

Sutton also said that with so many players leaving, the team’s needs are “across the board.”

“We’re losing forwards, midfielders, defenders,” he explained. “One of the things we do when we recruit is we focus on the areas of need, but frankly, when you lose ten players, your needs are pretty much throughout the field.”

However, he said that attacking play is the main area they will practice once they get back on the field in the winter.

Nonetheless, both Kerlegrand and Sutton are very optimistic about next season.

“We’re excited, it’s a new era starting this upcoming fall,” Kerlegrand said. “We’re losing a few veteran players, so we’re in the unknown. However, that’s what excites us so much.”

He’s also certain the rookies will acclimate well to the team.

“We love having rookies,” he added. “Last year, we made the rookies feel comfortable right at the start and they integrated themselves really well.”

“I think that we have a good group of guys that are returning,” said Sutton. “We’re hopeful that they’re going to continue to grow and get better. Then, it’s just the transition of our new players that are coming in, to try and best prepare them with the time we have.”

Categories
Arts

The Salon du Livre de Montréal: a wonderful abode for book lovers

From Nov. 23 to Nov. 27 Montrealers had the privilege to enjoy books from the francophone world

As one entered the Salon du Livre, they were immediately greeted by the Agora, which served to host author interviews and book readings. People were given maps that displayed the names of the publishing houses around the immense space that is the Palais des Congrès.

Despite the venue’s cold appearance, the salon was able to add life to its walls, with colourful posters and shelves of publishers that extended across the broad space. 

The salon occupied the space with colourful tables, couches and plants to give it life, encouraging people to sit and read their new purchases.  

The morning of Sunday, Nov. 27 was buzzing with people, making it hard to move without being pushed, as patrons were wandering aimlessly into the vast world of literature. 

The salon had accessible prices and was free for visitors under 12, it also included spaces reserved for kids. It was clear they wanted to promote reading to a young audience.

On Saturday night, people were exhausted from Black Friday shopping, evident from visitors walking slowly, tired looking writers, and the staff seemed ready for their workday to end.

Authors were seated on odd pedestals in front of their respective publishing houses. When no one came to sign their work, their only distraction was a mere cup of water and their own books. 

The pedestals seemed in no way effective as very few people were having their books signed, unless the writer was someone already well-known. 

The Salon had organized a series of talks with authors.

Expert of Quebecois horror literature Patrick Sénécal gave a hilarious talk presenting his new book Résonances. On that Saturday night, he seemed exhausted, as he answered in a more relaxed cadence than his usual character. 

He discussed how most people think he must be mentally insane to write such disturbing novels, to which he responded “I’m just like everyone else.” 

These series of talks served to humanize authors as people, not idols. Novelist Anaïs Barbeau-Lavalette echoed Sénécal’s words, talking about finishing a book: “Once it’s out it belongs to you [the readers].”

She discussed her two recent books, Femme forêt and Femmes fleuve, which distinguish themselves greatly from her previous autobiographical work. Both harbour metaphorical verses, and propose to the reader a storyline following nature’s cycle. 

She noted that these books were the first time her writing did not depict her life specifically: “It’s the first time that this is not about me.”

She discussed her recent film Chien Blanc, noting that film was an interesting avenue in itself, but her preferred medium was writing, and at least in the near future she would stick to that.

She confessed, among other things, the difficulties in finding Romain Gary’s hermit son in the Spanish countryside to obtain the rights to make the novel into a film. 

“Writing is a solitary voyage,” she noted, whereas film involves teamwork and the considerations of different people. 

Wendat journalist Geneviève Pettersen namely spoke about her new book La reine de rien, a sequel from her first novel La Déesse des mouches à feu as an adult. 

She said she wrote a sequel because everyone kept on asking her what had happened to Catherine, the main character, and in her mind, it was obvious that she simply continued living. 

This coming-of-age story, which takes place in Chicoutimi, explored the ease of falling into bad habits and wanting to revolt. It received immense acclaim upon its release in 2021. It was even made into a film directed by the aforementioned Anaïs Barbeau-Lavalette. 

Beyond the bookworm aspect of book fairs, the salon had a noticeable commercial aspect to it. The books were not affordable, averaging in the mid-$30 price range. The clear intent was consumerism. Though the principal theme was books, the available seating was not comfortable enough for visitors to be entirely absorbed by a book. Talks that revolved around authors were centered around buying the copy to then get it signed. Not a single person was seen leaving the Salon without a book in hand. 

Salons du Livres happen around the world, on a yearly basis.

Categories
Arts

Pushing The boundaries of the attainable through circus: A photo essay

Cabaret de Cirque 2022 at Le Monastère From Nov. 4 to Nov. 12

Le Monastère Cabaret de Cirque is located in the St-Jax Church on St-Catherine, and is two minutes’ walk away from the Sir Geroge William campus of Concordia University. 

Before the show started, the room turned pitch black for a few seconds, with only the faint light from the stained glass church windows being visible. The room was in utter silence, excitement running through the crowd, until the lights flashed blue, and the first act began. 

The performances could be felt quite powerfully, especially from a vantage point high up on the altar. As the music detoned, it resonated through the wooden stage and through our bodies — it felt as if the crowd became actors in the performance. 

For the first presentation, aerialist Tanya Burka performed mid-air tricks on aerial silk. Her movements were light and composed. She moved in a way that seemed effortless, with the strength of her arms and core. She wrapped herself slowly, ending on a cascade down; the audience gasped, fearing the silk would not hold her.


In this second photo, Burka is holding on mid-air, only by the strength of her upper leg and ankle. The colours of the light, matching with her suit, mirror her movement as the audience remained captured by her every movement. 

Emcee Johnny Filionis is playing with balance, a pole held by his mouth is topped by a plate as he juggles two other. The whole affair was quite a spectacle to see, as the level of multitasking was impressive to the audience. 

Filion worked through the show to create a sense of discomfort within the crowd. Circuses ask the audience to interact with performances, pushing people out of their comfort zones.

This performance was set to create a sentiment of unease within the audience, while Filion hardly held his balance, people were on the edge of their seats watching.

The fourth performance showcased Maude Parent, a contortionist, as she demonstrated her extreme physical flexibility, contorting her arms, wrists and back to degrees that seemed almost subhuman. 

Her movements were sometimes pushed so out of the ordinary, that people in the crowd looked away or covered their eyes, waiting for the act to end. 

Despites some movements that disturbed our gaze, the dramatic effect of her contortions kept most of the audience fixated and excited to see what her next movement would be.

In a later act, Maude Parent comes back to the stage singing, accompanied by Marton Maderspach on the piano. The light fell only on the two of them, while the rest of the large room remained pitch black. Her voice echoed within the heights of the church, resonated within our bodies, producing a sentiment of excitement within the crowd.

The last act before the intermission was of Antoine Boissereau with aerial straps. The first part of his performance was the most impressive. As one arm was caught in the strap, it held his whole body, while he performed several figures with extreme precision.

His performance was accompanied by heavy techno music and a sharp white light accentuating his body as the audience was fixated in awe.

Laurie Bérubé and Catherine Beaudet performed a hand-to-hand duo, moving in synchronicity as their bodies were dispossessed of their natural purposes, serving as balancing grounds for one another. Though each movement was calculated, the ease with which their bodies moved together made the audience feel as if they were moving in complete natural spontaneity. The elevation and rigid balance of their pantomime was breathtaking.

Esteban Immer completed figures on the chinese pole, which was approximately six feet tall. He climbed up, slid down and stopped for figures. His poses showed his incredible strength, whether he was perpendicular to the bar, sliding down from his feet, or rotating his legs around the pole. Sometimes his legs were the only part holding his whole body hanging from the pole.


The last act was by Emily Chilvers on an aerial rope. Intense opera music accompanied her performance, which gave it more power. The lighting for her act was pink, which was much dimmer than the previous ones. As she wrapped herself with velocity, the light sometimes did not catch her movement and she seemed to be a completely separate entity —  as if her own being transcended the performance out of pure passion.

Categories
Arts

Drop By And Drop Dollars at the CSU’s and FASA’s Holiday Market

Concordia’s Student Union and Fine Arts Student Association have teamed up for the Holiday Market this Dec. 7 at the CSU lounge, on the 7th floor of the Hall building

The idea of the Holiday Market came from the success of the BIPOC market hosted at the chapel on the Loyola campus on Nov. 8, organised by the CSU’s Loyola coordinator Sabrina Morena. Many tables were set up and decorated, with snacks included, and Concordia’s radio station CJLO made an appearance with their very own DJ. 

“It was relatively simple to organise in many ways which is why we thought short notice would do something similar,” said CSU Student Life Coordinator Harley Martin. 

The goal of this market is to expose artists downtown and at a more festive time of the semester. “We thought, ‘why not do something similar, closer to vacation time at the CSU lounge’ given there are so many people there at lunch,” added the Student Life Coordinator.

At this event, you’ll find beautiful tangible products such as ceramics, paintings, drawings and jewelry that you can buy for yourself and others. “We talked to FASA, and they said ‘let’s do it,’” said Martin

The Holiday Market was created with one two-sided goal: the first is to provide publicity for Concordia students in the fine arts, and with a great place in mind to do it. The 7th floor of the Hall building is always busy. “There are always people there,” said Martin. “It’s a great place to allow people to see some of the art and artists produced at Concordia.” 

The second aspect is the market’s capability of providing exposure for the artists, letting people know that fellow students create art, even though they’re not necessarily enrolled in a fine arts program. “They could do art on their own time in other departments or fine arts, but it shows other students that people are making beautiful and interesting things at Concordia, so [it’s] kind of exposure for both parties,” said Martin.

The CSU has collaborated with FASA many times in the past in order to stimulate and inspire unfamiliar students who are interested in getting involved with the fine arts. “The idea is that we try to get students involved in things that they are interested in, and FASA is one of the various groups that contribute to the school experience,” concluded Martin. 

Make sure to bring your friends, your eye for gift-buying, and your holiday spirit to the CSU lounge on the last day of classes!

Categories
Arts

The lightness of paradise and the reality of purgatory embodied by the new Marie Chouinard production

A dance production imitating Bosch’s Garden of Earthly Delights 

Jérôme Bosch’s dance production was created by choreographer Marie Chouinard in honour of the painter’s 500th death anniversary. The performances took place at Usine C, located in the Gay Village, based on the famous oil painting located in El Prado in Madrid. 

The space is made of concrete and the stage can be accessed by climbing steps. When one walks in, it appears vast, as sounds resonate and are heightened from one corner to the other. There’s even a bar on the lower level.

The performance was organized in three acts, representing Bosch’s triptych painting. It started with a display of paradise in the centre, followed by the purgatory from the right panel, and ended with the joining of Adam and Eve from the left panel. 

The final show was entirely full, tickets completely sold out. It was exhilarating to sense the excitement in the room at a representation of a painting admired by so many. 

Before the dancers appeared, a screen in the back showed the painting of the earthly delights, closing up on scenes that would be imitated. 

As the act of paradise started, dancers entered the stage with animalistic movement, the first two resembling insects. The dancers entered one after the other, moving with inhuman contortions.

As they came on and off the stage, two rounded screens on either side of the stage showed the details in the painting that were being imitated in the dance. These imitations were both remarkable and hilarious, as the dancers contorted their bodies to emulate Bosch’s characters. 

Though the dancers were nearly naked, save a small string over their lower stomach, there was nothing that could be sexually perceived, as their movements were so deformed from anything remotely human. 

The superfluous movements captured spectators’ attention and at times produced bouts of laughter in the crowd. 

The second act made everyone regret the first. As purgatory descended upon us, we were submerged in darkness. Light fell slowly on one dancer, who was standing on two buckets yelling into a mic in her hands as she contorted her body at disturbing angles. 

Screeches echoed across the room; maddening noises — sounds that traumatize the mind — building craze within the audience. 

Even when the sentiment of true purgatory was sensed in the audience, the dancer did not stop her shrieks. This served to push the comfort levels of the audience, and show a very real instance of hell, as horrid sounds were uttered into the mic, everyone was regretting paradise. 

Witnessing her distortions and hearing her cries produced a sentiment of insanity within me, that I could not brush away for hours after the performance. 

Subsequently, dancers entered the scene creating a catastrophe within their purgatorial movements. As one dancer was shown repeatedly sliding off stairs never reaching the top, another was running around widely shoving their head into a dumpster. They were all moving randomly, acts of utter strangeness, creating an immense racket. 

The final triad was from the Garden of Eden. Two eyes were displayed on either screen, showing Adam waking, and staying in a trance as he gazed at Eve. 

The actors’ movements were so slow in this episode that it seemed impossible. Dancers who previously seemed utterly distraught were now united in synchronized movements, representing either Adam or Eve, in duos. They metamorphosed into a paradise form far from reality, cutting off from the previous hell.  

When the performance ended, the dancers were showered with claps from the audience. People stood up and applauded for over five minutes, which is quite a while in the realm of appraisal. Emulations of paradise and purgatory were created with such precision that they could be felt by the audience. This impeccable work left spectators stunned at the beauty of it.

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Excessive spending by Space Concordia

A history of excessive spending at Space Concordia

CORRECTION: The article in question was initially taken down for revision purposes relating to generalized language. Details to the alterations are found below.

How much does it cost to build a rocket? That is the question Concordia’s Engineering and Computer Science Association (ECA) has asked Space Concordia (SC), the student association responsible for mismanaged and unorganized financial practices. Official ECA documents and board meeting transcripts provided to The Concordian reveal a history of irresponsible spending by the organization dating back to the 2020-21 academic year.

SC remains the largest student association under ECA jurisdiction, and, as of the beginning of the 2022-23 academic year, has access to the most funds of any committee under the association via a combination of ECA-approved grants, internal transfers, and external sponsorship’s, according to the societies official ECA approved budget. Despite this fact, according to reports SC spending have exceeded their ECA budget in the past, resulting in the ECA being forced to provide SC with thousands of dollars of additional funds to pay off the personal debt incurred by SC members.

Exact figures remain impossible to calculate without the ECA’s financial budgetary statements from the last three years, in which the ECA has yet to file due to delays caused by the COVID-19 pandemic. 

However, a senior member of SC rocketry division, who preferred to stay anonymous, estimates the cumulative costs of the personal debts they have accrued from SC projects over their tenure range into the hundreds of thousands.  

“In the past few years I spent like hundreds of thousands of dollars, and I’ve had to ask for reimbursements of hundreds of thousands of dollars,” they said.

While these price ranges seem high to the average person, the senior member says that these costs are relatively low compared to the operational budgets of most space agencies that are doing the same work, believing the price range is justified. 

“We’ve already broken multiple world records over the past four years on this project,” they said. “It’s going to be the first liquid rocket ever launched from Canadian soil. We’re working with the government to create legislation for rockets in Canada. We’ve created state-of-the-art technology. And because of that, we go through thousands of transactions a year and hundreds of thousands of dollars each year.”

In addition, SC was accused of violating several key ECA bylaws regulating the spending habits of student organization under their jurisdiction. These actions include opening a secondary bank account for SC use, separate from its official ECA-monitored bank account which is in violation of Section D.3.3. of the ECA’s bylaws, and failing to keep accurate and up-to-date documentation of their expenses in accordance to bylaws D.3.5 and D.3.6.

These transgressions culminated in SC being put on extended probation by the ECA’s Board of Directors on Aug. 24, 2021. SC was informed by the ECA that they must comply with several conditions relating to the organization’s financial practices or “face dissolution” of their association, in the follow up letter sent by the ECA. Further steps were taken by the ECA to investigate SC financial practices dating back to the 2018 academic year.

In the same letter dated to Oct. 27, 2021, the ECA confirmed that SC had complied with a majority of the demands of the probation period sufficient to continue their probation.

However, the ECA did note that the organization failed to cease “all activity during the time of [SC’s] probation” and had yet to hand over all expense receipts to the association. At the same time, an anonymous source within the ECA has confirmed that no amount of student funds associated with SC are unaccounted for. The anonymous source made sure to dispel rumors of financial malpractice.

In an email sent to The Concordian, ECA president Sierra Campbell confirmed that SC “successfully met the terms of the BOD [Board of Directors] to end their probation” as of Dec. 3, 2021. Campbell made sure to stress that the violations occurred during a previous mandate and that the current SC leadership have “worked extensively alongside the ECA executive to create clear understanding of internal payment procedures as well as communication to members of the club,” stated the email.

Despite these measures, a financial blacklist was established by the ECA in a board of directors meeting on Sunday, Aug. 21, 2022, to address the “Space Concordia Member Issue” the motivation read. The blacklist prevented individuals from having any of their expenses reimbursed through ECA funds.

  • The original Deck: “A history of excessive spending puts Space Concordia’s future into question,” was misleading, insinuating that Space Concordia’s future is still in jeopardy. As of Dec. 3, 2021. Space Concordia has passed the probation period.
  • A previous version of this story mentions that SC receives “the most funds out of any committee under the association (ECA).” The ECA provides the most funds annually to the SAE (Society of Automotive Engineers).
  • A previous version of this story mentions that SC “consistently exceeded their ECA budget,” the word “consistently” was improperly used.
  • A previous version of this story mentions preamble of a quote from an anonymous member of SC stating that the member “estimates his personal debts accrued by SC project range into the hundreds of thousands.” This has been altered to “estimates the cumulative costs of the personal debts they have accrued from SC projects over their tenure.” This is validated by the following quote from the aforementioned member.
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Montrealers gather to mourn the life and demand justice for Ronny Kay

communities came together in support of Kay’s family as they demand official condolences and explanations for his death

Protesters gathered at Sun Yat-Sen Park for a vigil and march in support of the family of Ronny Kay, a 38-year-old man who was killed during a SPVM intervention on Sept. 17 in Nun’s Island. 

According to his family and recent reports, police were called to Kay’s home while he was in an argument with his ex-girlfriend. Police were responding to reports of a suspected firearm. His family says he was in emotional distress during the incident, allegedly getting shot several times by a police officer before being taken to hospital where he was pronounced dead upon arrival. 

The Bureau des enquêtes indépendantes (BEI) is currently investigating the circumstances of Kay’s death.

Kay’s family is asking the BEI, Quebec’s Minister of Public Security, the SPVM and Mayor Valérie Plante for psychosocial services and official condolences.

The march was organized by the ad-hoc committee ‘Justice for Ronny Kay’ formed to support Kay’s family in their search for answers. People visited to pay their respects including local community organizers, and members of the Montreal Chinese community, in which Kay was involved, according to his family.

One of Kay’s siblings, Michelle Kay, expressed her frustration by the lack of transparency surrounding the case. The explanation regarding the death of Ronny Kay still remains unclear after two months. 

“The BEI tells us [to] ‘just wait, it can be another six months, seven months’ but for us to mourn seven months without understanding why is simply not normal,” Kay said.

Kay also mentioned how waiting for answers has added much difficulty to the family’s grief, and that she is saddened that the SPVM and other Montreal officials are not sending condolences regarding her brother’s death. 

“We are a family that contributes to this society, I speak French, Ronny spoke French, we grew up here, we were all born here,” she said. “And yet, this story of a Montreal citizen was barely covered by the media, it’s unbelievable.”

This case comes at a time when racial profiling and the mistreatment of people of colour by the Quebec police has been gaining a lot of attention.

Director Racial Profiling & Public Safety for the Red Coalition Alain Babineau said Kay’s story is concerning to the Coalition, a group who works on eliminating racial profiling and systemic racism in Canada. 

“The other thing that preoccupies us a lot is the way that Ronny Kay’s mother was treated a few weeks after his death,” said Babineau.

According to the Kay family, their mother was picking up a prescription a few weeks after Kay’s death when she got into an argument at the store. The police were called, who proceeded to handcuff her and charge her with a criminal offense of “disturbing the peace.”

“For us this is an aberration because the police are victimizing a victim,” said Babineau. “This mother just lost her child, it’s a terrible trauma, she’s under medication and they arrested her, handcuffed her and put criminal charges on her, it’s very serious.”

Babineau said the coalition talked to the Kay family and will most likely be helping them through the process. For him, the way the family has been treated ever since Kay’s death is unacceptable.

“You can’t do that, you can’t victimize a family who are already victims,” said Babineau. “You have to be human and understand that what they lived through is appalling.”

When asked to comment on the case, the SPVM said they would not make any further comments in order to avoid influencing the BEI’s investigation.

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