New poetry from Oumy Dembele, “MEIOSIS”

evelyn bencicova_druhe3

“Home is not where you live but where they understand you.”

-Christian Morgenstern

So
apparently
in Europe I’m too African
in Africa I’m too European
and in Canada I’m too French
I’m done.

How many years
have I lost
in a camouflage?
Trying to eclipse one side of myself
just to be told
that the other one is wrong?

I’m so stupid.
Self-love? Ruined.
Self-esteem? I’d like to see that.
You. Words. Irony. Jokes. Silences. Looks. Because.I.don’t.belong

It’s like seeking affection and never finding open arms, reaching out to your mum’s hand and
never grabbing it, wandering around the world, homeless, rejected by your own kind
Every-fucking-where.

With multiplying comes the division. It’s nature. Maybe that’s how things are supposed to be.
Maybe my home doesn’t exist.
Maybe my will is unrealistic.
Maybe my hope is a camouflage too.
To hide the ugly truth.

these words by Oumy Dembele were paired with the colour of Evelyn Bencicova

Why Black Role Models Matter

 

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As a young child, if someone were to ask me about my race, I would say with great pride: I am Black. Being the daughter of a Women’s Studies Professor definitely had its informative advantages – by the age of 6, I was familiar with heavy terms such as systemic racism, visible minority, and gender politics. This early exposure, untainted by perspectives of my peers, made me proud to identify as Black. Unfortunately, various life experiences caused this pride to waver. It never died completely, but at times it did temporarily burn out.

The first time my Black pride died was in fourth grade. I had just returned from Nigeria, and upon being re-introduced to an environment where being Black meant being Other, I realized that my identity was bizarre to those around me. At first, I did not realize the slight differences that caused my peers to distance themselves from me. However, when my rude awakening did happen, it altered the picture-perfect idea of my Blackness. It was my first day at a new school, and all I wanted was to be friends with the tattoo club girls, who would always be on the basketball court making cool designs for their temporary tattoos during recess. I distinctly remember mustering up all the courage I possibly could in order to approach them; more importantly, I remember my request being politely declined because the tattoos would not show up on my skin. After that, it became difficult to take pride in something that my peers considered strange – so I gave up embracing my identity in order to be accepted by them. I decided that I needed to re-define my Blackness, and I turned to the Internet for inspiration. At the time, I did not realize that re-defining such an important part of my identity in order to be accepted by my white counterparts would cause me to view being unapologetically Black as something to be ashamed of.

As an adolescent, if someone were to ask me about my race, I would pause and quietly admit that I was Black. I was no longer the young Black girl who ran around the house shouting, “sing it loud I’m Black and proud!” The girl who begged her mom to tell more stories about the Nigerian Civil War, and about the history of slavery in Canada, was gone. This young carefree Black girl was replaced  by the Black girl that loved catfish, grape soda, and fried chicken, because the media told her that this was the acceptable way to embrace Blackness. This girl refused to have crushes on Black boys because she thought they would all eventually become “thugs” and “gangsters.” She idolized Cinderella and knew that her Prince Charming could only be white. She identified as stereotypically Black in order to be convenient for her white friends, but wished she was white so that she could be exactly like her idol, Cinderella. The media told her that her Blackness was only okay when it was stifled by the stereotypes created by whiteness to control Black people and Black bodies. Her Blackness was accepted only when she realized that she was ‘other,’ while whiteness was the standard. She accepted this as the truth because Cinderella did not look like her, but the characters who did were servants, antagonists, and clowns. She truly believed that in order to be the princess she wanted to be, she had to somehow achieve this standard called whiteness.

I know the effect of not having role models that look like you in the media, and for me it was a catastrophe. When you see people that look like you represented in a negative way, you begin to believe that there is something wrong with you. The shift from young pride and innocence is subconscious and slow, but before you know it you have stifled yourself in order to attain a certain standard that the media enforces. In times of self-doubt, I looked to my movie and TV show characters for an affirmation that my Blackness was acceptable. When I failed to find this affirmation, my ten-year-old self watched the movies with the white Disney princesses and began to idolize them. But my ten year old self looked nothing like her idols and this was a problem, because in order to become them, she had to look like them.

I say all this to emphasize the importance of events like the Montreal Black International Film Festival, which took place earlier this month. This annual festival allows Black artists and creators to express themselves in an area where they are often both underrepresented and misrepresented. Representation of Black people in the media is crucial because there are young Black children out there, watching and waiting for their next idol. They all need to know that not only are they acceptable, but they are beautiful and destined for excellence. In times when their non-Black peers question their Blackness, they need a Disney princess that looks like them so they know that they too are royalty. And lastly, they need to know that whiteness is not the default, and that Blackness is not the ‘other’. They need to be able to turn on the television and see a positive representation of someone who looks like them. These young people need to be aware that unapologetic Blackness is not only acceptable, but something to be proud of.

 

Chidera Ihejirika is a proud Nigerian Canadian in her second year at McGill University. She is an admirer of Chimimanda Ngozi Adichie and a lover of storytelling, dance and hiphop. 

White Is Not My Colour

tran nguyen

curating colour requires

knighthood, rescuing a coloured image

restoring it to a coloured name

 

in the woods there is more than colour

the texture of bark, bitter acrylics

the labour beneath

the layers

 

if an idea is painted, a history, a desire

a colour is not just a colour

 

orange is not colour

merely

it is instinct, fang, rupture

awakening

 

a devouring (of roots)

of tigerhood

flesh open skin peeled back

slow and half at ease

 

the bones remain

uttering a different story

the pain is a ghost language

 

*

once upon a time

I came I saw I assimilated

 

trapped in the woods

I use white words, leaving a trail

of crumbs in circular argument

 

I write I grieve I love

in

more than

colour                         

 

but wielding a sword in white space

is easier

than cutting down

bark

these words by Lily Chang were inspired by the colour of Tran Nguyen

We love to point out shadows in the dark / But do we illuminate the monsters?

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“Illuminated Monsters”

word by Sean Hogan

colour by Giordani Poloni

More philosopher than centerfold,

She stops and stares at men who don’t care,

Beneath breasts beats more than fool’s gold,

Still, eyes linger where they wish she’d bare,

 

Fit to raise our youth and clean,

To buy and cook the food we eat,

Never heard and seldom seen,

Her labored fruits made bitter sweet,

 

The sliding scale of value froze

Needle pausing under half

Youthful beauty no longer shows

Her age screwed up the math.

 

At forty-five she “wastes away”,

Unmarried, unfortunate maid,

A gringo sitcom worn cliché,

To live, you must get paid,

 

She is only one example

One in all the many forms

A gender bent and trampled

Weathered leather in the storm

 

If a woman’s words fall on deaf ears,

Did they emerge or make a sound?

Do they possess so much to fear,

To keep the cycle spinning round?

 

Over half the population,

Trapped in shades of subjugation,

In every continent and nation,

In fear of pain, of death, invasion,

 

Is it not enough their body’s not their own,

That we wear and tear their very souls?

Teach girls to fear being alone,

To never take direct routes home?

 

We love to point out shadows in the dark,

But do we illuminate the monsters?

Trembling fingers hold no spark,

Steady hands, both shame and flaunt her

word by Sean Hogan

colour by Giordani Poloni

Lines & Anemones

 

word by Charlotte Joyce Kidd

colour by Burkhard ller 

Every day that I leave the house I feel that I am leaving it wearing a sign (or maybe an expression? An outfit?) that says “here I am, world. Have at me.” I feel this way even though – when I do leave the house – I leave it also wearing the cozy winter coat of privilege, not to mention an actual, real winter coat. I can’t imagine how hard it must be without these things.

There are these little lines in between everyone’s lives, aren’t there? There’s this space in between everyone and it’s like we’re all just extending these tiny tendrils across it, these little, feeble gooey white groping things with suction cups on the ends, and sometimes we meet someone and we manage to say things that make sense and actually express anything that we really feel or mean, and if they do too and enough of our tendrils stick to enough of theirs, then we feel better for a bit, like someone actually knows us. But even if you do that for your whole life, your whole life with the same person (and that’s problematic, too, let’s talk about that) how many of your little limbs could you extend? How many of theirs could you touch?

I got on the streetcar after spending the night with a boy and on a cold corner I saw a couple walking by and I thought about how he would react if I suggested that we spend an entire day walking around and telling each other every single thing that passed through our minds. We could take turns, do an hour each and then switch. He’d told me in words that were decisive and made sense that we could never understand each other completely, because I’m white and he’s not and I’m a woman and he’s not. I agree. There’s something noble in the futility of trying to understand, though, isn’t there? There’s something beautiful about learning to replace understanding with empathy, about reaching out and touching the tendril even though you can’t stick to it.

Sometimes there are chasms between people. Sometimes the lines yawn. Sometimes two people have pushed enough times that their plates push further and further apart, sometimes one person has made a moat around themselves because of something that happened. Sometimes that moat is not a bad thing, sometimes it is not wrong to require someone to have very long limbs before we let them reach us. 

So we’re all alone, playing a giant game of tic tac toe, reaching out from our separate boxes with words written or spoken or felt, or with devices, these electronic arms with which we send cries into the ether and hope for ethereal responses, echoes in the chasm. And maybe some people are closer to the edges of their boxes than others. It’s all very lonely and very hopeful.*

word by Charlotte Joyce Kidd

colour by Burkhard ller 

On Racism: “Choosing your ethnicity”

Shalak

This planet is comprised of a collective of starving artists painting prejudiced portraits that hang hidden in family homes. Cheap but sturdy frames are forced around those to whom difference is a prison, painting them with preconceptions and adding them to crowded collections. These brushstrokes soothe worn out eyes but suffocate those trapped behind the chipped glass piling up in petty portfolios.

Mouths do not have slots for double A batteries so why the hell do tongues mimic low-grade labelmakers spitting out insignificant identifiers based on the prominence of pigmentations and the foreignness of fatherlands?

We are all just souls upon bleeding soles traversing the tough terrain only some of us are allowed to call home.

She is exhausted because her ancestors planted their aching feet near the equator rather than the North Pacific. The ink from the classifieds dyes her fingertips a deeper shade of dark because the last name on her resume reads “Latin” rather than “qualified”.

He cries at night because his classmates pick at his afro but never pick him to be on their teams at recess when they run across the field at the school where the confederate flag flies half-mast because its just another Wednesday.

Those sons are dead because he saw them walking down the street and their melanin levels matched that of his entitlement so he pulled his regulation firearm because apparently blackness is still synonymous with corruption despite the alleged 150 year anniversary of the Civil War.

Don’t you get it?

The ability to pronounce and be proud of one’s diversity is a privilege reserved for those who have the ability to choose when to show it.

We live in a world where “dare to be different” is a slogan splashed on the t-shirts and timelines of pre-teens everywhere yet we fail to admit that unless you are lucky enough to fall into the majority, you will be damned if you do.

You will be harassed if you do.

You will be killed if you do.

We are all just souls upon bleeding soles traversing the tough terrain only some of us are allowed to call home. We take one step at a time but walk in circles because the ones who hold the keys are the same ones who refuse to hang contemporary art because their frames cling to the same vintage pieces their parents displayed in their own living rooms.

We are blinded to sameness and seized by difference, never fully allowing the interweaving web of pure humanity to unite us all in the sweet solace of symbiosis.

So she stays sleepless, and he never stops hanging his head. Fox News mornings lead to daylong mourning by faraway strangers thanking God it’s not their own kin suffocating under soil and sun-shriveled forget-me-nots. But from within their palisades of privilege, they never stop to think about who brandishes the brush and who keeps the key.

We are all just souls upon bleeding soles traversing the tough terrain only some of us are allowed to call home.

Don’t you get it? Turn the key. Welcome home.

word by Hannah Chubb

“This piece is designed to be a wake-up call in the face of the racially-driven Charleston massacre, in addition to countless other hate crimes. It is a stripped down reminder that while difference is often glorified, it is a ball-and-chain for those who do not have the ability to hide their minority status.”

colour by Shalak Attack

“Shalak Attack is a Canadian-Chilean visual artist dedicated to painting, muralism, graffiti urban art, and canvases. Shalak  has manifested her artistic expression on urban walls across the world.  Shalak is a co-founder and member of the international art collectives “Essencia”, the “Bruxas”, and the “Clandestinos”. 

“Shalak also works with several other mixed media approaches such as tattoo art, jewelery, illustration, installation, sound, and video making. In the past ten years, she has participated in numerous artistic projects and exhibitions in Canada, Chile, Brazil, Mexico, Palestine, Jordan, Isreal, France, Belgium, Spain, Argentina, Venezuela, the Dominican Republic, Senegal and recently in Sweden for the Artscape Mural Festival. 

Shalak shares her passion for freedom of expression, and has facilitated visual art workshops to youth of under-privileged communities and prisoners in various countries across the Americas, Europe, the Middle East and in Africa.  Her artistic work and community art-reach is rooted in the social and cultural values she received from her family growing up across Canada.  Since then, her most impacting education has been learning from different communities around the world. Public walls has become her favourite place to paint, she uses graffiti as an art form to create accessibility to culture for diverse communities.” 

Issue #218: You’re Not Racist If You Find Me Pretty

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“You’re not racist if you find me pretty”

Sitting downtown Montreal, mid-afternoon spring, at the kind of booth that makes your pelvis sink, in the kind of café where you can stay for hours without buying a thing.

And no one has cleared the cups of soggy knotted teabags. The staff are wearing collared polyester and leaning against the display cooler. The windows are level with the sidewalk and people’s shoes and ankles and bicycle-wheels pass by our heads.

*

Earlier  I saw someone smoking under the awning in the rain and thought of you. I thought of how beautiful you are, and I don’t tell you this, but know that I could and that would be alright too. Tomorrow is your third date with someone more than cut and paste.

*

What do you do on a Friday night?
I wash my arms.
Oh.
And your life? What are you doing?
Nothing.
I love you.

*

Because she couldn’t hear past the barking anymore, the low growl and the hiss.

 

No, you’re not racist if you find me pretty.

 

Attends: tu penses que je suis raciste? ?
Je voulais juste savoir
 d’où tu viens
je te trouve          belle.

 *

Your curiosity tastes like vomit. Your curious  entitlement to interrogate my ancestral origins,  colonial narratives of migration, grief, diaspora that we have not unraveled and yet exist through—

to draw forth the accumulation of every other moment before this when a dark body has been a site of violent intrigue.

Because she looks exotic: sweetpotato caramel, something to bite into with pleasure.

Flesh beneath your tongue, your words are never innocent, loaded with power you may not have asked for, granted by default you entrench entitlement.

*

This is your responsibility, white man: swallow your tongue,

direct your gaze to what’s
charging your bark.

 

We are not laughing.

//

You say you’ve been watching men jogging and you’ll let me know how it goes.

 

word by Alisha Mascarenhas

colour by Jasmine Okorougo