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Montreal, News

MAW hosts roundtable discussing Bill 94’s violation of human rights

by Devdas Hind on

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On Jan. 27, Muslim Awareness Week (MAW) hosted a roundtable on the dangers to civil liberties that Bill 94—passed in October 2025—would bring. 

Quebec lawmakers allege that Bill 94 is intended to reinforce secularism in the Quebec education system and bring several legislative reforms. The bill requires any worker providing services to students, as well as students themselves, to keep their faces uncovered within public or private institutions, and to refrain from wearing any visible religious symbols. This restriction does not apply to coverings worn for medical reasons or by people with disabilities.

The author of the bill, former education minister for the Coalition Avenir Québec (CAQ) Bernard Drainville, argues that these measures are meant to promote Quebecois and democratic values such as gender equality and a secular state.

The roundtable convened at the Centre communautaire de loisir de la Côte-des-neiges and was composed of three panellists: Ligue des droits et libertés Coordinator Laurence Guénette, Professor of Law at the Université de Québec à Montréal (UQÀM) Ndeye Dieynaba Ndiaye, and UQÀM Political Science Master’s student Nour Amjahdi. The panel was overseen by MAW President and Co-Founder Samira Laouni. 

Laouni began by acknowledging the ninth anniversary of the Jan. 29 mass shooting at the Islamic Cultural Centre of Quebec City, emphasizing the importance of fighting Islamophobia. She then introduced the main concern with Bill 94, noting that it excludes Muslim women from working in the public sector, given that many of them choose to wear hijabs for religious and cultural reasons. 

“While pushing the fundamental value of gender equality, [the government] is violating the right to work of certain women,” Laouni said. “How can gender equality be achieved without the financial independence of women?”

Laouni then passed the microphone to Guénette, who began with an assessment of the Quebec government’s actions since the Act respecting the laicity of the State (Bill 21) was passed in 2019. She noted that Bill 94 expands the restrictions of Bill 21, and adds to the existing violations of certain marginalized groups’ rights. 

“The religious neutrality of the state [is] meant to allow everyone to practice their religion freely without fear of compromising their convictions and with respect to the right to equality,” Guénette stated.

She continued by explaining that the CAQ adopted Bills 21 and 94 despite opposition from several feminist and human rights organizations. She also noted that the restrictions on face coverings in Bill 94 represented flagrant violations of both the Canadian and Quebec Charters of Rights and Freedoms. Guénette ended by warning that the CAQ’s use of the notwithstanding clause to override constitutional protections should worry everyone in society. 

Next, Amjahdi discussed how she was directly impacted by the ban on face coverings. After Bill 21 was passed, she could no longer teach music as she had intended. More recently, she lost her job leading a children’s choir because of Bill 94. 

“It was very violent,” Amjahdi said.  “I was quite lost and my life turned upside down. I felt that my identity was shaken. This law put an end to my musical identity.”

Amjahdi explained that, despite being a product of the Quebec francophone school system, she now questions her identity as a Quebecoise. She concluded by calling for allies of the Muslim community to join them in protesting these bills. 

Dieynaba Ndiaye, the fourth panellist, discussed the importance of speaking out against constitutional injustices.

“In certain societies [like Quebec], filing grievances has an important moral value. We must do it when rights are violated in Quebec,” Dieynaba Ndiaye affirmed. “We have the Commission des droits de la personne et des droits de la jeunesse.”

According to Dieynaba Ndiaye, Bill 94, along with several other pieces of legislation, represents a rupture of this social contract. 

“It’s very important [to understand] that people come here with competencies, with experience,” Dieynaba Ndiaye said. “People choose Quebec just as Quebec chooses people.”

*All quotes were translated from French.

Arts & Entertainment, Theatre

Tolstoy transformed: McGill’s Arts Undergraduate Theatre Society’s immersive ‘Great Comet’ shines

by Sophia Angela Zhang on

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From Jan. 24 to Jan. 31, the McGill Arts Undergraduate Theatre Society (AUTS) staged Natasha, Pierre, and the Great Comet of 1812, a musical originally created by Dave Malloy, as their annual performance. The show reinterprets a 70-page excerpt of Leo Tolstoy’s War and Peace, set in 19th-century Moscow, as the characters experience love, jealousy, heartbreak, familial obligation, and societal expectations. AUTS director Milan Miville-Dechene explains that even though the story spans 200 years, the musical explores themes that remain deeply relevant.

The show follows the countess Natasha (Claire Latella, U1 Music) and her cousin Sonya (Miranda De Luca, U3 Education) as they arrive in Moscow, awaiting the return of Prince Andrey Bolkonsky (Chris Boensel, U2 Arts), Natasha’s fiancé, who has been sent off to war. One night at the opera, the rogue Anatole (Frank Willer, U1 Science) sweeps Natasha off her feet. Convinced they are in love, Natasha breaks off her engagement and makes plans to elope with the charming Anatole, whom she has known for just a few days. When others discover their plans, Pierre (Sam Synders, U4 Arts), Andrey’s best friend, steps in to prevent the disaster. 

Théâtre Plaza was the perfect venue for this show, with its moody, atmospheric lighting and spacious interior. The actors used the balcony and floor as part of the set, physically and metaphorically engrossing the audience in the story. The lighting reflected the musical’s numbers distinctively—when the characters were partying at the club, the lights switched to green and purple, reminiscent of hazy modern clubbing. 

Natasha, Pierre, and the Great Comet of 1812 embodies the most extravagant and outlandish aspects of musical theatre, perhaps most notably by constantly breaking the fourth wall, made easier thanks to the confines of the intimate venue. 

From the first musical number, “Prologue,” the cast interacts directly with the audience by making eye contact and chanting the lyrics “Gonna have to study up a little bit / If you wanna keep with the plot / ‘Cause it’s a complicated Russian novel / Everyone’s got nine different names / So look it up in your program.” Complete with designated interactive seating, a few audience members were brought up to the stage and spun by various characters. 


Some cast members elaborated on how they connected with audience members and handled the show’s fourth-wall breaks.

“It’s definitely intimidating because […] I love to connect with a scene partner, so having to connect with an audience member who is like ‘I’m not in this right now’ is definitely different, but so much fun,” De Luca said in the interview with The Tribune.

Later, maracas were handed to attendees, inviting them to join the live orchestra. The setting and the story are removed from modernity, a fact the musical itself embraces, blending story and reality and enticing the audience to join the colourful world of Moscow.

The cast’s performances were also remarkable for their ages. Latella dazzled with her singing, especially in her solo “No One Else.” Complemented by her dynamic acting, she brought the wide-eyed, romantic young girl to life. Though Mary, Andrey’s sister, is a relatively minor character, Ariel Goldberg (U0, Arts) conveys Mary with her abusive father’s impossible whims through vocal performance, imbued with a slow, mournful quality. Mary and Natasha’s dissonant harmony in “Natasha & Bolkonskys” perfectly conveys their apprehension and clash of personalities. Willer, on the other hand, exudes Anatole’s effortless charm and suavity from his first moment on stage, making the audience feel Natasha’s immediate infatuation. 

Ryan Jacoby’s (U1, Science) performance as Dolokhov embodies what made this musical so special. The delicate balance between the fun, theatrical humour and the grounded dramatic emotions epitomizes the quick-witted humour of the show. 

The company numbers were among the most impressive, featuring elaborate choreography, precise synchronization, and stellar vocal harmonies from the entire cast. The ensemble was integrated into the musical, with their presence—or absence—noticeable in the musical numbers. With the entire company on stage, it was easy to feel the chemistry among the cast, which translated into a natural camaraderie among their characters.

Out on the Town, Student Life

Must-try Black owned restaurants in Montreal

by Rachel Blackstone on

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As we celebrate Black History Month, it is important to recognize the vast ways to support and uplift the Black community in Montreal, not just in February, but year-round. One way is to explore the cuisine of Montreal’s many fantastic, diverse, Black-owned restaurants.  With this in mind, The Tribune has curated a non-exhaustive list of Black-owned restaurants to kickstart an exploration into all that Montreal has to offer. 

Lloydie’s

Lloyd Tull first opened Lloydie’s in the early 1990s, bringing Caribbean flavours and his famous Jamaican patties to the Quebec culinary scene. While Lloydie’s has since greatly expanded, it remains a family-owned Montreal institution. Today, the restaurant is managed by Tull’s son, Nathan, alongside his childhood friend Julian Chemtov. Taste classic Caribbean delicacies at two locations, one in Saint-Henri, and the other in the core of the Mile End. Their menu is simple but classic: Plantains, oxtail, and jerk chicken. Try their jerk chicken poutine for a delicious fusion of Quebecois and Caribbean flavours. And if you can’t get enough of Lloydie’s classic Jamaican patties, find them frozen in a series of local grocery stores. 

Restaurant Queen Sheba

If there is anything students yearn for in the depths of Montreal winter, it’s a warm family-style meal. Find respite and cure homesickness with a trip to Restaurant Queen Sheba for a nourishing Ethiopian meal. Located at the intersection of av. du Parc and av. du Mont-Royal with a range of vegan options and an array of braised and stewed meats, Queen Sheba has something for everyone. Enjoy one of their many shared tasting menus that blend vegan and non-vegan options, and connect with others in the most rewarding way—over a warm meal.

Chef Paul Toussaint

The culinarily diverse Time Out Market is home to an authentic Haitian restaurant, Chef Paul Toussaint, named after its founder,  Paul Toussaint. Find shelter from the Montreal winter there with the tastes of corn, yuzu, and lime—all found in a fresh ceviche for $16 CAD. If seafood isn’t your fare of choice, try their griot sandwich or goat curry. A mere 5-minute walk from McGill’s downtown campus, escape to the tropics by treating yourself to an elevated lunch out in between lectures. Once hooked on Toussaint’s cooking, check out one of his other restaurants scattered throughout downtown Montreal and Little Italy.

Kwizinn

Kwizinn Vieux-Montreal is in the heart of old Montreal, offering a fusion of classic Caribbean flavours and modern culinary methods for a menu that is both authentic and innovative. Order their octopus carpaccio, served on a bed of grilled guacamole and topped with a habanero and ginger sauce, to truly appreciate their creativity. In addition to dinner, Kwizinn offers brunch on the weekends, jazz nights every Thursday from 6:00 to 9:00 p.m., and a late-night DJ on Saturdays and Sundays. Kwizinn is also home to a not-so-secret speakeasy that’s available for private events, and is awaiting the opening of a food truck in April 2026.  

Le Virunga
A previously recommended Tribune pick, Le Virunga brings vibrant Congolese cuisine to the table with fresh Quebec produce. Chef Maria-José de Frias and her daughter Zoya have built an intimate and delicious restaurant where Congolese spices produce the ultimate Montreal fine-dining experience. For a mouth-watering meal, start with the seared walleye fillet that comes with mashed cassava and an eggplant mousse, and try the guinea fowl leg confit as your main. Le Virguna was a 2025 Michelin guide pick, and features a 100 per cent South African wine list. While a more expensive option, Le Virguna is certain to provide an unforgettable culinary experience.

Off the Board, Opinion

A love letter to ‘Tribune’ haters

by Asher Kui on

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Content warning: Mention of The Tribune and its absolutely horrible takes

I cannot count on one hand the number of times I’ve mentioned that I’m an editor at The Tribune, only to receive an eyeroll. In fact, there is a Reddit discussion post that affectionately calls our paper the “least terrible of the bunch.” I get it: If you think The Tribune isn’t perfect, I can assure you that you’re not alone. Whether you fall asleep at night dreaming of our next issue, or you walk past our newspaper stands on campus muttering something PG-13, I must thank you—at least you’re paying attention.

A campus paper that only affirms what you already believe or want to believe is not a newspaper, but a propaganda machine. The Tribune exists to challenge and question the status quo. Even if you don’t agree with us, your criticism sharpens our perspective, and your hostility does not derail us from continuing to write and uncover unspoken injustices.

Nonetheless, this doesn’t stop some from criticizing us for being ‘selectively aware,’ that we care loudly about some issues while staying silent on others. But I implore you to consider: We have, usually, 27 pieces to publish in print every week. Every issue is a matter of editorial judgement. To select one story over another is the nature of journalism, not ignorance toward other injustices. 

We must choose carefully what we cover if we want to maximize our leverage in the community. While geographical distance does not make global injustices matter any less, The Tribune’s inherent job is to cover stories of interest and impact to the McGill community. When we write about McGill’s complicity in Israel’s genocide in Palestine, it’s because we know the student empire has the power to influence institutional behaviour. When we write about McGill’s inadequate efforts in reconciliation, it’s because we recognize our paper has the power to inform students about McGill’s lacklustre initiatives.

And when we receive your criticism, it urges us to reconsider our journalistic angle. Not only does your attention direct us to what the community cares about, it informs us of where our coverage succeeds and where it falls short. This way, we can sharpen our lens and take responsibility for our choices.

And then comes the accusation that we are a biased paper. There’s no disagreement there—bias is a prerequisite to journalism. Stories carry perspective, perspective carries judgement, and judgement contains bias. The Tribune is inherently biased, and so are other media outlets—even if they claim honest reporting.

There is no unbiased reporting. We are biased, and we are proud of it. As a matter of fact, our Anti-Oppressive Mandate clearly states that “we centre anti-oppression in our coverage, our editorials, our hiring, and our workplace practices.” But this is more than a badge we wear; it is a commitment to holding ourselves accountable to readers. Our mandate demands ongoing reflection, compassion, and a willingness to recognize that harmful biases exist—and that our paper strives not to perpetrate those biases through our words, or replicate them through the stories we choose to platform. Our mandate is a responsibility, not just a slogan.

Now you may ask, whose side are we on? The truth is, we don’t glorify anyone or anything for that matter. But we do stand with those who have been silenced or sidelined. Those that the mainstream media institutions have neglected or ignored. Those who were systemically oppressed. And, cliché or not, history is—after all—his story. It is up to us journalists to disrupt this narrative and make it their story—by listening, reporting, and frontlining accountability.

If you have made it this far, I would like to seize the chance, one last time, to say thank you, from the bottom of my heart. Loving The Tribune doesn’t require agreeing with every headline—I know I don’t. It doesn’t entail trying to out-woke everyone. Loving The Tribune simply means caring enough to stay engaged.

After all, we are a newspaper, not a dictatorship. We didn’t ask for unconditional agreement, just engagement.

Prof Profiles, Science & Technology

Professor Myrna Lashley sheds light on the importance of studying Black Canadian youth’s mental health

by Malika Logossou on

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Black Canadians, on average, experience disproportionately poor health outcomes throughout their lives. While genetics may contribute to many chronic illnesses and mental health challenges, social and environmental determinants such as limited access to health care and anti-Black racism drive much of this disparity. This discrepancy is compounded by the legacy of colonialism and medical racism, which leaves Black communities underrepresented in mental health research.

To explore how these inequities affect youth mental health, The Tribune spoke with Myrna Lashley, an associate Professor in the Department of Psychiatry and adjunct researcher at the Culture and Mental Health Research Unit of the Lady Davis Institute for Medical Research. 

While researching youth mental health, Lashley noticed that Black youth often carry a profound burden of intergenerational trauma relating to racism while also having to navigate structural racism, shaping how they see themselves.

“Structural racism is based on ideology,” Lashley said. “It’s in our laws, in the way we interact with each other, even in the way we teach religion, in the arts, and cultures, everything, and we have to be very conscious to set things so that Black youth see things that value them as citizens in the Canadian mosaic.” 

These systemic pressures also bleed into Black youth’s educational environments. Schools’ anti-violence policies often define violence as solely physical rather than emotional. This results in disciplinary action being taken only against students who respond physically to racial bullying, ignoring the harm caused by racist language. Teachers may also dismiss racist comments or fail to document incidents, leaving frustrated students to undermine their self-worth and sometimes reshape their perceptions of mental health practitioners.


“Anti-violence policy is used against that child, who responded to violence that they have been suffering all along, because violence is often seen only as a physical thing and not as an emotional thing,” Lashley explained. “When you are young, you tend to look at everybody almost the same. So how do you say to somebody, ‘Let’s go and get you some mental health remedies,’ when the person who is going to help you looks like the person that you are angry at?”

Lashley highlighted several persistent barriers in accessing mental health care in Canada for youth, stemming from systemic bias to a lack of culturally competent care and adequately trained professionals. 

“We don’t have enough people who understand the issues [.…] You still have people even to this day, who [incorrectly] think that Black people don’t feel pain to the same extent as white people,” Lashley explained. “There are barriers to care in terms of knowledge, there are barriers to care in terms of […] therapists taking racism into the therapy room with them. Have they done the reflection that’s necessary to look at their own privilege?”

In order to offer appropriate mental health resources to Black youth, professionals must recognize their privilege and understand how Black youths are affected by their lived experiences.

“How do you help someone when you already determined that they are genetically flawed as a group? […] You’ve made up your mind that they are aggressive […] You send that kid on the road to difficult mental health issues.”

These barriers often put the onus on Black youth to educate their caregivers or mental health practitioners about their lived experiences, which can discourage them from seeking care. The underrepresentation of Black service providers also leads to lower medical school enrolments within Black communities.

“We’re still in the process of trying to train people to understand not only the lived reality of Black people and therefore […] Black youth, but what effect this has on mental health,” Lashley said. “Because if you feel like you are going to see someone who doesn’t understand you, […] you are spending a bit of money in your first few sessions […] teaching people how to see you. We have to really make sure that when we train people who are working in mental health and are going to help others, that they have a better understanding [of this reality].”

Cultural stigma within Black communities adds another layer of difficulty. 

“[There is] stigma within the community, and how we deal with, as Black people, […] mental health, and mental illness. And we are ashamed to have it, so we tend often not to seek the care that’s necessary, and so our youth don’t do it, because we’re not encouraging them to do it.”

Lashley also emphasized how adults’ lack of access to mental health services can create familial and environmental issues that harm children. 

“People have to deal with racism in the workplace, and they don’t know how to confront it there, or they have to put food on the table, […] then they go home, and they take it out on the family. The kids get hit, or the partner gets hit, or the person starts to self-medicate with alcohol or drugs,” she said. 

With these factors in mind, Lashley shared how she sensitizes professionals and the public to Black mental health through her work.

“I talk with my colleagues, I try not to get angry […] If I’m angry, they don’t hear me [….] When I go to the court, this is what I do: I go to the judge, I give them a history of racism in Canada, not the United States [….] I will talk about it here,” she said.

This ignorance comes from many not knowing their history, placing the burdens of education, which stem from systemic factors, on Black communities themselves. 

“A lot of Canadians don’t know their history. And so, I approach it from that perspective and […] have them understand their history so they can understand why […] some Black people don’t trust them. We have to teach our kids that, so that they know how to protect themselves, not to hate you, but for them to protect themselves, and that’s something you don’t have to do with your kids [.…] I get them to address their privilege,” Lashley explained.

Medical and educational institutions also have a role to play in addressing systemic inequities, as they impact not only Black communities but also Indigenous, disabled, and other marginalized populations in various ways. This makes inclusion important in all spheres of life.

“It’s one thing to pull people in, but if you then end up putting people just like polka dots on the background of the hegemony of whiteness, what have you done?”

Looking ahead, Lashley’s work reinforces the need for more research and institutional inclusion to reflect the lived experiences of the studied communities rather than token representation.

“You have to look at the lived experience [….] If you go into a specific group, you have to create what it is you’re studying, the research, with that specific group,” she said. “We can no longer take a position of ‘I am the academic, I know everything, I am going to go and study, and then I am going to impose my results on you.’ That is very insulting. It’s inaccurate, it’s unethical, and it’s unhelpful.”

Overall, Lashley stressed the importance of doing inclusive research on mental health in Black youth. She teaches and spreads her expertise not to divide people, but rather to create an egalitarian society where all communities can access the mental health services they deserve without stigma.

“We’re not looking at what divides people [….] We want to know what the issues are. What is dividing people and using that information to pull everybody together [….] We want to create a world, a city, where everybody feels included, and everybody feels equal, and everybody is getting equity.”

Know Your Athlete, Sports

Know Your Athlete: Sonia Dunn

by Ivanna Zhang on

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The McGill Artistic Swimming Team delivered a flawless performance at the Eastern Divisional Meet at Queen’s University on Jan. 24, placing first in all six events and taking home the trophy.

That dominance was fueled by a standout performance from Sonia Dunn, U2 Science, who won gold in the solo, duet, and team routines. Scoring 204.1150 points in her solo routine, she made history as the first athlete to break the 200-point mark in the Canadian University Artistic Swimming League (CUASL) level.

In an interview with The Tribune, Dunn reflected on the moment she first fell in love with artistic swimming at just seven years old.

“One of my friends in elementary school had a sister who did artistic swimming, and she invited me to one of her shows,” Dunn shared. “I was supposed to be there [to play with my friend], but the moment I watched the first routine, I was completely transfixed. I remember thinking, ‘this is what I want to do.’” 

What started as a strong interest soon became a full-time pursuit. Dunn trained with the GO Capital Artistic Swimming Club in Ottawa for five years before reaching the national level at merely 12 years old.

“In high school, it was nearly 30 hours a week. Saturdays and Sundays could be up to six hours each day,” she said. “There would be days when we trained at one pool for two hours, then got in cars to drive to another pool and continued training there.”

Her experiences in the pool shaped not only her athletic career but also her decision about where to attend university. In 2015, Dunn’s coach, a synchronized swimmer for Carleton University, invited her to watch and volunteer at the Nationals of the Canadian University Synchronized Swim League, now known as CUASL. That year, McGill won their 12th title.

“That kind of always stuck with me in my head,” Dunn said. “Okay, McGill is number one.”

When she first arrived at McGill, Dunn took an unconventional path: Instead of joining the university team right away, she spent her U0 year with Montreal Synchro. With club eligibility extending to age 19 and two seasons lost to COVID, she wanted one last year competing at the club level.

“It was a hard decision, but I’m really glad I took that stepping stone. I familiarized myself with McGill as a school separately from McGill synchro,” Dunn explained. “It also helped me mature as a leader because I was the oldest on the team, and I never really experienced [leadership] to that extent.”

All the growth from her U0 year paid off. With the Eastern Divisional Meet coming earlier than last year, the team dove into fitness training right after winter break, moving quickly to swim full routines instead of breaking them into segments. Dunn believes the hard work yielded results at the competition.

“When I’m competing, my goal is always to win because that’s the standard I hold myself to. But synchro isn’t a sport where you’re just competing against one other team or person, it is a subjective sport judged objectively,” Dunn said. “Once I started competing, I realized my fitness was really there. As the events progressed throughout the day, the momentum from the crowd and the results kept building, and it just compounded in a really positive way.”

Dunn also credited her teammates and Head Coach Lindsay Duncan for fostering a supportive environment.

“Coach Duncan would come with a quote to motivate us. One of our key words was trust. We trust each other. We know this routine is hard, but I’m surrounded by nine other girls who are all going to push themselves hard, and I trust that they’re going to,” Dunn said.

While her focus remains on reaching new heights for herself and the team, Dunn is also looking ahead to the next chapter of her synchro journey.

“Once I’m done at McGill, I think it’s going to be a great way to close my chapter indefinitely,” Dunn explained. “I’ll need a little break from the sport to find myself outside of being an athlete, since so much of my identity is tied to it. But I know my path is going to lead back to synchro. It’s always been my first love.”

Arts & Entertainment, Music

Opera McGill and McGill Symphony Orchestra present Britten’s harrowing tale

by Alexandra Lasser on

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Trigger warning: This piece contains mentions of sexual violence.

The famed red curtain rises on a scene of violence and destruction. Soldiers surround the shattered remains of a colossal statue as the opera’s narrators introduce the chaos of the present moment. On Jan. 30, Opera McGill and the McGill Symphony Orchestra premiered Benjamin Britten’s The Rape of Lucretia, directed by Patrick Hansen, to thunderous applause in the historic Monument-National. 

Set in ancient Rome, the story centres on the fiercely devoted love between Collatinus (Tristan Pritham, U3 Music), a Roman soldier sent away to fight, and Lucretia (MacKenzie Sechi, PG Artist Diploma in Performance), his loving wife who longs for his return. Her faithfulness inspires jealousy among the other soldiers, eventually spurring Tarquinius, the prince of Rome, to test her chastity and, in a horrifying act of sin, sexually assault her. 

The tale is narrated and commented on by the two figures of the Male Chorus (Fletcher Bryce-Davis, MMus 1), and the Female Chorus (AJ Gauger, MMus 2). Drawing on a tradition stemming from ancient Greek theatre, they are removed from the plot and embody the voice of morality sorely lacking from the tragedy.

As a chamber opera, the work allows for intimacy between the group of 11 characters and the chamber orchestra conducted by Stephen Hargreaves. The small ensemble conveys all of the dramaticism while highlighting the psychological aspects of the plot through focused attention on individual melodies. Strings and harp accompanied scenes of care and friendship in Lucretia’s home, while highly percussive instrumentation heightened the soldiers’ brutal bickering. The lighting design reinforces this contrast, illuminating domestic scenes in soft blue tones and casting the military ranks in stark red. When Tarquinius entered Lucretia’s home, Britten and the lighting broke down this contrast with percussive and nonmelodious writing framing a harshly lit home, elevating tension and marking the destructive nature of the act.

Portraying such a horrific tale on stage is a difficult task for anyone, but especially for a young cast of university students. Cast members Sechi and Pritham explained how they approached and portrayed the opera’s heavy content. 

“We definitely had several meetings about intimacy and about […] subject matter,” Pritham said in an interview with The Tribune. “Most of the rehearsals were actually closed, which is kind of rare for us.” 

While music students may watch other productions’ rehearsals, closed rehearsals for this opera allowed the cast to grow comfortable with one another and work through the scenes without added pressure. Sechi emphasized the importance of forming a sense of camaraderie before navigating the assault scene.

“We started with a really light-hearted approach so that we would be able to just laugh, […] because obviously it’s a really difficult scene to navigate,” Sechi said. “It was very lighthearted and fun so that we could find intimacy and connection in that way before moving into something so horrible.”

The fight between Lucretia and Tarquinius was violent and dramatic, culminating in the act of rape. The audience was blinded by a bright light placed centre stage behind the characters as Tarquinius undid his attire. This choice forced the audience to look away from the brutality, communicating the act without relying on gratuitous portrayals of violence. 

The aftermath of the crime focused largely on Lucretia’s psychological state rather than on plot-driven action. Revenge was not carried out, nor was anger expressed through battle. Instead, Sechi’s deep, lamenting voice shifted the typical emphasis on plot to her emotions. Britten’s choice to write Lucretia as an alto not only made her voice stand out against her soprano and mezzo entourage but also conveyed the depth of her grief.

The opera ends without offering a reason or justification for the chaos it depicts. The question, “Is this it all?” haunts the final scene through its endless repetition. The Romans and Choruses sing together in a beautifully stirring display of solidarity, yet none can find meaning in the painful injustice, forcing audience members to confront the horrors head-on. The delicate yet impactful presentation of this harrowing tale revealed the maturity and talent of the young performers, entrancing the audience through beauty and terror.

Campus Spotlight, Student Life

 Club Spotlight: Black Students’ Network 

by Parisa Rasul on

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While struggle must be recognized, it should not—and does not—define a community. As Andalus Disparte, U3 Arts and Vice-President (VP) Political & Advocacy for McGill’s Black Students’ Network (BSN), said in an interview with The Tribune, “We want to strike a balance between […] educational events that focus on Black history […] but also highlighting Black joy. There’s a tendency during Black History Month for programming to focus a bit too much on Black struggle, but we are so much more than that.”

Members of BSN work tirelessly to provide and support a community for Black students on campus. Established in 1970 when there were only 15 Black students at McGill, BSN was the Black Students Association. In 1986, it became the Black Students’ Network. 

Since then, BSN has consistently mobilized and advocated for tangible change. 

“The BSN started the McGill South Africa committee, which […] was campaigning against the school’s financial ties to South Africa […] and in the end, McGill divested during the 80s,” Disparte explained. “Later, in 2020 […] the Take James Down movement was spearheaded by BSN and that was successful—the James McGill statue that used to be in front of the Arts Building is no longer there.” 

During Black History Month at McGill, BSN aims to support other Black student groups, run events and educate the broader McGill community. In an interview with //The Tribune//, Yousof Eldood, U1 Science and VP Operations & Comms for BSN, expanded on this. 

“My favourite event that we do is Black Talk with CKUT,” Eldood said. “There will also be a soul food [event] [….] where essentially there’ll just be some food from Black culture somewhere to kind of give people a taste, and to serve as a point for the Black community to congregate, talk, have a good time, and just enjoy themselves.”

Disparte also touched on some other events from BSN’s upcoming Black History Month calendar, which was released on their Instagram.

“There will be a book club […] we’re gonna be […] reading The Bluest Eye by Toni Morrison [….] There’s a speaker event happening […] with multiple professors.” 

These events allow for important matters to be brought to the forefront, BSN President Orlane Donkpêgan Dopinos, U4 Arts, explained in an interview with The Tribune.

“Every single Black club on campus feels compelled to […] organize an event this particular month to talk about something that’s relevant to their own subcommunity.” Donkpêgan Dopinos said. “There’s a lot more attention on us and we take advantage of that as much as possible to discuss things that are specific to Black people.”

But while Black History Month creates a period of sustained visibility and acknowledgement, allyship is no less important outside of February. 

“I think that part of being a good ally outside of Black History Month is definitely realizing that there’s a tendency when we talk about racism, to reduce it solely to casual racism […] but really […] those things are institutionalized,” said Disparte. “It can be very valuable to call out your friends or if you see something happening and not […] requiring Black people only exclusively to use their voice.”

As of 2021, Black students made up 4.6 per cent of McGill’s student body. Despite Dopinos noticing an increase in Black students at McGill since 2021, she also recognizes the power in not accepting the statistical predisposition of being a minority, and instead bolstering opportunities to grow community ties.

“What’s more important is what you do with that community. How you guys rally up.” Donkpêgan Dopinos said. “How do you guys support each other? How do you guys make sure that your needs are being heard? How do you create spaces where you feel supported, where you feel valued academically, culturally, socially as well?”
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McGill, News, SSMU

SSMU LC discusses McGill identification policy, undergraduate AI use, and BoD reform

by Gregor McCall on

More in McGill:

On Jan. 29, the Students’ Society of McGill University’s (SSMU) Legislative Council (LC) convened to discuss a new motion proposed by SSMU President Dymetri Taylor. The motion seeks several amendments to the SSMU Constitution—the Society’s fundamental governing document, which outlines SSMU’s roles as the governing body of McGill undergraduates and serves as its legal by-law regarding its status as a non-profit corporation under the Quebec government. 

The meeting began with Executive and Councillor reports. During Vice-President (VP) University Affairs Susan Aloudat’s report, Science Councillor Benjamin Yu inquired into McGill’s proposed Identification Policy for Access to Properties Owned, Occupied, or Used by the University, which was presented to the McGill Senate on Jan. 14. 

Though Aloudat assured the LC that the Senate had serious concerns with the proposed policy—which would empower unspecified, authorized personnel to request anyone on university grounds to provide McGill or government-issued identification and remove facial coverings—she expressed her belief that the proposed policy would nonetheless pass the Senate and move to the Board of Directors (BoD). Still, she intimated that the policy would undergo reforms before its ultimate implementation. 

“I do think that [the Senate is] going to reimagine [the policy], especially for considerations like certain groups who will be experiencing [on-demand identification] disproportionately, who are on campus for perfectly legitimate and academic affairs,” Aloudat said. “[McGill should put] […] guardrails around when this policy will be used, so that it’s only applied and enacted in situations where security is a genuine threat or risk, and not a ‘perceived’ risk or arbitrarily interpreted risk.” 

Also during Aloudat’s report, Arts Councillor Delaney Cahill inquired into SSMU’s policy that grants undergraduates access to Grammarly, a writing-assistant software powered by Artificial Intelligence (AI). Cahill stated that members of the Faculty of Arts professoriate are concerned that SSMU is providing undergraduates with access to AI tools that could be used to undermine academic integrity.

“Some of the [Faculty of Arts] teachers weren’t thrilled about [undergraduate access to Grammarly] and […] the SSMU prompting the students to use Grammarly and AI in general,” Cahill noted. “What is the SSMU doing to combat […] unethical AI use right now?”

While Aloudat stated that it was not her duty to police undergraduates’ use of AI, Taylor later clarified that the generative AI features in Grammarly are unavailable to undergraduates.

Taylor then presented the newly proposed motion, which seeks to amend the SSMU Constitution to, among other initiatives, further empower the LC, change specific terminology, combat the politicization of the BoD, and specify the roles and powers of Board and Executive Council members. 

One of the amendments would change the constitution’s nomenclature, replacing the current designation “Board of Directors” with the name “College of Directors.” Taylor explained that part of the rationale for this amendment is that “College of Directors” has a more positive connotation than its current name. 

“[The current designation] gives the impression that the Society is more of a corporation than a student society,” Taylor said. “That is the current way in which we are structured [….] We are both [a non-profit] company and a student society, […] but principally the change […] [from] ‘Board’ to ‘College,’ […] more or less presents an opportunity for the Board to be considered into a better light than how the Board has been viewed in previous times.”

Similarly, Taylor indicated that amendments to increase the LC’s oversight over the BoD and its subgroup, the Executive Council, were necessary in light of past political polarization within the Board. 

“[In the past] executives might tap [individuals] because they want to get people that are like-minded to them onto the Board,” Taylor said. “[It served as] a way for the executives […] to then be able to have their vision [of the BoD] be the one that goes forward without necessarily getting the broad perspective that you otherwise get in as a council.” 

Taylor mentioned how, rather than focusing on legal, financial, and operational duties,  the BoD has gradually and strategically begun to shape what SSMU achieves.

“With the board now and with the way it’s currently structured, for instance, for our job contracts, I’m overseeing the executives, which doesn’t make any sense at all,” Taylor said. “There can be interpersonal issues that arise [….] That’s what this [amendment] is trying to navigate, as well as to also ensure executive accountability.”

Ultimately, the motion was tabled. If passed by the LC and a student referendum, it would be implemented on May 4. 

Moment of the meeting:

Arts Senator Keith Baybayon and VP University Affairs Susan Aloudat discussed potential accommodations to address McGill’s 2026 Spring Convocation dates and the conflicts it imposes on Muslim graduates celebrating Eid al-Adha.

Soundbite: 

“The Faculty of Music throws the best bars out of every single faculty! You can quote me on that, Tribune!” —VP External Seraphina Crema-Black, regarding the Music Councillor’s report on the success of the Music Undergraduate Students’ Association holiday party. 

Arts & Entertainment, Fashion

Fashion Business Uncovered’s conference merges business and style

by Malika Logossou on

More in Arts & Entertainment:

Fashion is everywhere. It’s in the brands we wear, the trends we follow, the models we admire, and the meticulously staged illusions that flood our feeds. Yet behind every viral look, ‘It girl’, or coveted brand, lies a business quietly shaping visibility, marketability, and how trends are created, sold, and sustained.

On Jan. 24, Fashion Business Uncovered’s (FBU) annual conference put fashion, skincare, and clothing under the spotlight as both art and industry. The room itself felt like a runway of its own: Heels clicked across the room, statement accessories sparkled, and a striking variety of aesthetics—from minimalist chic to bold and creative—displayed that fashion was not merely being discussed but fully lived. 

FBU carefully brought together panellists from both global and local brands, including ALDO, L’Oréal Paris, Indeed Labs, Groupe Dynamite, Jack the Publicist Group, and Atelier Détails. The speakers traced their journeys into the fashion world, illuminating the breadth of careers it offers, and exploring how creativity and craftsmanship intertwine with business strategy, technology, and marketing.

A recurring theme throughout the conference was the importance of exposing oneself to opportunities. Speakers encouraged students to pursue internships, network and attend events, and join companies they aspire to work for. They emphasized that a specific degree or linear path is not required to succeed in the fashion and beauty industry. 

In an interview with The Tribune, panellist Dimitra Davidson, CEO and co-founder of Indeed Labs, stressed the educational value of such events for students navigating a world where trends and reality evolve faster than academic curricula.

“I did not have […] at all a foundation of marketing,” Davidson said. “You just figure it out as you go along. If you actually go by a playbook, then sometimes you’re not going to have a point of difference. You’re just going to be exactly like everybody else.”

Social media also took centre stage, with panellists acknowledging its influence in shaping trends and directing brand strategies to fragmented digital audiences.

Nathaniel Woo, Marketing Manager for Men & Skincare at L’Oréal Paris Canada, spoke about the importance of immersing oneself in these online spaces to cater to target audiences.

“One of the best pieces of advice [one of my managers] gave me was to scroll. Literally set aside 15 to 20 minutes to scroll on TikTok, scroll on Instagram. I even have an account on my work phone that is more tailored to the male algorithm,” Woo said. “I know nothing about hockey. But in that algorithm, it’s literally hockey, soccer, F1, and […] I don’t usually find that on my personal phone.”

Beyond industry insight, education remains at the heart of the club’s mission. In an interview with The Tribune, Michelle Govorkova, co-executive director of FBU, explained that exposing students to the full spectrum of fashion careers was one of their primary objectives.

“Our main goal and priority here is education and to teach people that there are so many professions and jobs within the fashion industry that are not stereotypical,” Govorkova said. “Obviously, you have your designers, you have your models, you know, […] the mainstream roles, […] but what we aim to do here, as for the name ‘Fashion Business Uncovered,’ is to really touch on the business side of fashion because […] even a fashion company is still a business, right?”

Co-executive director Julie Baillet echoed similar sentiments, emphasizing the importance of revealing the industry’s full scope through its selection of panellists.

“We just wanted to have […] this very diversified panel to really show all the facets of fashion and uncover the ‘behind-the-scenes’ that happen within the fashion industry,” Baillet said. “[We wanted to] have […] many different perspectives from production, marketing, like entrepreneurship, operations, really anything that happens within fashion.”

By the end of the conference, one thing felt clear for attendees: The fashion industry is broad and intersects with businesses more than we imagine. Given that there is no traditional fashion program at McGill, this conference proved to be an inspiring learning experience for many students.

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