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McGill, News

McGill students seeking psychiatric care at Wellness Hub struggle to get support

Recent discussion threads posted to the McGill subreddit revealed that students seeking to connect with psychiatrists through the Wellness Hub encounter prolonged wait times for appointments and inefficient booking procedures. 

In one post, a user explained that they requested an appointment with a psychiatrist because they needed to renew a prescription. However, they claim they did not receive a response for more than one month after making the initial request and ran out of medication before the appointment was due. In another, a student expressed frustration after repeatedly confronting fully booked time slots while attempting to secure an online appointment for a referral.

In a joint statement from the McGill administration and the Wellness Hub, a McGill media relations officer, Frédérique Mazerolle, noted that wait times for psychiatry appointments via the Wellness Hub are triaged according to their urgency, and can range anywhere from one to two weeks for more urgent cases, to as long as eight to 10 weeks for others.

“Longer wait times for psychiatry are not unique to the Student Wellness Hub,” Mazerolle wrote in an email to The McGill Tribune. “They are an unfortunate reality throughout Quebec’s public healthcare system and in those of other provinces.”

Ambiguity concerning which situations are considered urgent seems to be a further obstacle for students who request psychiatric care. In an interview with the Tribune, Stella*, U2 Education, said they felt discouraged after seeking a referral for a psychiatrist through the Wellness Hub.

“The first thing they mentioned was that there was going to be a really long delay and that it was going to be complicated to get a referral,” Stella said. “If I had insisted, I think they would have [written] me a referral or helped me get the referral, but it was more like […] a last resort type of thing [….] I felt like I really needed [a referral] before [getting to] that stage.”

Stella added that they eventually received a referral for a psychiatrist after contacting the Wellness Hub and explaining that they felt their situation had worsened. Stella had originally wanted to speak with a female psychiatrist who had experience with 2SLGBTQIA+ issues. However, Stella was told the wait for such a psychiatrist would be an extra two weeks, so they opted for the first available psychiatrist. 

“I would have preferred a woman psychiatrist, someone with a minimum of LGBTQ awareness,” Stella explained. “So in the end I just took [the] first appointment [available]. It was seeing one right away or nothing.”

In an email to the Tribune, Julia Caddy, Students’ Society of McGill University mental health commissioner, noted that students’ perception of psychiatrists as the primary resource for mental health might be preventing some students from receiving more immediate care. 

“The assumption is that a psychiatrist should be the go-to for any discussion regarding medications for mental illness,” Caddy wrote. “However, while psychiatrist shortages persist, Quebec and many other regions in Canada rely on general physicians to provide such consultations and prescriptions, especially during the waiting time to see a specialist. This requires that we shift our understanding of psychiatrist appointments to being primarily for complex care, reassessing prescriptions, and assessment/diagnosis.”

Caddy encourages students to reach out to [email protected] if they want support in getting their mental health needs addressed. 

“That is what we’re here for,” Caddy wrote. “And we are dedicated to holding both systems and individuals accountable.”

*Stella’s name has been changed to preserve their anonymity. 

Arts & Entertainment, Theatre

‘God of Carnage’ marks Players’ Theatre’s return to in-person theatre

One hundred years after starting the company, and three years after closing their stage for renovations and COVID-19, Players’ Theatre finally returned to in-person shows with Yasmina Reza’s God of Carnage. Despite the play having only four characters and being produced in a small black-box theatre, the show was full of energy, matched by a full audience ecstatic to experience live theatre once again. 

God of Carnage depicts two sets of parents discussing what to do about their children’s playground squabble, which left one son missing two teeth. Veronica Novak (Flora Situ, U1 Arts), whose stubborn nature keeps the play on track, and Michael Novak (Samuel Valentim-Gervais, U3 Science), a passive people-pleaser play the host couple, who spend the majority of the play attempting to convince the other parents to take responsibility for their son’s actions. Unfortunately for them, Annette Raleigh (Claire Tees, U2 Arts) and Alan Raleigh (Euan Lathrop, U2 Arts) get hilariously distracted by Annette’s nausea and a cluster of hostile work calls, causing the four’s initial disagreement to dissolve into comedic chaos. 

Although all of the actors embodied their characters well, Lathrop’s performance truly stole the show. His character, a corrupt businessman and irritated husband, participated in every bizarre tangential storyline—from speculating the fate of the Novak family’s pet hamster in the wild to reminiscing about childhood clique behaviors—adding just the right amount of childish enthusiasm to the scene. 

Although the play’s performance is a highlight on its own, credit is due for the crew and production team, who had to adapt to COVID-19 safety rules and learn how to produce an in-person show. In an interview with The McGill Tribune, executive director Basile Guichard, U3 Arts, explained the difficulties of learning how to stage in-person shows.

“When we arrived [on] September 1, […] all our sets and costumes and props were in boxes under [a] huge tarp,” Guichard said. “We just had to put up all the lights, and figure out the tech booth. We don’t know how to use all this material. Everyone that has [produced] here before has graduated. We had to learn everything to make this possible. Everyone has had to step up.”

Another challenge was creating tension within a socially distanced play. Because the actors are unmasked, which is allowed under provincial guidelines, they have to stay as far away from each other as possible. With the heated nature of the play, director Max Grosskopf, U3 Arts, and Guichard had to find dramatic ways to create tension without letting the actors touch.

“Sometimes, instead of going toward another actor, you’ll see an actor go away. And so it creates another tension,” Guichard said. “You know what happens when you’re angry, […] you want to go and fight. But what happens if you feel angry but you distance yourself? It creates a whole different narrative.” 

By making the best of a tough situation, Guichard and Grosskopf added interesting blocking and thought-provoking dynamics to the characters’ relationships. Despite the behind-the-scenes obstacles, God of Carnage is a celebration of live theatre. 

“People are able to see live theatre again, [and] get that human interaction,” Guichard said. “We’ve been missing that element of art and creativity and getting together, creating something out of nothing. And now that we can have it back, it’s just been overwhelming joy and positivity.”

Players’ Theatre’s final show of the semester, a double-feature of And Then There Were None and Breathing Space will run from November 16–19.

Hockey, Martlets, Sports

Martlets hockey team defeats Ottawa Gee-Gees in third RSEQ encounter

On Nov. 5, the McGill women’s hockey team (3–0) defeated the visiting Ottawa Gee-Gees (1–2) at McConnell Arena by a convincing score of 4-1. The game marked the third straight win for the Martlets in the RSEQ league. The Martlets dominated the game with 35 shots on goal. Christiana Colizza, a first-year graduate student studying kinesiology and physical education, was instrumental in the Martlets’ domination, scoring two goals in the first and third periods of the game.

The Martlets opened the scoring only 45 seconds after the initial puck drop when Colizza redirected a shot from fifth-year team captain, Jade Downie-Landry.

“I think it was a good game, a team win that’s for sure,” Landry said in an interview with //The McGill Tribune//. “Everyone is putting a lot of effort in [and] I think […] it’s paying off. We focused on starting hard when the puck drops [and] that was our focus this game.” 

Ottawa goaltender Aurelie Dubuc made several key saves in the first period to keep the Gee-Gees in the game. However, the game drifted away from Ottawa in the second period after goals from Martlet forwards Makenzie McCallum and Quynn Campbell.

Fourth-year forward Marika Labrecque considered the team’s hard work a key factor in their win on Friday.

“We all did our work [on the] little details,” said Labrecque. “We started very strong. Our coach said in the first five minutes we had to work hard. After the first five minutes we understood [what we had to do]. We learn and work hard every week, and build on each game.”

The final period was evenly contested, with Ottawa managing a consolation goal to spoil Martlet goaltender Tricia Deguire’s shutout bid. Deguire ranks second in wins among McGill’s all-time goaltending leaders with a career record of 82-49-1. The Martlets responded with 10 minutes left in the third period, securing the win when Colizza scored her second goal.

Martlets Head Coach Alyssa Cecere was satisfied with the team’s performance, especially when it came to puck possession.

“We are taking it one shift at a time and trying to keep the puck within our team and keeping possession as much as possible,” Cecere said in a post-game interview with the //Tribune//. “Obviously, with teams that pressure hard, it is not always the case. But it is something we are trying to focus on, keeping that puck and recovering when it is a loose puck.” 

Cecere also emphasized her excitement to be back in the arena after over a year of no competition due to COVID-19 restrictions. 

“It is great to be back,” Cecere enthused. “The girls are energized [and] they are happy to be back. We are grateful we have this opportunity and taking it one day at a time […] as we know it can be gone quickly.”

McGill currently leads the 2021-22 RSEQ league with six points in three games and 11 goals scored, with only two conceded. 

Stat Corner

Martlet goaltender Tricia Deguire had an impressive game, playing in all the three periods and saving 24 of the 25 shots from the Gee-Gees.

Moment of the Game

Just under a minute into the first period, Christiana Colizza, assisted by Jade-Downie Landry, scored a stunner from close up to the net, taking the Martlets to a 1-0 lead over the Gee-Gees.

Quotable

“The progress we have already made is tremendous. [The team] has lots of youngsters and we have a lot to learn from our veteran players. Just seeing it all unroll is beautiful to see.” – Team captain Jade Downie-Landry on the Martlet’s 2021-22 hockey season so far.

Arts & Entertainment, Dance

Sensual dance show ‘Whip’ premiers at MAI

Whip is a nuanced dance performance that fuses touch, sound, space, light, and above all, the relation of one human to another. The production, which ran from Nov. 3 to 6, was co-produced by Montreal Arts Interculturels (MAI) and dancer Ralph Escamillan’s performance company FakeKnot, with Escamillan and Daria Mikhaylyuk performing the routine. The show features the two dancers leaping, crawling, and twirling across a 20 by 20 feet square stage—but with one vital twist: They can’t see. Five-foot-long leather hoods obscure their vision entirely. The long, phallic hoods, paired with the intimate choreography, create a sensuous performance that explores the giving and taking of consent. 

The two performers start off in beige clothing and stark black headpieces, with leather cylinders veiling their sight. Their hands extend tentatively, and then finally make contact. The silence is interrupted by a sudden music cue as “Every Breath You Take” by The Police begins playing. A sophisticated hand dance erupts, reminiscent of childhood handshakes. The rapidity and synchronism in their movements are especially impressive considering the dancers’ obscured vision, and the tangle of hands speeds up to the point where it becomes difficult to track whose arms are whose. 

Whip features substantial give and take; each dancer has their turn in the spotlight, while the other feels their way across the edges of the stage. The lithe and graceful movements are breathtaking and culminate in brief moments of impassioned contact. In the middle of the show, the dancers undress themselves while still heavily enmeshed in each other. During this moment of heightened vulnerability, spotlights on other parts of the stage leave the dancers’ location in relative darkness, creating a sense of privacy in a completely public space. 

The next transformation after the removal of clothes occurs when the dancers shake the leather hoods so that they unfurl to extend down to their feet, while still covering the faces of the dancers and preserving their anonymity. The dancers spin their heads several times so that the leather slaps the ground, creating a violent, whip-like snap. This suggestion of danger combined with the actors’ obscured vision is enthralling to bear witness to. While the majority of the dance was marked by suspenseful, independent movement, the concluding portion of the dance was remarkably sensual and intense. The juxtaposition of such elements gave a liveliness to the intermittent moments of touch.

Equally interesting as the contrasting elements of Whip is the artistic process behind such a show. Escamillan, the artistic director and choreographer, described his creation of the show as a reversal of the expected process—that is, he let light, sound, and costume inform the movement. Originating from the four different corners of the square stage, the pulsing music orients the dancers. The soundtrack maintains tension with the pulsing and bellows of a deep base. Stefan Nazarevich, the score’s composer, chronicled his musical journey as a back-and-forth with the dancers. The conversation between technical elements and dance adds yet another dimension of the reciprocity involved in the show’s artistic processes. 

Whip showcases the joy of physical relations between two individuals. Yet, as was made evident by the cohesiveness found in the technical aspects, interdependence extends beyond the performers to the sonic cues and expressive lighting. When placed together, the final impact is a breathtaking narrative, from the first uncertain touch to the final unclothed (with the exception of the leather hoods), whip-snapping spectacle. 

Arts & Entertainment, Film and TV

DannyBoy: A practice in the absurd

Warning: This review contains spoilers. 

Every once in a while when the moon is hanging high and my coffee tastes especially bitter, I come across a special kind of movie, one that is so strange that I can’t look away. To say that DannyBoy is an example of this phenomenon would be an understatement of the highest magnitude—akin to claiming that Montreal rarely has construction or that Tinder is great for making friends. DannyBoy is a coming-of-age story that follows 19-year-old Daniel (Darrah Byrne) as he attempts to navigate 1980s Ireland, hoping to find love and maybe even a job to support his family along the way. Released in 2020, Irish filmmaker Ferdia MacAnna’s newest film won the Best Feature Film award at the Birmingham International Film Festival. Despite its commendable efforts, this low-budget story ultimately proves amateurish and mind-boggling. 

In order to enjoy this film, you can’t take it too seriously. The film reads like a fever dream. Whether it’s the scene where Daniel paints his face white and performs what I can only assume is a satanic dance to win back a love interest Donna (Lucy Jones), or the moment when Daniel pretends to be a dog in a ploy of seduction—and it works. There is no logical coherence in these scenes whatsoever, but it’s still entertaining. 

A certain sense of dissatisfaction permeates the film; each of the characters believes that as long as they attain one thing, one person, or one dream, they’ll finally be happy. But of course, that’s rarely the case. The unique setting is also a major draw, since 1980s Ireland isn’t a typical milieu for modern films. Still, the film falls short of its potential.  

To call DannyBoy a perfect storm of abnormalities, or perhaps incompetencies, would be harsh, but true. The wardrobe tries to be ‘80s chic, but often feels bloated and repetitive, much like last-minute Halloween costumes. While the camera jumps from wide angles to close-ups, certain shots lack any sort of rhyme or reason, disorienting the audience in the process. And—not to pour gasoline over a dead horse—the acting was similarly underwhelming. There were a few commendable moments where you could see genuine remorse and regret in a character’s eyes, but they were muddled in a sea of fumbled words and exaggerated expressions. This is best illustrated by heated arguments in the film, which felt almost comedic—the actors yelling their lines at one another while their faces remained frozen. 

Despite all its shortcomings, DannyBoy definitely has certain satirical elements. Rather than succumb to its low budget, it creates exaggerated props in a few scenes to look more like arts and crafts projects, presumably to add character. Therefore, the film is clearly aware of some of its technical flaws, and even mocks them, but it is not enough to save its integrity. Self-awareness doesn’t necessarily equate to wit, especially when in so many moments the characters go against themselves, and even reason, to push the plot forward. 

Nonetheless, DannyBoy does deserve props for one thing: Potentially the greatest pickup line ever conceived. In one delightful scene, Daniel turns to Donna and seductively asks, “What’s for dessert?” a moment after they had literally eaten dessert, which is beyond the realm of my sanity. 

The hilarious yet head-scratching DannyBoy can be found on-demand on Apple TV.

Rugby, Sports

Concordia overwhelms McGill to capture RSEQ men’s rugby title

The beautiful autumn afternoon seemed a good omen as any to the sold-out crowd of McGill (6–2) and Concordia (7–1) fans who gathered at Percival Molson Stadium on Nov. 6 for what they hoped would be a competitive bout of RSEQ rugby. But despite the turnout, the Redbirds fell 33-0 to the Stingers in an unfortunate end to an otherwise stellar season for McGill. 

From the get-go, both teams hungered for victory, playing at a faster pace than any other game this season. The first 20 minutes were contained around the centre line, with neither team making much headway before losing the ball on a knock-on. Unfortunately, things went downhill for the Redbirds midway through the first half when Concordia’s Jean-Christophe Vinette opened up the scoring with the Stinger’s first try. Minutes later, McGill came close to scoring a try with a slew of high-quality chances at Concordia’s try line, but fell victim to tackle after tackle and could not capitalize. At the half, the scoreboard read 21-0 for Concordia. 

McGill came back a renewed team at the start of the second half, holding their ground defensively but with nothing to show for it in points. Just over midway through the half, Mohammed Al Moallim of Concordia charged through a gap in the Redbirds formation and touched down on an incredible breakaway. As if to add insult to injury, the Stingers piled on another try in extra time, with Stan Blazkowski scoring and Arthur Du Chauffaut converting to end the match 33-0.

If disheartened McGill fans were hoping to trudge out of the stadium immediately following the end of the match, they were woefully optimistic. As Concordia celebrated their win, RSEQ officials trotted out victory medals. However, a fire alarm set off by a stray flare forced the confused crowd to exit the stands, saving any McGill fan from watching an almost perverse awarding of medals to the Stingers. 

Scrum-half Owen Cumming, who led the Redbirds in points scored this season, expressed his frustration with the outcome.

“Today was tough, we had a game plan and it just wasn’t executed how we would have liked it,” Cumming said. “It was a physical and fast-paced game. We sadly just couldn’t get the job done.” 

The Redbirds finished their season second in the RSEQ standings, with a 6-2 record overall. The club had not beaten Concordia this season, with their only matchup ending in a narrow 14-6 win for the Stingers. Two years ago, in the last season before the pandemic, Concordia conquered McGill in the finals, making Saturday’s game a difficult pill to swallow—especially for the graduating seniors. Team captain Karl Hunger, whose younger brother, Brad Hunger, is also on the team, is hopeful about the future of Redbirds rugby.

“Unfortunately, it’s my last year so the time has come for me, but I know I’m leaving the club in great hands,” Hunger said. “We’ve got an amazing group of young guys that I’m so excited to see develop their game.”

Hunger talked about the brotherhood, both literal and figurative, that has developed on the team, and expressed his gratitude toward the teammates he now calls his best friends.

“I’m so proud of the boys for their dedication to the club this season,” Hunger said. “I’ve loved every moment I have shared with my teammates, past and present. I’ve [made] best friends and formed brotherhoods that will last a lifetime. I wouldn’t have it any other way.” 

Cumming shared his teammate’s sentiments and was grateful for the show of support from the McGill crowd, despite the loss. 

“We’d especially like to thank our fans, it was such an amazing atmosphere and we hope to continue that in the years going forward,” Cumming said. “We’ve got a great program here, and we will certainly be back.” 

Stat Corner: 

The last time McGill men’s rugby finished a game scoreless was in 2012 against Queen’s University.

Quotable: 

“Concordia is a good team, and they were certainly the better one on the day. All we can do from this is grow and have more and more guys say they know what being in a final is like going forward. Experience is everything in this league.”  —Fourth-year scrum-half Owen Cumming 

Moment of the Game: With 17 minutes left on the clock, a belligerently drunk McGill student shouted “Number 24 looks like a pumpkin spice kind of guy!” Number 24 Arthur Du Chaffaut gave the fan a knowing look, caught a turnover, and punted the ball forward for a spectacular try, bringing the score to 31-0.

Science & Technology

Alzheimer’s disease: More than a century later

In 1901, Alois Alzheimer noticed an abrupt change in his wife August Deter’s behaviour. Though only 50 years old, she began suffering from memory problems, paranoia, and bouts of aggressive behaviour. Five years after being admitted to a psychiatric ward, she passed away a completely different person from the woman he once knew. The experience inspired Alzheimer to conduct years of clinical research that eventually led to the discovery of dementia and Alzheimer’s disease, a lethal brain condition that affects memory and cognitive functioning, mostly among the elderly. 

While there remains no cure for this disease, researchers at McGill’s Stop-AD research centre have been at the forefront of prevention research for several years. They have learned that Alzheimer’s is not a disease that appears suddenly, but one which develops over the course of a lifetime. By the time symptoms are evident, 70 per cent of neurons are already dead.

The team at Stop-AD was among the first to conduct a long-term study on the brain development of living patients with a high risk of developing Alzheimer’s. Approximately 350 people with a mean age of 63 participated in the study from 2011 to 2017, and their data now informs some of the leading research into Alzheimer’s disease in universities around the globe.

Before this study, Alzheimer’s research was typically conducted in mice or on cadaver brains. Scientists had previously focussed on the buildup of tau and amyloid proteins in the human brain, which were thought to be the main cause of Alzheimer’s, but many treatments targeting these proteins have failed in humans. 

Judes Poirier, a professor in the Department of Psychiatry at McGill University, is an Alzheimer’s researcher and the director of the Molecular Neurobiology Unit at the Douglas Research Centre.

Though the mouse and cadaver models seemed promising to many at the time, Poirier and others have always insisted that Alzheimer’s is a uniquely human disease. In order to test on mice, genes from humans had to be inserted into their DNA. Moreover, many of these genes were only associated with rarer, early-onset forms of human Alzheimer’s and were unrelated to the late-stage forms that affect 98 per cent of patients.

The problem stemmed from researchers assuming that protein buildup led to symptoms of dementia. Instead, Poirier’s research has found that toxic proteins called amyloid beta 42 accumulate in the brain more as a result, rather than a cause, of the disease.

“Like tombstones, there are plaques where cells have died,” Poirier said in an interview with The McGill Tribune. “However, it is not because there is a tombstone on top of all dead people in a cemetery that it is the tombstone that killed them all.”

This realization, Poirier explained, has steered the field of Alzheimer’s research in a new direction.

“For the vast majority of scientists in my field, the toxic protein spreading is no longer the solution to AD treatments,” Poirier said. “More than 20 amyloid and tau-based treatments tested in humans [have] systematically failed in humans these past few years [even though they] succeeded in the mouse models.”

Now, Poirier says funding is being funnelled toward methods of prevention rather than cure, with a particular focus on maintaining patients’ cardiovascular health. According to a Stop-AD study, the biggest determinants for a person’s predisposition to Alzheimer’s have little to do with pharmaceuticals, but with the lifestyle choices made years before the disease hits. Links have also been found between the E4 allele of apolipoprotein, a plasma protein which helps regulate cholesterol, and the progression of Alzheimer’s.

Many other diseases, such as diabetes, hypertension, and high cholesterol, can increase the risk of Alzheimer’s. A healthy diet, regular exercise, and the absence of these other diseases have been shown to delay the onset of Alzheimer’s by anywhere from a few months to five years. For researchers and doctors, this presents a golden opportunity.

“A 10-year delay in Alzheimer’s would result in [a] 93 per cent reduction of cases. This is feasible,” Poirier said.

If scientists could achieve this, elderly patients with underlying Alzheimer’s would likely pass away long before the disease could affect them, eliminating its impacts for those prone to suffer. Though the research of past decades may not have been as fruitful as hoped, this new direction makes a world without Alzheimer’s seem like a near possibility.

Arts & Entertainment, Poetry

Thinking through race in anthropology through poetry

On Nov. 3, the McGill Anthropology Graduate Student Association (AGSA) organized the workshop Thinking Through Race with Ethnographic Poetry as part of an ongoing series on racism and racial justice within anthropology. Ethnographic poetry is a research method where anthropologists study an individual’s poetic works in an attempt to understand the poet’s relationship with their culture, community, and audience. This workshop in particular aimed to showcase poetry’s anthropological applications and reveal how reading poetry can help anthropologists avoid potential racial biases—a pervasive problem in the field. 

“The Anthropology Graduate Student Association recently started a working group called the Racial Justice Working Group,” Alejandra Melian-Morse, one of the event’s organizers, said in an interview with The McGill Tribune. “We have been reflecting on and trying to take more responsibility for racial inequality in our anthropology department. We wanted to do something that was more creative, to help people think in different ways about a topic that is very difficult to approach for many people.”

Justin Wright, a sociocultural anthropologist, performance poet, and the current Poet-In-Residence at SAPIENS Magazine facilitated the workshop. Wright discussed how reading poetry is an important component of research methodology in anthropology because it details history through emotional language. They described how poetry can capture the writer’s emotions at a precise moment in time in a way that the factual language used in historical documentation cannot. They also explained how their work as a sociocultural anthropologist examines the many ways Black people experience individual and communal trauma. 

“I think of anthropology as a method for tending to Black life,” Wright said. “Poetry also works in that way, as a tool to uncover the unvoiced truth of our past. [A poet] is responding to [their] world, to what is happening at [their] time. A poem is not just a piece of poetry where it’s solely for the author. [A poet] is doing this in service of [their] community, in order to help push them along in a certain way.”

Wright explained their “six questions method” to read poetry as ethnographic material: One must ask themselves who the author and audience are, what the subject of the work is, when and where the work was written, what context pushed the writer to compose the poem, and how it has been received historically.

“[Poetry and creative prose] often speak directly to the author’s lives and rights, to their experiences and their cultures,” Wright said. “We can’t dismiss those kinds of works as anything other than rich experiences, as history’s ways of being. Poetry is a meaning-making language. When we’re talking about reading poetry as ethnographic material, […] we’re talking about heavy research, about engaging its questions in a scholarly manner, in service of ethnography and in service of anthropology.”

Wright fuses their knowledge of anthropology and poetry to explore explorations of Black historical traumas with contemporary representations of Black experiences. They explain the use of such anthropological methods as a means to widen their understanding of different cultural considerations.

“Anthropology helps me figure out a way to orient my poetic devices to get to a certain point, a certain kind of emotional logic, a certain argument,” Wright said. “Anthropology has helped me think about what I’m specifically doing with [my poetry].”

This workshop was one of many other upcoming events in a series exploring the intersection of racial justice and anthropology. Other events include film screenings, creative workshops, as well as interviews with podcasters and content creators.

Editorial, Opinion

U of T’s divestment sets a low bar that McGill refuses to reach

On Oct. 27, the University of Toronto (U of T) announced that it would divest from all its direct fossil fuel investments in the next 12 months, with plans to divest from all indirect investments by 2030. It also stated that it will take steps to curb more emissions than it produces to become a “climate-positive campus.” The university is the latest post-secondary institution to get on board with divestment, with Concordia and Harvard having recently made similar announcements. Yet McGill lags behind. Despite numerous performative measures and a steadfast commitment to preaching sustainability at every turn, McGill continues to operate like a business, prioritizing short-term profit above genuine concern about the future of the planet. With the climate crisis worsening with each passing day, it is increasingly important for the university to divest and take aggressive climate action––not in 10 years, but immediately. Calls for divestment are not new—in fact, they almost feel worn out. The clock is ticking for the McGill Board of Governors to divest but it might already be too late.

Rather than divesting, McGill’s response to the climate crisis prioritizes individual action, innovation, and technology. Reusable water bottles or early-stage “green tech” solutions have their merits, but are not enough on their own. The term “sustainability” has turned into a vapid buzzword, and it finds its way into many of McGill’s PR campaigns. This approach is, however, a hollow one. Band-aid sustainability efforts risk becoming a facade for meaningful climate action: Real commitment necessarily involves a thorough and immediate restructuring of systems and institutions—and that starts, but does not end, with divestment and sustainability initiatives. 

For a university that places such heavy emphasis on its global standing, it is ironic that McGill shows little interest in being a leader on critical issues like climate change. McGill’s alleged commitment only manifests when it serves to benefit the university’s reputation. For example, McGill had COP26 attendees Dr. Courtney Howard and MSc. Candidate in Bioresource Engineering and Climate Mitigation William Gagnon take over their Instagram account this week. That McGill would showcase sustainability advocates while refusing to yield to student demands to remove the James McGill statue or divest from fossil fuels is a testament to this proverbial facade. Indeed, McGill cannot simultaneously ignore students’ pleas for divestment while also taking credit for the climate-conscious students who they position to represent the university favourably on the international stage. 

The university’s repeated refusal to divest despite constant pressure by the student body reveals a wider structural issue. The fact that these motions continue to fail at the Board of Governors after their approval at every other level of university governance reveals a major discrepancy between students’ views on McGill’s responsibilities and the views of the board—many of whose members have backgrounds in business. Although the bureaucratization and corporate focus of post-secondary institutions is not unique to McGill, the university should nevertheless not be absolved from moral scrutiny.

Commitments to divest from various universities across Canada and the United States are necessary, especially as the window to act on climate change rapidly closes. In the context of U of T’s announcement, the choice to finally divest after years of student activism is not one that should garner applause. Divestment is long overdue for all universities—but especially those apathetic institutions that have yet to even take that first step. McGill needs to pass motions to divest, and soon, because if anything is to be taken from the “Change the Name” campaign, it is that change takes time, and time is exactly what is running out

News, SSMU

SSMU hosts successful second Activities Night after failed first attempt

The Students’ Society of McGill University (SSMU) held Activities Night 2.0 from Nov. 1 to Nov. 3. Independent student groups, clubs, athletics groups, and others set up booths on the fourth floor of 2200 Centre Mont-Royal between 4 p.m. and 8 p.m. to showcase the breadth of student life at McGill and to encourage students to get involved.

The event was the second Activities Night of the Fall 2021 semester. The first edition, held virtually on the Gather.Town platform, was unsuccessful after a system-wide crash shut down the event. SSMU vice-president (VP) Student Life Karla Heisele Cubilla explained why she decided to host Activities Night 2.0 in person in an email to The McGill Tribune.

“Regulations have significantly changed since Sept. 1,” Heisele Cubilla wrote. “Vaccine passports were implemented, one-metre distancing became possible, and there is a limit of attendees at conventions and conferences. Given these circumstances, an in-person fair event was possible, and it did not violate any health regulations currently placed by the government.”

Due to the ongoing COVID-19 pandemic, SSMU implemented several protocols, including physically distanced booths, hand-sanitizing stations, and mandatory vaccine passports. There was also a hybrid option—students could join a virtual fair on Zoom to visit all the different booths. Many of those who attended the in-person evening, like Jordan Cowie, U1 Management, felt that it was a welcome change. 

“The layout is super cool,” Cowie said in an interview with The McGill Tribune. “[SSMU] designed it very well, and the space is really close to campus, which is fun [….] Through COVID, we really missed that [in-person] communication, so now we are getting that and it is really fantastic.”

Despite Activities Night being held later than usual in the semester—typically it is held mid-September—Cowie was still happy to attend.

“I’m just looking at all the clubs McGill has to offer,” Cowie said. “[McGill] boasts a really robust student body, and I think our clubs represent that. It is really cool to see what everyone else is involved in.”

For many students, the in-person event was their first opportunity to get to know the different clubs at McGill in one place. For some brand new groups, such as the McGill Students’ Blood Donation Association (MSBDA), Activities Night 2.0 was their first chance to introduce themselves to students. 

“It is really important to start to build out that network, that community, so [that] we can reach out,” said Gian-Carlo Buonamici, U2 Management and MSBDA VP Finance, who tabled for MSBDA. “Eventually, once we have grown and fundraised for our own blood drives on campus, hopefully we will have that basis of support already there.”

Buonamici, who attended the first two nights as a visitor, echoed Cowie’s statement about participating in the event in person. 

“I’ve come for the past two nights as well, and it just feels really good to get a feel for what the McGill community is really like, especially after a year all online,” Buonamici said. “It is nice to see people in person, seeing what people are passionate about, seeing what people are putting their energy towards.”

After two Fall semester Activities Nights, Heisele Cubilla says the SSMU student life team has learned a lot about planning events during the pandemic.

“Activities Night 2.0 was a very successful hybrid event (the first hybrid event of this size at McGill since the pandemic started),” Heisele Cubilla wrote. “Moving forward for the Activities Night Winter 2022 planning, the SSMU team has a structure to build upon and improve the hybrid experience for the next event [….] The event [also] needs to be carried [out] at the beginning of the semester to maximize attendance and participation.”

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