BY GLORIA O’KOYE

Scavengers fly in circles

Sky high on top of landfills.

Filled with babies and humans that took

Their stories during transition,

Their voices fade like the tides crashing

Into the shorelines, chipping away rocks

And sands little by little.

When news spread

The people chant.

A hot topic that social media trends

And call for action is at its peak

Making their demands.

However sudden sparks will eventually

Fade as intentions shift away

By ego and instigating seeds,

Planting its roots deep into inexperienced

Minds through trial and error

With not many mentors to teach.

What started as good will be consume

With pride and internal arguments arise,

Like hives overturning their rulers once

The phenomenon runs dry.

Power struggles distract goals,

Distracting as enemies patiently wait

To regain grounds that were lost.

Please,

As movements continue to move on

And momentums slowing down

With numbers rise and fall.

Don’t forget the voices that sparked

The passion that push to answer those

Calls.

Don’t forget the people, communities,

The cries,

For they will never stop.

These inner conflicts amongst groups

Need to stop,

Stop putting good works on pause

Because leadership is in chaos.

Never forget about us.

BY RUSHANE FERRON

The Art Museum at the University of Toronto is hosting “Otherworld,” the first major institutional solo exhibition in Canada by acclaimed artist Camille Turner. Running from September 4^th, 2024, to March 22^nd, 2025, at the University of Toronto Art Centre, the exhibition features a powerful collection of recent works, including new commissions that delve into Canada’s role in the transatlantic slave trade and its enduring repercussions.

“Camille Turner’s work challenges us to rethink our understanding of history and to use our imagination to envision worlds otherwise,” said Barbara Fischer, curator and executive director of the Art Museum. “Otherworld is a call to contemplate, to grieve, and to dream new futures into being.” Fischer highlighted that the extended exhibition period, which now aligns with the academic calendar, will foster deeper engagement through enhanced programming, encouraging multiple visits for ongoing reflection.

Turner’s exhibition draws deeply on her personal journey and the ancestral connections that inform her work. “When I started this journey, I really felt guided by my ancestors,” Turner shared. Reflecting on her experiences at significant historical sites, including the Door of No Return in Senegal, she described a profound connection: “I felt like I was seeing my ancestors around me and felt like I was there by no accident. I was there to tell a story.”

Central to Turner’s exploration is the ocean, symbolizing the painful history of the transatlantic slave trade. She recounted standing at Cape Spear, the easternmost point of North America, and gazing across the ocean towards Gorée Island in West Africa, where the Door of No Return stands. “These two places are communicating with each other,” she said. “I am standing here looking across the ocean. This is a transatlantic story, and I am the vehicle for this story.”

Turner urges emerging artists to look inward and uncover the stories within them. “I didn’t seek out this story, the story sought me,” she emphasized. She shared plans for a significant project in Jamaica, drawing on her father’s memories of growing up on a plantation where descendants of enslaved people were still living, yet without owning the land. “My father remembers walking past thee cow pastures with all their worldly possessions on their heads. This is a story connected to slavery and my family.”

Through “Otherworld,” Turner hopes that visitors will confront the pervasive legacy of slavery, which she describes as “Woven into everything,” and essential to reckon with. “It’s important to not just sweep it under the rug and walk away as if nothing happened,” she stressed.

The exhibition’s title, “Otherworld,” is inspired by Turner’s afronautic research methodology, a blend of: Afrofuturism, critical storytelling, and Black radical imagination. This approach immerses audiences in a non-linear journey that transcends conventional space-time boundaries, addressing historical gaps and silences. Turner’s work aims to make visible the erasure of Black experiences, while providing a space to imagine more equitable futures.

Highlights of the exhibition include two newly commissioned films, “Maria” and “Fly,” named after 18^th-century ships built in Newfoundland and used in the slave trade, symbolizing the haunting connections between Canada’s maritime history and the transatlantic slave trade. Additional installations, “Portals” and “Pods for Dreaming,” explore the lingering effects of colonial violence and offer spaces for reflection and respite.

Public programming will also feature the Afronautic Research Lab, an ongoing counter archive that invites visitors to participate in research on Black history. Turner’s multidisciplinary practice spans: performance, photography, and installation, digital, and sonic media, often in collaboration with other artists.

Born in Kingston, Jamaica, and now living between Los Angeles and Costa Rica, Turner is renowned for her transformative exploration of Black history in the Canadian context. “Otherworld” continues the Art Museum’s legacy of showcasing artists who challenge dominant narratives. Past exhibitions have included Deanna Bowen’s “God of Gods: A Canadian Play,” Kent Monkman’s “Shame and Prejudice: A Story of Resilience,” and Alanis Obomsawin’s “The Children Have to Hear Another Story.”

“Otherworld” offers a profound exploration of Canada’s complex and often overlooked historical narratives, inviting visitors to engage with the past and envision alternative futures.

BY PAUL JUNOR

The 32^nd Jamaica Day Family, Food and Music Festival celebrated on Saturday, August 24^th and Sunday, August 25^th, 2024, did not disappoint the thousands of fans who came out. It was held at the Brampton Sports Park located at 7575 Kennedy Rd, near the intersection of Kennedy Rd and Steeles Ave, just north of Derry Road.

Cornel Davis and Hewitt Loague, festival directors who represent the non-profit Sunrise Talent Program have been busy over the last few months preparing for this annual festival. Since 1991, this festival has been a staple in the Greater Toronto Area and has since evolved from its early location on Eglinton Avenue near Jane Street and Eglinton Avenue.

On Tuesday, August 13^th, 2024, the organizers of Jamaica Day held a press conference at Brampton City Hall where details about the event were released to the public. The event commenced with an introduction by Sharon Campbell, who has been active for many years as a supporter and promoter of the festival. She was followed by Rod Power, City Councilor of Brampton who mentioned the importance of the partnership between Experience Brampton and Jamaica Day. This is even more significant considering that Brampton has a large African-Canadian population, especially of Jamaican background who have been involved in other events such as: Jambana on Monday, August 5^th and the Canada Day celebration held at Chinguacousy Park.

Festival Directors David and Loague mentioned important details about the genesis of the festival. They traced its beginnings as a medium to promote positive aspects of the Jamaican culture to youth who were not aware of these uplifting and enriching features. Loague emphasized that the festival focuses on positive aspects of Jamaican music to counteract the negative aspects that were being promoted in the 1980’s. It has now become an inclusive event that attracts a diverse crowd from a variety of backgrounds.

On Saturday. August 24^th, the featured artist was the iconic and legendary international reggae artist Sanchez, back by popular demand. On Sunday, August 25^th, the Manhattans featuring: Gerald Albright, Mikey Spice and Papa Michigan headlined the day.

There were many aspects of both days that featured inspiring, enriching and motivating things about Jamaica’s culture, history and music. There were cultural displays that featured traditional dances, folk tales and art exhibitions. In addition, there was an art and craft market which showcased many handmade crafts, jewelry and artworks produced by gifted and positive Jamaican artisans. There were many special souvenirs that patrons were able to take home that reflected the ingenuity, authenticity and positivity of all that Jamaican represents. The savory sensual delights and smell of Jamaican cuisine permeated the scene where food trucks served: jerk chicken, patties, ackee and saltfish as well as many other authentic dishes.

The young people in the audience participated in activities such as: face painting, workshops, crafts and storytelling, and interactive games. Adults had a chance to have fun as well and engaged in the popular game of domino tournament as well as in a talent contest.