Erin Vahidi

“Silence is the key to awareness,” was the adopted slogan for the 24-hour vow of silence I took. The vow was a performance piece initially conjured up for a Grade 12 Visual Art assignment, but the underlying motives meant much more. The hidden and internal reasons for this performance piece were deeply rooted in my growing animosity for my surroundings.

While Politics and Governance are merely classes for most, as an 18 year-old Middle Eastern female these issues define my idea of “home”. My parents are children of the Revolution in Iran. My father owned a Volvo that became well known in the city of Tehran for bringing oxygen tanks and wounded victims of a civil war to the hospitals. My mother never wore a Hijab; she left Iran just as the revolution began, and the enforced beliefs of the Ayatollah are as foreign to her as they were to me. I was born in Scarborough General Hospital. My father’s best friend was a Catholic priest, and I attended church every Sunday until I was 7. On my birth certificate I have a Persian name to represent where I come from, and a western name to represent where I’ve come to. This duality has always been representative of the constant and sickening feeling of being forced to assimilate and become something I am not.

In our society, as youth we must endure countless corporate ad campaigns specifically marketed towards us everyday. Lately, the corporate trend has been to appeal to the growing spiritual and conscious consumer movement. Putting a good, socially conscious face on a corporation tells us that we should compromise our beliefs to buy the items they sell, because, you know, they care.

In addition to this, young women in our society must live up to expectations set by the media. We’ve become so uncomfortable in our own skin that we subject ourselves to wearing the highest heels, the lightest colour contact lenses, and the abundantly padded push-up bras. A growing misconception is that wearing a hijab, or chador, goes against what Muslim women want. Covering one’s body and hair is part of ridding ourselves of worldly things such as obsessions with vanity. The idea of the colour of the chador has also been misconstrued- the dark colours of the chador are not to oppress women, and in fact, when going to Mecca, one must wear white.

Considering all of the assumptions we must deal with, minorities have taken on the duties of educating those around us about our own cultures. This is not always easy, and is a position I myself have wanted to give up many times. We have names that are difficult for some to pronounce, and I’ve had to explain a great many times that, “Yes, I am Muslim, but no, I know nothing about terrorism.”

All of the latter issues are well known, but there are many more that can be discussed. We, the youth, are educated. However, the underlying and intertwining reason behind all of my separate reasons for the vow was just this: we’re avoiding real issues. In almost every social setting I still see girls hating on each other. I still see lying, cheating, and superiority complexes within friend groups. I mean, yes, of course, we care about our surroundings. There are great changes taking place. For instance, this magazine is an amazing step forward.

However I’ve begun to question the intentions of my chai-latte drinking, lululemon wearing peers. I’ve met an abundance of artists and it seems as though spirituality and socialism are the new trends. My beef is that adopting an activist trend is easier than understanding the reasons behind the specific issues. To make changes in our society, we must be comfortable with ourselves internally; and that specifically is why I chose silence to scream what I believe. I’ve never considered myself at the forefront of this revolutionary battle, but I take comfort in knowing I’ve put effort into understanding the struggles of my people, and listening along with feeling the struggles of those around me. Everyone can and should take it upon themselves to be inquisitive. Ask questions, dive into your cultural history, listen to people who’ve already done this - and then - hold a picket sign. Learning about, working with and appreciating the diversity of the people and history around us should not be something to put on a resume. Taking this idea into a performance context, I figured I wouldn’t tell anyone my ideas - I’d show them. Only now, as much time has passed am putting into words what these images represent.

The pictures that accompany this article are from a series in a book I created to document the silence. Each shot of the lips included a statement that essentially made one came together to say something. The book also included pictures of things I’d written down during the vow, letters I’d written to teachers and my manager explaining the vow, and things others had said to me during the 24 hours of silence. This vow of silence is something I will never forget. It allowed me to explore myself internally, and appreciate my environment a great deal more.

Picket signs, T-shirts, buttons, tattoos - are all supposed to be demonstrative of one thing. No where in this article did I intend to take away or belittle the actions of anyone trying to fight for a cause they believe in, but what I am saying is we’re all talking the talk. Let’s show the corporations using our good intentions as marketing gimmicks that we walk the walk too - because we all know that actions speak louder than words.

A refugee is a person who “owing to a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group, or political opinion, is outside the country of his nationality, and is unable to or, owing to such fear, is unwilling to avail himself of the protection of that country…

The 1951 Convention relating to the Status of Refugees

Leonardo Zúñiga, better known as Leo, is a 25 years old, Mexican born immigrant who came to Canada in September 2004. Since Leo moved to Toronto he has been struggling to seek Permanent Residency based on his sexual orientation as a gay man. Since arriving in Canada, Leo has been active in the LGTBQ, Latino, and youth communities and has drawn on his own experiences as an LGTBQ immigrant youth to support those who find themselves in similar situations.

At the present Leo is working on a campaign called LET LEO STAY. Its three main goals are; to get Leo be granted Permanent Residency based on his Humanitarian and Compassionate grounds application, create awareness about queer refugee and immigrant issues in Canada and to speak out about the homophobia existing in Mexico, despite the positive and progressive international image it has regarding human rights.

In December 2004 Leo made a refugee claim based on persecution for his sexual orientation. In June of 2006, William T. Short of the Immigration and Refugee Board refused Leo’s claim on the grounds that his fears were not well-established. Ignoring the pervasiveness of homophobia in Mexico, including the fact that over 1000 gay people have been murdered in the past 10 years with little sign of justice, Short reported that Leo could simply move to another part of Mexico to avoid persecution.

Right now the only hope for Leo to stay is have a successful Humanitarian and Compassionate application. The LET LEO STAY campaign is asking people to sign the online Petition requesting the Minister of Immigration Honorable Diane Finley to grant Leo Permanent Residency.

On July 12th, 2007, Leo organized an event at the 519 Community Centre attended by over 150 community members entitled the “Invisible Struggle” to highlight the conditions of LGTBQ people in Mexico and the barriers they face upon seeking asylum in Canada.

In addition to gathering over 1,000 online petition signatures and 500 hard copy signatures, Leo’s grassroots campaign has received support from MP Olivia Chow, MPP Cheri DiNovo, MPP George Smitherman, Deputy Mayor Joe Pantalone, Councillor Shelly Carroll, Councillor Adam Giambrone, Councillor Howard Moscoe, Councillor Kyle Rae, and Councillor Adam Vaughan among so many other Politicians and community Leaders.

“Leo has already contributed a great deal to our community as a human rights advocate and supporter,” said Helen Kennedy, Executive Director of EGALE Canada, a national organization committed to advancing equality and justice for lesbian, gay, bisexual and trans-identified people, and their families, across Canada. “Now we have to focus our efforts on making sure he is not deported to Mexico where being gay is not an accepted way of life.”

Recently Xtra! Magazine published the story of Enrique Villegas, a gay Mexican refugee claimant who was murdered upon return to Mexico after the Canadian Immigration and Refugee Board rejected his refugee protection claim in 2003. Villegas was found dead in his Mexico City apartment in April 2007

We all deserve to be happy and to have freedom. Why not give the opportunity to someone who is asking for compassion to be able to live without fear, persecution and judgment in a Country where we respect human rights integrity?

If you want to know more about this and support him please go to Leo’s website and sign his on-line Petition at www.leonardozuniga.ca

Lessons learned from the Urban Archaeology project by Heather Read

The next time I see him is a week after the reception for Urban Archaeology at the opening for the Youth Arts Collective’s show. He is dressed in a black jacket with a rose in his lapel. I ask how the show looks; he beams at me, answering without words. He tells me the memory boxes are on display too and that they look great. As we head upstairs, he stops and thanks me for my project. He says meeting the other participants at the reception was really moving, and gave him some much-needed perspective on his life. “It made me shut the hell up,” he says. I laugh.
He confesses that he spent a long time talking to a woman from the Independent Living Resource Centre. She showed him pictures of her family, which he describes as one of the most beautiful he has ever seen, rendered moreso by her openness to him about her struggles to get pregnant. He thanks me again for the chance to make a connection like that with another person. He says such chances are rare in life.

***

Transformation can become one of the criteria by which we evaluate the success of our work. It may be a modest transformation; not every project can change the world, or need attempt to. But when planning programs, we can ask ourselves, “What will change, or be changed, by this project?” If the status quo remains after we have produced a concert or exhibition or documented a tradition, to what extent have we really succeeded? (Westerman 122).

***

The Urban Archaeology project was a community based art display at The Rooms Provincial Art Gallery in St. John’s, Newfoundland from June 2006 to January 2007. For the project, participants created memory boxes representing their personal stories and responses to the word home; the 39 boxes were then displayed at the art gallery, and a closing reception was held in January to celebrate the work. Participants were drawn from four community organizations in St. John’s: the Multicultural Women’s Organization of Newfoundland and Labrador (MWONL), the Brother T.I. Murphy Youth Arts Collective (BTIM), the Refugee and Immigrant Advisory Council (RIAC) and the Independent Living Resource Centre (ILRC). I chose these groups to bring diverse voices into the gallery, and to draw attention to the diversity of the city and the province.
The ILRC is a community group that exists to help “enable persons with disabilities to make informed choices about their lives” (ILRC). They offer a wide variety of programs and services to clients, from recreational experiences like dinner club, to assistance in obtaining aides like wheelchairs. MWONL works to promote “positive relationship[s] among the ethnic minorities and the local population” in St. John’s (MWONL). They also provide support to women of diverse backgrounds through social gatherings, and assisting immigrants with community integration (Kutty). The Brother T. I. Murphy Centre provides “individuals with opportunities for growth through the integration of creative learning experiences” (Murphy). They offer programs such as: assisting adults with high school completion, promoting positive life skills, and developing and pursuing employment opportunities. One of their most unique initiatives is the Youth Arts Collective, which gives artistic young people facing life challenges assistance in moving out into the world. According to their mission statement, RIAC’s goals are: “to advise and assist in the adjustment, integration and development of refugees and immigrants in Newfoundland and Labrador…” (RIAC). They accomplish this through a number of programs, such as language classes and translation services, as well as assistance in finding employment, and in advocating cases to governments. They also provide recreational services, such as a Friday adventure group, where participants explore the city by shopping or visiting museums.
Those are the facts. But like most artistic endeavours, the whole is greater than the sum of its parts; the Urban Archaeology project was much more special than the facts make it seem. What made it special? Some background about the province of Newfoundland and Labrador will make that clear.
Diversity is not a word often associated with this province, in a cultural sense at least. Case in point: in 2006, the Government of Newfoundland and Labrador unveiled a new provincial logo, replacing an image of the provincial flag with an image of the provincial flower, the pitcher plant. Apparently, the pitcher plant, “[a] plant so odd, yet so comfortable in its own skin…” is the symbol that best “reflects who we are and what we stand for” (Gov of Newfoundland and Labrador). The symbol apparently unites all people in the province: “One symbol, one voice” (Gov of Newfoundland and Labrador).
There is obviously not “one voice” among all people living in Newfoundland and Labrador; there is not “one voice” among all people living in any geographic area. In the context of Newfoundland, though, this is a fairly common idea. Newfoundland author Michael Crummey once wrote that the province has long been considered unique in Canada (31). Academic researchers agree, noting that “Newfoundland” is a specific regional identity that has been studied as separate from “‘the Maritimes…the North, the Northwest Territories, Ontario, the Prairies, Quebec and the West” (Rummens 12). Although there are unique regional identities across Canada, the sense of identity is strong in Newfoundland, and tends to be very Irish and English centred (Mannion 5; Story 24-27). The predominant histories of Newfoundland are about settlers from those countries and their work in the fishery.
However, there are many other people who have lived in this place whose lives and stories are just as important as those of the English and the Irish. But their stories are harder to find at museums or in books about the province. Historically, there were Norse explorers here, and sailors from Portugal, Spain, and the Caribbean (Mannion 5-11). And, before the arrival of people from other places, there were First Nations people living in Newfoundland and Labrador: the Beothuk (a group rendered largely extinct during the 18th century), the Innu, the Inuit and the Migmaw. And, in contemporary times, there are significant cultural groups in St. John’s, like the Jewish and Chinese communities. And the mention of these groups only covers cultural diversity; there is great diversity in the province with respect to culture, but also age, occupation, gender, religion and physical ability. But when most people talk and think about Newfoundland and Labrador, they rarely consider these stories.
That is why Urban Archaeology was important, because it considered other stories. I facilitated this project through The Rooms, a relatively new cultural institution in St. John’s. It is a unique space that opened in the summer of 2005 and houses the Provincial Museum, Art Gallery and Archives. Prior to the building’s opening, these three institutions were separate spaces in St. John’s; together they occupy a prominent place in the city, both physically and culturally. All three exist to tell stories about the province, and most of the stories they tell are about people of that English and Irish fishing heritage. I wanted to change that, to give some people who are not often heard the chance to share their stories on the biggest stage in town. Because if you are unable to share your stories, that is often a sign that there are other things you are not able to do.
It is a simple idea, the idea of sharing stories, but it is a powerful one. To be honest, when I began Urban Archaeology, I did not realize the effect the sharing would have. The process of participating in Urban Archaeology and of being celebrated in The Rooms strongly affected the participants; the best way I can explain that is by telling a few stories about those who were telling the stories.
A young woman from BTIM hugged me warmly when she arrived at the Urban Archaeology reception, declaring that everything looked “just beautiful!” Later, she squeezed me again and said that she felt emotional, seeing all the boxes together. Seeing these people, and these stories, and learning a little about what they have gone through affected her more than she thought it would. She said she felt honoured to be included. She thanked me, her eyes welling up with tears.
Two men from the ILRC approached me midway through the reception. One was pushing the other in a wheelchair. The man in the wheelchair was holding a small green birdhouse on his lap, which he made for me. He exclaimed, “Thank you Heather!” and thrust the gift into my hands. Then, the man who was pushing stepped forward, and said that they both wanted to thank me for the chance to participate in the project. He said that making the box gave them the chance to talk about things they otherwise would not have talked about. And he said more importantly, the project gave them the opportunity to go out into the community and experience things they would not have felt safe doing otherwise. He thanked me again, and then disappeared into the crowd.
Several participants were unable to attend the reception. One in particular, affiliated with RIAC, was unable to come because she was deported shortly before Christmas. I remember her well; she was enthusiastic about painting her memory box. She said it made her feel like a child. She said it was important to give people opportunities to express themselves, because it was good for the soul. When she left the gallery, she said she felt lighter. Her life, she told me, as it was then, did not allow for moments of creativity and reflection.
The generation of art and the creation of stories can be transformative (Westerman 118). The effect of creation is powerful as William Westerman describes:
The feeling that creative people experience when participating in a[n]…artistic activity is seldom well articulated, because it is fundamentally non-verbal. Usually the words break down [when they talk about it] and people only speak in general terms: “It does something for me,” “I feel something,” “I feel great”… [T]hat creative process not only makes us feel more human, it connects us socially…(118).

In contemporary Western cultures , however, , creative action “is usually treated as merely a recreational activity rather than something of primary importance” (Westerman 118). This is unfortunate, especially since, “art [is]…a means through which children, youth and adults communicate their values and beliefs to one another” (Blandy and Hoffman 25). Moreover, the arts are an important component of community development; they “encourage personal development as well as social cohesion” (Carey and Sutton 124). Community based art projects serve both to provide “a means for people to express their relationship with their social and physical environment,” as well as “encourage[ing diverse] groups to work together” (Carey and Sutton 124). Encouragement of individual self worth, and promotion of group action are cornerstones of a healthy community.

***

Sometimes the shortest proverbs contain the deepest meanings and the simplest songs stick in your heart. The same is true for artwork. It was a long time before I noticed the outside of one of the boxes. In two small graphics, the maker had (unintentionally?) captured what I had hoped would be the spirit of Urban Archaeology. On one side of his box is a stereo, with the word ‘Listen’ underneath it. On the other is a character holding a microphone; underneath are the words ‘Be Heard.’
Listen. Be Heard.
I never asked him why he painted those images and those words. What I do know is that for me, they are a distillation of Urban Archaeology. I listened, and I tried to give a platform, however small it might have been, to people who deserve to be heard as loudly as anyone else in this city. And whether the project created any long-term change or not, the fact that at least one person caught onto, or at least agreed with my message is enough to give me hope for the future of diversity in the city.

***

The story revolution, the one that is transforming our world this very minute, is fuelled by a democratic counter-assertion: that everyone contributes to culture; that the knowledge sorely needed by future generations must come from every ethnic group and region and social class, from men and women of infinite variety; and that everyone has something to teach and something to learn (Goldbard).

About the author

Heather Read is a graduate student in the Department of Folklore at Memorial University. She also sells paintings in her spare time, and bakes muffins of varying delicious varieties.

References

Blandy, Douglas and Hoffman, Elizabeth. “Toward an art education of place.” Studies in Art Education 35.1 (1993): 22-33.
Carey, Phil, and Sutton, Sue. “Community development through participatory arts: Lessons learned from a community arts and regeneration project in South Liverpool.” Community Development Journal 39.2 (2004): 123-134.
Goldbard, Arlene. “The Story Revolution: How Telling Our Stories Transforms the World.” Community Arts Network: Reading Room. 2005. 20 February 2007.
Government of Newfoundland and Labrador. “Brand Signature.” Government of Newfoundland and Labrador website. 2006. 20 February 2007.
Independent Living Resource Centre. ILRC website. n.d. 15 February 2007.
Mannion, John J. “Introduction.” In John Mannion’s The Peopling of Newfoundland: Essays in Historical Geography. St. John’s, NL: ISER, Memorial University, 1977. 1-14.
The Murphy Centre. “Programs.” The Murphy Centre: A living investment. 2003. 21 February 2007.
MWONL. Multicultural Women’s Organization of Newfoundland and Labrador. St. John’s: MWONL, 2006.
RIAC. “About us: Vision mission value.” RIAC: Refugee and Immigrant Advisory Council. 26 June 2006. 21 February 2007.
Rummens, Joanna. “An Interdisciplinary Overview of Canadian Research on Identity.” Metropolis. 2001. 20 February 2007. .
Story, George M. “Newfoundland: Fishermen, Hunters, Planters and Merchants.” In Herbert Halpert’s Christmas Mummering in Newfoundland. Toronto, ON: University of Toronto Press, 1969. 7-33.
Westerman, William. “Wild grasses and new arks: Transformative potential in applied and public folklore.” Journal of American Folklore 119.471 (2006):111-128.