What is the value of an apology? That is one of the questions that JUNO-nominated singer and songwriter Khari Wendell McClelland is exploring in his new concert, We Now Recognize. The show, which consists of all new songs, will tour six Canadian cities for Black History Month. It comes to the Lincoln Alexander Centre in Hamilton on Feb. 19 at 8 p.m.
We Now Recognize is a partnership between McClelland and Project Humanity, a non-profit organization that uses the arts to raise social awareness. The two collaborated in 2017 and 2018 to create the documentary theatre musical of the Vancouver-based artist’s debut solo album, Freedom Singer. Freedom Singer interpreted songs that might have accompanied McClelland’s great-great-great-grandmother Kizzy as she escaped from slavery via the Underground Railroad.
This show is another personal work, although McClelland originally took inspiration from the current sociopolitical landscape. The number of political apologies that have occurred struck him in the past decade or so and especially in Justin Trudeau’s term. He began to question what constitutes a substantive and meaningful apology.
In writing the show, McClelland found himself reflecting on being wrong and the extent of his compassion for those who do wrong. He considered how recognizing wrongdoing feels and how to move forward from it. With this, he also thought about the relationships he has with the generations of men in his family.
“[I was] looking at my grandfather and my father and my brother and even considering what it would be to be… a father and what the implications might mean for a larger society… [I]t's men who are exerting power and have a lot of control in society… What are some of the ideas… I grew up with that I have at different times perpetuated in my own life and trying to figure out like what that might look like through a generational lens,” said McClelland.
The show explores other ideas that McClelland cares about, such as community and the way we wield power over the natural world. In bringing different ideas in proximity with one another, McClelland sees the work as an assemblage like a quilt or collage.
McClelland sees being able to explore a multitude of ideas as a way of celebrating Black life. Unlike his past work with Freedom Singer, which tackled the history of slavery head on, We Now Recognize, is a subtler approach to Black history that it more rooted in the present and in the future.
“I feel like there are ways in which black life can be can be understood as a monolith, that black people in Black communities aren't allowed to have a diversity of experiences and perspectives. I'm very curious… about creating some kind of radical subjectivity around Black life, like being able to be all these different ways that we are just as human beings,” McClelland said.
Not only will the concert allow McClelland a chance to bring forth the multiplicity of Black life, it will allow him to stretch himself and grow as an artist. The personal show will force him to be vulnerable in a way that he hasn’t been before with the communities across Canada that has supported him.
McClelland sees the connection to music as something that erodes for many people over their lifetime. For him, however, it is something that he hasn’t stopped doing ever since it became a part of his life as a kid growing up in Detroit. It moves him in a way that isn’t necessarily positive or negative, but just is. He also sees the medium as essential to building community.
“I feel like healthy communities move together. That they practice together, that they have rituals together… [O]ur connection to artful practices actually has the potential to heal us as communities and individuals coming together… has this real potential for a deep kind of healing… I think it is just a deep medicine in the way that we come together and make music and make art,” explained McClelland.
McClelland is looking forward to this tour to see how audiences connect with the new songs. He is eager to see the way in which people are moved by this meditation on wrongdoing and apology, whether positively or in a way that is a little uncomfortable.
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Every March, past and present MSU student leaders, University administrators and some members of The Silhouette, get together for Student Recognition Night, an evening that highlights achievements and successes in student politics and service provision. Apart from the awards ceremony, one of the most anticipated parts of the evening is the current MSU Board of Directors’ Swan Song — a humorous and final goodbye from the President and the Vice Presidents of the MSU that has traditionally been used to poke fun at student politics, sing a couple self-deprecating lines and throw a few (welcome) jabs at our coverage.
Unfortunately, this year the song crossed the line from humorous to offensive. Although much of the song was funny and light-hearted, I have two issues with it: the individual attack towards a student activist, and the way it ridiculed the efforts of student activism, specifically the pro-Vice Presidential election reform campaign team and the Student Mobilization Syndicate.
Addressing student concerns of increasing tuition rates and groups that have requested that the MSU be more active beyond its role with OUSA, the song included lines like, “They say that tuition has doubled; maybe because they’ve been here for 10 years,” and in the same vein, “They’re now on the SRA; at least I’ll soon be gone.” For anyone involved with the MSU, the identity of the person the BOD was referring to is very clear. It’s also well known that this person is also a mature student who used to attend McMaster and has now returned for reasons that we’re not aware of and which frankly are none of our business. Whether their choice to leave was because of financial reasons, health reasons, or simply a matter of personal choice, whatever angle you decide to look at this line from, it is extremely offensive.
The person in question is also, as the song gives away, a new member of the Student Representative Assembly. The lines only create unnecessary and damaging animosity between the executive branch of the MSU and its governing body members, which should expect more respect from the BOD. There is a difference between inside jokes and personal attacks towards people you don’t engage in constructive dialogue with. That the person was also not present (or invited) to Student Rec Night makes the whole thing even more uncomfortable.
Beyond the personal attack, I was also disturbed at the willingness of the Board to ridicule the efforts of student groups whose goals are to push for change within the MSU. I’m not arguing that their stances are good or bad, but students should feel free to speak their mind about how they want to govern their student union without being ridiculed. For example, one line from the song about the VP reform petition was: “VPs-at-large they tried to file a petition once or twice… by once or twice I mean maybe a couple of hundred times.” It later added, “It’s too bad you lost VP to some Yik Yaks and memes… 21 votes,” referring to the small number of votes the pro-reform side lost the referendum by (a sad 0.3% under the two-thirds majority needed). What good does it do to ridicule the efforts of students with good intentions and students who want to improve the democratic process of our union? The BOD are the people in power. Whether you choose to respect their opinions or not, they still hold a lot of ground. Ridiculing student movements creates a hostile environment that discourages people from expressing opinions that the larger voices within the MSU might look down on.
Before anyone messages us to let us know that we don’t get the “point” of the Swan Song, that it’s meant to be in jest, let me assure you that we know. We know that it is meant to highlight the sometimes ridiculous and immature nature of student politics, and give the BOD a chance to respond to criticisms they’ve faced throughout the year. But it is not meant to be malicious or attack individual people. It’s not meant to discourage student activism, especially not activism that doesn’t align directly with how the MSU sees itself. The petitions and activist groups get attention because they speak to people — the numbers speak for themselves: both in the number of people who signed the VP reform petitions and those who voted in favour — and the last thing the MSU should be doing is making people feel that they will be ridiculed for wanting to make a change or be involved. Though the Swan Song does not take away from this BOD’s accomplishments, it ends the year on a sour note.
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