By Nina Gaind
Walking through Supercrawl felt different this year. I felt weird about the presence of five Toyota cars positioned directly across from an art installation. I also felt a bit out of place, as many local faces and businesses from the past had disappeared, replaced by shiny new coffee shops and boutiques. The unoccupied lot beside CBC Hamilton was empty, where in past years it has been populated by local artists selling their unique DIY crafts and teenagers hanging out in the back (do you know what I’m referring to?).
Despite these changes, the thing that made me the most uncomfortable was the couple comments I heard from Supercrawl goers, referring to Hamilton and the space they were occupying. I heard people making jokes while in a long time standing James Street North shop, laughing about how outdated and cringe it was. I heard people snickering at the presence of homeless folks, and making a joke out of the poverty in Hamilton. These deeply unsettling comments symbolize a larger problem with the changing scene in Hamilton, and the language people use causes further harm to the people being pushed out of these social spaces.
Growing up in a town on the edge of Hamilton, I noticed ways in which people spoke about Hamilton. People talked about the city’s poverty with disdain, associating low-income areas with crime, rather than compassionately understanding the drive behind the perceived danger. With the recent wave of gentrification, more people from outside of the downtown area have been spending time in in the downtown core, changing how the city is perceived. This is exemplified in streets like James Street North and Barton Street being described as “up and coming”, while not even 2 km away there are some of the highest poverty rates in the country. With this rapid gentrification, Hamiltonians who have historically occupied these spaces are being pushed further and further away from these areas. For example, an affordable housing project in the North End was recently bought out by investors, leaving people who relied on this without homes. As a student who spends time in these spaces, I listen as the language used to describe people of low-income neighbourhoods becomes increasingly harmful and offensive. Local Hamiltonians are spoken about in ways that stigmatize their lived experience calling certain areas “sketchy”, “ghetto” and “ratchet”. These terms are highly racialized and classist, and do nothing but further the marginalization low-income people face throughout the development of Hamilton.
This issue is highly complicated and has many layers to it. Gentrification is not a simple concept, as development in the city has positive and negative consequences. As a student, I want to use my voice and privilege to acknowledge the power I and my peers have when we occupy spaces downtown. Students are positioned in a very grey area when it comes to gentrification and development. On one hand, we are not the people directly investing and developing land in Hamilton, rising rent prices and pushing low-income folks to the margins. On the other hand, we engage and spend time in these new coffee shops and stores, supporting local businesses and enjoying these spaces. While we might think our presence as students is trivial, our identities as students give us social power. Our identities as educated individuals give us more mobility to access physical and social spaces than local Hamiltonians. It is important for us to be mindful of this fact and reflect upon how and why we perceive others to be different from us. This being said, I recognize that university students come from diverse backgrounds and experience oppression in many aspects of society and this should not be ignored when talking about this issue.
This city belongs to the very Hamiltonians we ridicule. As we continue to spend time in gentrified areas in Hamilton, we should be aware of the language we use when talking about others, specifically marginalized folks who are being negatively impacted by the cities changes. Using divisive language feeds the narrative that people who live in poverty are bad and dangerous, which physically and socially separates people more in society. When we start to change the tone of how we describe others, it can help to create more respectful relationships between people we may deem different from us. We must respect the history of Hamilton and recognize presence of poverty, looking to the root causes of inequality. I am hopeful that we as students can continue to enjoy Hamilton while being mindful of our identities and interact more positively with local Hamilton community members.
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In our latest issue, we caught up with some musicians, artists, designers, and chefs showing off their craft on the streets!
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At Supercrawl this weekend, Hamilton photographer Jessie Golem brought an interactive, human face to the premature cancellation of the universal basic income pilot project through her photo exhibit Humans of Basic Income.
Ten portraits of individuals whose lives had been radically changed by the premature cancellation stood outside Centre 3 for Print and Media Arts on James Street North. Several recipients of the basic income pilot sat in front of the photo display, sharing with passersby their own personal experiences.
Universal basic income was introduced as an experimental pilot project by the provincial Liberal government in 2017 in order to sustainably reduce poverty. Four thousand eligible people from Hamilton, Brantford, Brant County, Thunder Bay and Lindsay received monthly basic income payments to help cover living expenses and improve quality of life.
Golem started the Humans of Basic Income project to humanize the issues associated with cancelling the project through the power of visual storytelling. Prior to this weekend’s exhibit, the photographs only existed online. Golem used Facebook and Twitter to share the photos.
Part of what made the Supercrawl exhibit unique was the ability to have face-to-face interactions with basic income recipients.
“[It’s about] taking what's a political issue and putting a human face to it and saying, well these are the people that are being affected,” Golem said.
The exhibit explores how basic income gave some people the freedom to pursue other passions and interests. Margie Goold, one of the volunteers at the exhibit, was able to take a digital camera course at Mohawk college, an opportunity she wouldn’t have been able to afford otherwise.
Basic income also allowed Hamilton resident Lance Dingman to pay for his prosthetic leg. This allowed him to save up funds for prosthetics that he will need in the not so distant future. Most importantly, basic income gave Dingman the autonomy to live his life as he chooses.
“Basic income for me has given me the life that I have been striving a long time [for], to make it better, to make it richer, to make it more independent for myself,” explained Dingman.
The original intention was to continue the project on an experimental basis for three years and then assess its effectiveness. However, the Ford government cancelled the pilot program in July and announced that payments will stop at the end of March.
Through the photographs and experiences being shared during the Supercrawl exhibit, the narrative is consistent. A premature cancellation of the pilot project threatens to uproot the lives that it had helped people to build for themselves.
Recipients made life-changing decisions based on the expectation of receiving monthly payments for the entirety of the pilot program. Scraping the income will lock individuals into leases they can’t afford and disrupt their studies at colleges and universities.
Furthermore, recipients that applied for other sources of financial support on the understanding that they would be receiving basic income payments, are now stuck in between assistance programs, with no certainty about where their financial support will come from.
Lynn Ridsdale, another volunteer at the exhibit, notes that high living costs in Hamilton made universal basic income even more important. In particular, basic income helped her to find suitable, accessible housing, despite the steadily increasing cost of rent in Hamilton.
As Hamilton’s arts scene attracts investment and development, living expenses rise and many can no longer afford to live in Hamilton. New cafes, galleries and condominiums wipe away the visual signs of poverty in the city, and the bustle of Supercrawl makes it easy to forget about the consequences that come alongside the city’s development.
#basicincome gives people stability and dignity.
Heartbreaking stories of what the loss of the program means.
Grateful to have heard from Jessie Golem yesterday, who started the Humans of Basic Income project @HumansBasic. pic.twitter.com/FVoHTDLeQ2
— Kevin (@KevinHLam) September 16, 2018
Golem hopes that the project will help continue the conversation about poverty.
“I don’t want this conversation to die down and just become another political issue…I want people to think about the conversation, think about what poverty looks like,” explained Golem.
The Humans of Basic Income exhibit brings Hamiltonians face to face with the reality of what it is like to navigate life in the city while experiencing poverty. The exhibit’s photographs, media reach and real-life interactions at Supercrawl have created a platform for Hamilton residents to share their experiences with the community at large.
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By Drew Simpson
Supercrawl is Hamilton’s annual art crawl showcasing various talents thriving within the city; from art, music, food to fashion. Stages are set, sets are rehearsed, art installations are built and the food trucks line up all the way down James Street North, closing it from King Street to Cannon Street to allow for this rich presentation of culture.
Walking up James Street North from King Street West, a side road called King William hosts a competition. Competitions aren’t a common theme of Supercrawl, however FEED the Social and NOSH, the organizers of the King William Cook-Off, saw it fit to host a one-round, thirty-minute competition between two teams of well-known chefs.
FEED the Social is a social media company based in Hamilton. They specialize in representing for Hamilton’s culinary works. While NOSH stands for north Hamilton, the outlining communities surrounding and south Hamilton.
Under the tent by Hamburgr, two teams of chefs competed. There were barely any rules. No mystery boxes. No mystery ingredients. The instructions were simple, cook the best entrée within the time limit.
Through comradery, both teams knew each other’s chefs, their strengths and perhaps their weaknesses. They planned carefully for this event. Michael Marini, the coordinator of marketing for the city of Hamilton’s economic development office, explains competition can bring out chefs’ creativity.
One time consisted of Chef Harrison Hennick of Nique, Martello and the General paired with Chef Michael Vogt of Frat’s Cucina. They battled Chef Michael Cipollo of Hambrgr, Fsh & Chp and Lost + Found whose partner was Chef Patrick Weise of Twisted Kitchen Catering and Matthew’s Friends Canada.
These talented chefs are both Canadian and world-renowned. Past winner and judge of Chef Wars, Patrick Weise was once Oprah’s personal chef. The chefs chosen to partake in this cook-off give a taste of the culinary talent evident in Hamilton.
King William Cook-Off is a preliminary event of the annual Chef Wars hosted by NOSH, these competitors have been judges, participants and winners of Chef Wars. Originally ran by NOSH, FEED the Social is now in charge of both Chef Wars and King William Cook-Off. While the chefs for King William Cook-Off were hand-selected, Chef Wars is a better representation of using a competition format to showcase all the best in Hamilton.
“I think it brings out the competitive spirit. At the same time, the difference with what we’re seeing in Hamilton and what we’ve been told by chefs coming from Toronto is the collaboration that happens in Hamilton,” explained Marini.
“Even though they’re competitive, they’re not out to destroy each other’s businesses. So they want to work together. They’re going to have a little challenge against each other, but at the end of the day they’re all friends.”
Often competition is used to validate talent. While the president of FEED the Social, Romeo Crugnale, agrees that art encompasses food, he also believes competitions like the King William Cook-Off and Chef Wars can validate Hamilton’s culinary talent.
“With these events…I want to be able to really elevate it to another level. Everybody knows Hamilton is starting to have a really great food scene. Everybody knows that restaurants are coming in and chefs are coming over from Toronto to open up here for various reasons,” explained Crugnale.
“What is the way to showcase that? What better platform than Supercrawl? What better platform that doing a free event…in the spirit of Supercrawl.”
Watching competitions is entertaining, but it also has a deeper purpose. When trying to prove worth, comparisons are made. Often competition is used to decide how great someone or something is. Therefore, competition is a natural way of crowning the worthiest.
There is a fine line to walk between validating the city’s culinary scene and showcasing the intense creativity of competitors through competition. Some may argue that Supercrawl is meant to celebrate Hamilton’s unique culture, not try to equate it to larger cities.
However, it’s undeniable that Hamilton’s food scene is thriving and using competition can go a long way to bring chefs and their talents to the forefront of the conversation around what makes Hamilton great. Everyone has a competitive nature and it can bring out the best out of Hamiltonians and their culinary dishes.
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Since February of this year, local media artist, Vanessa Crosbie Ramsay, has devoted hours to hand-knitting and wrapping into a ball 9000 feet of Internet cable. This knitting and wrapping culminated when the 40 feet long by 12 feet wide structure was positioned outside last Thursday for Supercrawl, along with two giant, pink knitting needles.
The piece, entitled male-dominated, speaks to the underrepresentation of women in science,technology, engineering and math fields. The idea was sparked by friends of hers who had started a technology business and employed no women or people of colour. Aware that this problem is systemic, she wanted to create a piece that commented on it in an unexpected way.
“These types of companies hire less women and… when they have women that are hired, they're [in] pretty misogynist spaces a lot of the time. [M]y work in general grows out of feminist issues and this… is just a small way to contribute to bringing attention to an issue like that,” she explained.
In creating the piece, Ramsay considered what is historically ‘women’s work’. The cables wrapped together into a semblance of a yarn ball calls to mind a past where the majority of women did work as homemakers.
However, contrasted with the technological tint of the cables, she brings onlookers back to the present, reminding them that in 2018, a lot of women are getting degrees and holding jobs outside of the home. While women might still knit, as Ramsay did to create the piece, it isn’t necessarily all that women do.
https://www.instagram.com/p/Bm6BFX0nFv1/?utm_source=ig_web_button_share_sheet
Ramsay herself is a good example of this. She attended York University, where she obtained a bachelor’s degree in fine arts with a minor in English. She juggles multiple roles as an arts educator, a media artist, a visual artist, a filmmaker and more.
She works in a space where women historically have been shut out from. Earlier this year, when Ramsay won a City of Hamilton Media Arts Award, she felt it was important to use her speech to talk about the disappointing representation of women in art.
“[W]e need to give more opportunities for women. I know the art gallery is working on it. Hopefully the trickledown is that all…organizations are working on it, having more women, having more diverse representation of all different types of people, rather than just white dudes. There's some amazing women artists, even just in the city and we need to do more to celebrate that.”
Ramsay’s focus on intersectional feminism has defined the trajectory of her career. Following her graduation from York, she worked in television editing, but wasn’t happy with the portrayal of women in shows. Since 2010, she has been working in visual art, allowing her to express herself and her views. She currently has a feminist art collective named the DAV(e) Collective with two other professional artists.
“I would like to see more friendly, inclusive, welcoming environments for women so [that] when they get jobs...they [would] want to stay in them. And the same in art. We just need more representation in all of these fields and safer [and] more inclusive spaces for women in general,” she explained.
There’s a definite need for more welcoming spaces in the art world where thoughtful artists like Ramsay can exist in. Unfortunately, her experiences as a woman in the art world run parallel to the experiences of women working in several different fields, including STEM.
Some days Ramsay is optimistic and some days she is not. She is encouraged by the progress that is being made towards creating better environments for women, but sees how slow this progress can be. There’s no doubt that her expansive piece and all the work that she has done is helping carve out the space she strives for.
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