The 2025 issue of ti< highlights creative work by students in the Centre for Studies in Arts and Culture (STAC) and in French Studies (FREN). Whether following in the steps of STAC-WCL artist Marc-Alexandre Dumoulin, who took a creative walk with us at the start of the academic year, or transforming AI-generated texts into free-verse poetry, this new issue collects English- and French-language contributions that are both inventive and thoughtful.
To access ti<, please click here.
Image caption: A new art exhibition, titled “unscene,” is showcasing the work of Willow Arts Community members at Brock’s Marilyn I. Walker School of Fine and Performing Arts gallery. Now in its second year, the collaborative exhibition showcases a diverse range of work including paintings, sculpture and multi-media installations.
TUESDAY, MAY 28, 2024 | by Gillian Minaker
A new art exhibition is exploring themes of presence and belonging in the local St. Catharines arts community for individuals with lived experiences of mental illness and substance use.
Featuring work of Willow Arts Community (Willow) members, “unscene” is now open at the Visual Arts Gallery and Exhibition Space at Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA). The exhibition runs at MIWSFPA until Saturday, June 15.
Through their work, participating artists reflected on their connection to the arts scene in downtown St. Catharines as well as how their voices are heard, and experiences perceived, by the wider arts community.
All are invited to attend the opening reception at the MIWSFPA on Friday, May 31 from 5 to 7 p.m. The reception will include a live performance by The Willow Choir performing a song written by Willow community members and composed by Willow choir conductor Sarah Jerrom.
Located in downtown St. Catharines, Willow provides low-barrier opportunities for community members to engage with peer-to-peer arts education and fosters a safe space for creative exploration.
Dramatic Arts Associate Professor Danielle Wilson’s interest in voice work began with her very first voice class when she began her theatre education. The actor quickly realized how her voice was tied to her identity, and how much power it could have.
Through her professional practice and creative research, Wilson now aims to broaden the definition of what voice work is and highlight its profound impact on theatre practice.
Wilson recently co-curated and co-edited a special edition of the Canadian Theatre Review (CTR) dedicated to voice work.
The special edition investigates voice work within a broad context expanding on the notion that voice work is solely a skills-based subject for performers.
“Many people may think that voice work is only about projecting your voice, enunciating, and performing accents. While those are fundamental elements, I wanted to look beyond the basics and explore what ‘voice work’ means in all its complexity. The work goes beyond what we sound like when we speak”, Wilson says.
There are eleven articles in the issue which delve into the ways that voice work intersects with other areas and disciplines such as social justice, cultural and gender identity, feminist philosophy, and performance practice.
Wilson found it fascinating, and at times challenging, to curate and edit an issue about a discipline so tied to sound and physical presence.
As part of the issue, Wilson interviewed three prominent voice coaches at the Stratford Festival — the only theatre company in Canada with a dedicated team of voice professionals — to illuminate what a voice coach does and help expand the common understanding of voice work.
Another contributor, Jane MacFarlane, explores how theatre-based vocal practice can help people support their gender identity. MacFarlane offers gender affirming voice classes through a transgender support organization in Calgary.
Peruvian-born scholar Nae Hanashiro Ávila discusses voice work and performance through a social justice lens and how it can provide a platform for women’s voices to be heard in the public sphere.
“At the root of voice work is self-expression by helping people embrace who they are. It’s not about developing a brand-new voice but about expanding and deepening your relationship with your voice and all that it can do”, Wilson says.
“One of my mentors, voice teacher Richard Armstrong, said, ‘If you work on your voice, you work on yourself’. That has always resonated with me.”
Wilson is also helping to organize and host the inaugural conference for the newly formed National Voice Association which will take place at the Marilyn I. Walker School of Fine and Performing Arts from June 8-9th.
The CTR special edition is now available on the Canadian Theatre Review website.
Image caption: Brock Professor Jean Ntakiturimana of Modern Languages, Literatures & Cultures, (right) at the Sunday morning long table about the world of publishing, hosted by Binta Wague of les Éditions Touana (Toronto , centre-right, in green).
Brock University recently welcomed the Salon du Livre des Francophonies du Niagara (SAFRAN) 2024 for a diverse and dynamic weekend of events and performances celebrating literary creativity and diversity in the Niagara region.
Hosted by Brock’s Centre for Studies in Arts and Culture (STAC) and Department of Modern Languages, Literatures and Cultures (MLLC) in collaboration with SOFIFRAN, the event was held from March 21 to 24 at the Marilyn I. Walker School of Fine and Performing Arts, with an opening ceremony at the Film House in the First Ontario Performing Arts Centre. With the important collaboration of the Maison de la culture francophone du Niagara, the event coincided with the UNESCO World Poetry Day, World Puppetry Day and International Francophonie Day.
Director of the Salon du livre and MLLC Instructor, Nafée Faigou, hosting the opening ceremonies at the FirstOntario Performing Arts Centre.
“It’s been an absolutely remarkable celebration of language and culture, beautifully led and produced by Director of the Salon du livre, Nafée Faigou and Fété Ngira-Batware Kimpiobi, Director General of SOFIFRAN,” said Professor David Vivian, Director of the Centre for Studies in Arts and Culture. “Our learning community is so much richer for having hosted SAFRAN.”
Guests and community members from the Niagara Francophone community and beyond were treated to a diverse offering of cultural interactions including entertaining and thoughtful puppet shows by Le chemin qui marche from Quebec, workshops for youth on robotics and AI and compelling roundtable discussions in the MIWSFPA venues.
A highlight was the publisher’s fair in the MIWSFPA lobby, igniting important long-table discussions amongst publishers and authors that celebrated the Francophonie of the region, including both Franco-Ontarian and new Franco-Canadian voices.
For more information about the event, please visit the STAC website.
humanities, miwsfpa, MLLC
Categories: News, Uncategorised
Image caption: As part of the inaugural Niagara Regional STAR Festival held at Brock’s Marilyn I. Walker School of Fine and Performing Arts, students from Sir Winston Churchill Secondary School staged a short performance in Studio C following a morning of workshops honing their creative skills.
Elementary and high school students from across Niagara recently gathered at Brock to take the stage and put their theatre skills to the test.
Hosted by Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA) in partnership with the Theatrical Arts Education Association, the inaugural Niagara Regional STAR Festival(School Theatrical Arts Recognition) saw more than 150 students, teachers and theatre professionals gather for a day of workshops, performances and community building on Thursday, Dec. 14.
The festival allows young people to compete against a rubric created by theatre educators while receiving valuable feedback from professionals in the industry.
Throughout the day, students participated in workshops led by local theatre professionals and educators exploring topics such as vocal techniques, improvisation and community building.
A.N. Myer Secondary School student Leah Miller said that it was a fun day learning about different art forms.
“Having the opportunity to try out new things like improv and vocal skills has been a wonderful experience,” said Miller.
Students presented skills developed in their school drama classes and performed theatrical pieces in categories including contrasting monologues, musical theatre ensembles, solos and short plays. The categories were adjudicated by theatre experts, including Brock faculty and Dramatic Arts students.
“The only requirement was that students bring their best efforts. No costumes, sets, lighting or makeup was required, just their best work and theatre blacks,” said Tracy Garratt, Program Leader for the Arts, School Culture and Student Engagement with the District School Board of Niagara (DSBN) and Teacher at A.N. Myer Secondary School in Niagara Falls.
Associate Professor and Scenographer David Vivian, the Brock faculty lead, said the community partnership with the STAR Festival not only offered emerging student artists the opportunity to showcase their talents and creativity, but also to receive feedback fostering creative growth in a supportive environment.
“The faculty and senior students of the Dramatic Arts program at the MIWSFPA were thrilled with the opportunity to discover the emerging talent of the region and to share our excellent facilities with the high school community,” Vivian said.
The event was supported by local organizations sharing a common mandate of supporting youth and their families with wellness resources, especially focusing on mental health.
In addition to the participation of local arts organizations, representatives of the Vancouver Film School (VFS) travelled to Niagara to lead workshops on acting for the camera, strengthening ties between DART’s undergraduate programming and a professional program such as VFS.
For more information about the event, please visit the Theatrical Arts Education Association website.
Pictured above: Fourth-year Dramatic Arts student Manikham Marianne Vongboutdy recently returned from the Edinburgh Fringe Festival where she put her Brock theatre training to work gaining international experience.
THURSDAY, NOVEMBER 09, 2023 | by Gillian Minaker
Carrying with her the skills she’s learned as a Brock Dramatic Arts (DART) student, Manikham Marianne Vongboutdy recently headed overseas to work at the world’s largest performance arts festival.
The fourth-year student spent time this summer with the prestigious Edinburgh Fringe Festival, where she was invited by her high school to work as a stage manager on the St. Catharines Collegiate and West Niagara Secondary School production, Piece of Me.
With a concentration in production and design, Vongboutdy said her Brock theatre training was key to her landing the stage management gig in Scotland.
“Working with Brock’s state-of-the-art technology in Dramatic Arts has been invaluable,” she said. “Learning tech in the theatre has been a special experience. I am developing the skills I will need in the professional theatre world.”
Piece of Me navigates the relationship of a mother and daughter in a coming-of-age tale offering an innovative take on adolescence told through a teenager’s eyes. Like the characters in the play, Vongboutdy has found many moments of personal reflection as she has grown in her creative practice at Brock.
Piece of Me was an adaptation based on two different plays exploring similar subject matter, which from a stage management perspective, meant merging two plays into one. This complex staging posed interesting challenges that Vongboutdy was prepared to take on.
As an upper-year DART student, she was able to transfer the skills gained in her first few years at Brock to her international experience, such as learning to sew in wardrobe classes so she could step up and help with costumes or painting props using skills from props classes.
“A unique thing about studying at the Marilyn is that we get to learn about different aspects of staging a show, which served me so well during my Edinburgh experience,” she said. “We are stronger artists because of it.”
After her experience abroad, Vongboutdy said she has a wider perspective of what theatre can look like.
“It was eye-opening for me,” she said. “As a stage manager, we try and put forward the best show possible, but part of our job is to work with what is happening in the moment. I am thrilled to put my experience into practice.”
Vongboutdy is now working as stage manager for Brock’s upcoming winter mainstage production, The Mysterious Mind of Molly McGillicuddy, written and directed by DART Instructor Mike Griffin. The play explores brain injury and related mental health issues through the styles of full-mask, puppetry and physical theatre.
Working with Griffin is a valuable experience for Vongboutdy, who aims to pursue a master’s degree in puppetry. Exploring the medium is especially important to her Laotian heritage, a culture in which many teachings occur using masks and puppets.
“As an immigrant, I always hold my home and culture in Laos very close, and I try to incorporate elements of my culture into the work I do every day creating theatre,” she said.
The Mysterious Mind of Molly McGillicuddy will run at the Marilyn I. Walker Theatre Feb. 15 to 19. More information can be found on the DART website.
Pictured above: Third-year Dramatic Arts student Lucas Charters (left) and second-year student Victoria Marshall rehearse on the set of the upcoming Dramatic Arts mainstage production at the Marilyn I. Walker Theatre, opening Friday, Oct. 27.
THURSDAY, OCTOBER 19, 2023 | by Gillian Minaker
More than a hundred years after it was written, a celebrated play by famed playwright Anton Chekhov is getting a contemporary reboot that invites audiences to explore how love and art fuel the pursuit of happiness.
Stupid F**king Bird, the mainstage production from Brock’s Department of Dramatic Arts (DART), opens at the Marilyn I. Walker Theatre on Friday, Oct. 27.
Directed by retired Associate Professor of Dramatic Arts Gyllian Raby and fourth-year DART student Hayley King, the play is a contemporary adaptation of Chekhov’s classic 1896 play The Seagull written by Aaron Posner. The story follows the lives and complicated love triangles of characters Con, Mash, Dev and Nina, teenagers coming of age in rural Ontario.
Third-year Dramatic Arts student Lucas Charters rehearses on set for the upcoming Dramatic Arts mainstage, an adaptation of the famous play The Seagull by Anton Chekhov, whose face is displayed as an artistic rendering seen here as part of the staging.
As the characters wrestle with the disappointments of love, rejection and growing up in the shadow of the boomer generation, they also find hope for the future through artistic expression when they stage their own play their way.
Raby said the adaptation is faithful to Chekhov’s original comedic work, exploring themes of human relationships in society that are as relevant today as they were in 1896 when the play was written, although it was considered revolutionary at the time.
“This is a production with big ideas attempting to reproduce theatrical innovation that Chekhov sought during his time. It is irreverent and laugh-out-loud funny, even given the character’s tendencies to self-destruct,” she said.
King, who is in her final year of study with a concentration in performance, said she has greatly enjoyed working on this innovative production as Associate Director and Choreographer, especially reimagining the theatrical conventions used by Chekhov and staging them in a fresh way for new audiences.
“Working alongside Gyllian Raby, I have learned so much about creating theatre. Investigating the metatheatrical nature of the play through staging, choreography and design has been both a great learning experience and a lot of fun,” King said.
Stupid F**king Bird opens Friday, Oct. 27 at 7:30 p.m. at the Marilyn I. Walker Theatre at the Marilyn I. Walker School of Fine and Performing Arts.
Performances will also take place Saturday, Oct. 28 at 7:30 p.m., Sunday, Oct. 29 at 1 p.m., Friday, Nov. 3 at 7:30 p.m. and Saturday Nov. 4 at 1 p.m. and 7:30 p.m.
General admission tickets are available for $20 and tickets for students and seniors are available for $16. Visit the Dramatic Arts event website to reserve tickets.
Pictured above: Brock Visual Arts graduate Taylor Elliott (BA ’23) has been engaging in creative sound work at the Sound Art Innovation Lab in downtown St. Catharines.
Early on, Brock researcher Troy Ouellette realized the power of electronics to create virtual instruments.
Merging this lifelong passion and his academic interest in sound art, Ouellette is bringing his expertise to the local community to connect people interested in experimental sound work.
An Assistant Professor of Digital Media in Brock’s Department of Visual Arts (VISA), Ouellette specializes in technology and conceptual art. He co-founded the Sound Art Innovation Lab (SAIL) earlier this year in partnership with Niagara Artists Centre (NAC) alongside a powerhouse team of local artists.
SAIL brings together community participants, scholars and students to generate interdisciplinary discussion around sound art and aims to encourage underrepresented groups to participate in all aspects of sound production.
The fully equipped recording studio and control room in downtown St. Catharines houses an audio suite with thousands of plug-ins for virtual instruments for users to experiment with. The space also includes an electronic drum set, guitars and keyboards to create dynamic sound works.
Ouellette said SAIL is encouraging people to think about sound and acoustics differently and to promote scholarly discourse in the community.
“We have a library of about 50 books that are dedicated to sound art and its history, especially within the practice of field recording,” he said. “In addition, there are important texts about composers who have contributed to minimalism, experimental and electroacoustic music.”
SAIL is also affiliated with local musicians such as Wayne Petti, who has worked as an audio engineer with Blue Rodeo, giving Brock students the chance to network with the professionals in the music industry.
Ouellette’s work with SAIL was largely inspired by his grandfather.
“He had a home recording studio, which fascinated me,” he said. “I noticed immediately that the different switches on his keyboard created different effects, like ‘reverb’ or ‘vibrato’ and ‘sustain’ and I was enamoured with these new possibilities.”
The name SAIL was also inspired by the small sailboat in which he plied the waters of Lake Erie as a kid, immersing himself in the natural soundscape and profoundly impacting his sonic experiences while on the water.
At Brock, Ouellette teaches classes engaging with digital foundations and interactive arts, sharing the rich history of sound art in Canada and exploring how sound in the digital age can feed into a human’s emotional capacities whether through a film or video score or an experimental recording.
Third-year VISA student Caleb Awinoron and recent graduate Taylor Elliott (BA ’23) have collaborated at the SAIL facilities, developing their creative skills and making valuable community connections.
“I’ve really enjoyed my time working at SAIL; there’s a sense of exploration and playfulness while keeping an academic interest,” Elliott said. “Sound art and design opens up so many possibilities and is such a versatile medium. It’s a great thing to become familiar with.”
Awinoron found he became more creative with repeat visits to the SAIL studio.
“Because I work with a lot of rap music, I’ve learned the different styles individual musicians use when recording and how to add to those moments as a developing producer,” he said.
SAIL will be hosting tours of the space on Saturday, Sept. 23 from 2 to 5 p.m. and will be hosting an artist talk for the public featuring sound artist Ellen Moffat on Saturday, Oct. 20 at NAC. Brock University and Moffat will also host a contact mic workshop for Brock students at the Marilyn I. Walker School of Fine and Performing Arts on Sunday, Oct. 21. Details can be found on the SAIL website.
Pictured above: The cast of Brock’s 2022 Mainstage production ‘Red Bike’ by Caridad Svich, directed by Mike Griffin. Mainstage productions will be among the focus of Brock Dramatic Arts faculty, including Griffin, as they develop more inclusive approaches to teaching theatre as part of the new partnership project, Staging Better Futures/ Mettre en scène de meilleurs avenirs (SBF/MSMA).
Red Bike, production principale (Mainstage) de l’Université Brock en 2022, écrite par Caridad Svich, mise en scène par Mike Griffin au Marilyn I. Walker Theatre.
MONDAY, SEPTEMBER 04, 2023
Deneh’Cho Thompson, a displaced and dispossessed member of the Pehdzeh ki Nation, became an academic because he wanted others to have a better experience with theatre education than he did.
Responding to experiences such as Thompson’s, a Brock University co-led research project is putting the spotlight on minoritized voices.
Staging Better Futures/Mettre en scène de meilleurs avenirs (SBF/MSMA) is the first national, cross-sectoral partnership approach to decolonizing, anti-racist, equitable, diverse and inclusive systemic change ever undertaken in post-secondary theatre education in Canada.
On Tuesday, Aug. 29, it was announced the project has been awarded a $2.5-million Social Sciences and Humanities Research Council (SSHRC) Partnership Grant. Contributions from partner organizations bring the project budget to more than $5.5 million, with Brock making the largest partner organization contribution of $1.57 million in cash and in-kind contributions over seven years.
The funding announcement — made by Randy Boissonnault, Minister of Employment, Workforce Development and Official Languages, on behalf of François-Philippe Champagne, Minister of Innovation, Science and Industry, and Mark Holland, Minister of Health — included more than $960 million supporting more than 4,700 researchers and research projects across Canada.
Jennifer Roberts-Smith, Professor and Chair of Dramatic Arts (DART) at Brock, is co-leader of SBF/MSMA along with Nicole Nolette, University of Waterloo Associate Professor of French Studies and Canada Research Chair in Minority Studies. They observed that while Canadian universities and colleges have been working on local equity initiatives, there is no platform yet for sharing valuable information on providing an equitable and welcoming environment for minoritized theatre students and educators.
Thompson dropped out of high school and college and took more than 10 years to finish his undergraduate degree because of the systemic racism he experienced. He is now a member of the governance committee on the project.
Even while he was a student, as interest increased in Indigenous theatre, Thompson found people, including faculty and mentors, looked to him to provide Indigenous expertise.
But “I was alone,” he said of his time studying in Vancouver. “I didn’t have supports in the university or in my program. I didn’t have anyone I could look up to.” Thompson has since become an Assistant Professor and co-ordinator of the wîcêhtowin Theatre Program at the University of Saskatchewan’s Department of Drama.
SBF/MSMA’s key areas of focus are racialization; Indigeneity; gender diversity; disability; and linguistic minoritization. The project’s guiding principle is that it centres the voices of students and educators with lived experiences of exclusion, such as Thompson.
Brock DART students Hayley King and Benoit St-Aubin echo Thompson’s calls for greater representation of faculty from historically under-represented backgrounds in theatre departments.
“In attempts to sympathize with and accurately represent the experience of Black, Indigenous and People of Colour (BIPOC) students onstage, non-BIPOC individuals fall prone to tokenism and misrepresentation,” said King, who is of biracial Black and South Asian descent. “Having someone in the department with the same lived experiences as these students can serve as a voice for them when injustices are committed.”
For St-Aubin, who is from the Niagara region and whose first language is French, it’s also important to decolonize curriculum and repertoire.
“Historically, Canadian theatre has subscribed to Eurocentric ideologies, which has skewed the education we receive,” they said. “By introducing non-Western, non-European theatre practices to students, our department can shape us into well-rounded theatre practitioners and academics.”
Roberts-Smith said there needs to be a transition “from small-scale solutions within our own institutions to thinking collaboratively about how we do post-secondary theatre education more equitably across Canada.”
In the course of preparing the grant, the project leaders developed a wide network of collaborators with lived experience of systemic inequity and expertise in combating it. The fully bilingual project now involves more than 90 participants across Canada, with representation from colleges, universities, theatre companies, arts services organizations, a student caucus and a freelance artist-educator consultancy. There are seven Brock faculty members involved in the project, mostly from Dramatic Arts.
“Receiving this prestigious, highly competitive award is an outstanding achievement,” said Brock University Vice-President, Research Tim Kenyon.
“The research team’s success demonstrates the need for systemic practices and structures in dramatic arts education to be transformed so that knowledge and expertise from minoritized artist-educators form a core part of the education,” he said.
The Partnership Grant covers a period of seven years.
Partnership Grants are the largest that SSHRC offers, supporting formal partnerships between academic researchers, businesses and other partners that will advance knowledge and understanding on critical issues of intellectual, social, economic and cultural significance.
In addition to the Partnership Grants, SSHRC announced Tuesday that seven Brock researchers were awarded a total $965,636 in Insight Grants, which support research judged worthy of funding by fellow researchers and/or other experts. The University also received more than $4.8 million in funding from the Natural Sciences and Engineering Research Council of Canada for a variety of projects.
Une équipe codirigée par l’Université Brock reçoit 2,5 millions de dollars pour un projet visant à placer les personnes minorisées au cœur de la transformation de l’enseignement du théâtre
Deneh’Cho Thompson, membre déplacé et dépossédé de la Nation Pehdzeh ki, est devenu universitaire afin que d’autres vivent une meilleure expérience de l’enseignement du théâtre que la sienne.
En réponse à des vécus comme celui de Thompson, le projet de recherche, mené conjointement par l’Université Brock, souhaite mettre en lumière les voix des personnes minorisées.
Staging Better Futures/Mettre en scène de meilleurs avenirs (SBF/MSMA) se veut le premier projet partenarial national et intersectoriel visant un changement systémique à des fins de décolonisation, d’antiracisme, d’équité, de diversité et d’inclusion dans l’enseignement postsecondaire du théâtre au Canada.
Le mardi 29 août, l’octroi d’une subvention de partenariat de 2,5 millions de dollars du Conseil de recherches en sciences humaines (CRSH) pour ce projet a été annoncé. Les contributions des organismes partenaires portent son budget à plus de 5,5 millions de dollars. La contribution de l’Université Brock est la plus importante, soit 1,57 million de dollars en espèces et en nature sur une période de sept ans.
L’annonce officiellement a été faite aujourd’hui par Randy Boissonnault, ministre de l’Emploi, du Développement de la main-d’œuvre et des Langues officielles, au nom du ministre de l’Innovation, des Sciences et de l’Industrie, François-Philippe Champagne, et du ministre de la Santé, Mark Holland. Ce financement fait partie d’une enveloppe dépassant les 960 millions de dollars pour soutenir plus de 4 700 projets et équipes de recherche à travers le pays.
Jennifer Roberts-Smith, professeure et directrice du Département d’art dramatique (DART) de l’Université Brock, codirige SBF/MSMA avec Nicole Nolette, professeure agrégée en Études françaises à l’Université de Waterloo et titulaire de la Chaire de recherche du Canada en études des minorités. Toutes deux ont remarqué les efforts des universités et des collèges canadiens pour mettre en œuvre des initiatives locales en matière d’équité. Cependant, aucune plateforme ne permet de partager des informations précieuses sur la création d’un environnement équitable et accueillant pour le corps étudiant et les pédagogues en théâtre issu·e·s de minorités.
Thompson a abandonné ses études secondaires et supérieures et a mis plus de dix ans à obtenir son diplôme de premier cycle en raison du racisme systémique. Aujourd’hui, il est membre du comité de gouvernance du projet.
Ce dernier était aux études à l’époque de l’engouement grandissant pour le théâtre autochtone. M. Thompson a alors constaté que certaines personnes, y compris des professeur·e·s et des mentor·e·s, se tournaient vers lui pour son expertise à titre de personne autochtone.
Mais « j’étais seul, » dit-il à propos de son séjour à Vancouver. « Je ne recevais pas de soutien de mon université ou de mon programme. Je n’avais personne vers qui me tourner. » Depuis, M. Thompson est devenu professeur adjoint et coordinateur du programme de théâtre wîcêhtowin au Département d’art dramatique de l’Université de Saskatchewan.
Les principaux domaines d’intérêt de SBF/MSMA concernent la racisation, l’autochtonie, la diversité des genres, le handicap et la minorisation linguistique. Le projet a pour principe directeur de faire entendre les voix d’étudiant·e·s et de pédagogues ayant vécu l’exclusion, comme M. Thompson.
Hayley King et Benoit St-Aubin, étudiant·e·s à l’Université Brock, font écho aux appels de Thompson en faveur d’une plus grande représentation de professeur·e·s issu·e·s de milieux historiquement sous-représentés dans les départements de théâtre.
« En essayant de sympathiser avec les personnes noir·e·s, autochtones et de couleur (PANDC) et de représenter fidèlement leur expérience sur scène, les personnes non-PANDC sont sujettes à une représentation symbolique et erronée, » a déclaré King, d’origine biraciale noire et sud-asiatique. « Le fait d’avoir au sein du département quelqu’un avec les mêmes expériences que ces étudiant·e·s leur assurent d’être entendu·e·s lorsque des injustices sont commises. »
Pour St-Aubin, qui est originaire de la région de Niagara et dont la langue maternelle est le français, la décolonisation du programme d’études et du répertoire s’avère tout aussi importante.
« Historiquement, le théâtre canadien a souscrit à des idéologies eurocentriques, ce qui a faussé notre éducation, » a-t-iel déclaré. « En présentant aux étudiant·e·s des pratiques théâtrales non occidentales et non européennes, notre département peut former des praticien·ne·s du théâtre et des universitaires bien équilibré·e·s.
Selon Mme Roberts-Smith, il faut passer « de solutions à petite échelle au sein de nos propres institutions à une réflexion commune sur la manière de dispenser l’enseignement postsecondaire du théâtre de manière plus équitable dans l’ensemble du Canada. »
Au cours de la préparation de la subvention, les responsables du projet ont développé un vaste réseau de collaborateur·trice·s avec une expérience vécue de l’iniquité systémique et une expertise dans la lutte contre celle-ci. Le projet entièrement bilingue compte aujourd’hui plus de 90 participant·e·s à travers le Canada, dont des collèges, des universités, des compagnies de théâtre, des organismes professionnels, un caucus d’étudiant·e·s et un groupe d’artistes pédagogues indépendant·e·s. Sept membres du personnel de l’Université Brock participent au projet, notamment dans le domaine de l’art dramatique.
« Recevoir ce prix prestigieux et hautement compétitif est une réussite exceptionnelle, » a déclaré Tim Kenyon, vice-président chargé de la recherche à l’Université Brock.
« Le succès de l’équipe de recherche démontre la nécessité de transformer les pratiques et les structures systémiques de l’enseignement de l’art dramatique afin que les connaissances et l’expertise des artistes pédagogues minorisé·e·s fassent partie intégrante de l’enseignement, » a-t-il déclaré.
La subvention de partenariat couvre une période de sept ans.
Les subventions de partenariat, les plus importantes offertes par le CRSH, favorisent la collaboration entre les chercheur·euse·s universitaires, les entreprises et d’autres partenaires afin d’approfondir les connaissances sur d’importantes questions d’ordre intellectuel, social, économique et culturel.
De plus, le CRSH a annoncé ce mardi l’octroi d’un total de 965 636 $ en subventions Savoir à sept chercheur·euse·s de l’Université Brock, pour soutenir des projets proposés par des pair·e·s et/ou d’autres expert·e·s. L’Université a également obtenu plus de 4,8 millions de dollars du Conseil de recherches en sciences naturelles et en génie du Canada pour financer divers projets.
TUESDAY, AUGUST 29, 2023 | by Gillian Minaker
A new faculty art exhibition featuring the work of Linda Carreiro, Visual Arts Professor and Associate Dean of Fine and Performing Arts at Brock, is now open for viewing.
‘Afterthoughts’, an exhibition showcasing Carreiro’s text-based artworks, runs until Saturday, Sept. 23 at the Visual Arts Gallery and Student Exhibition Space at the Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA).
While Carreiro initially set out to make a confessional, emotive set of works about the afterlife, she found that words were inadequate to fully reflect her thoughts about the unknowable.
“Vacillating between terror, anger and derision, the resulting writings try to express the inexpressible while acknowledging their limitations. The incongruence of the texts, alongside the ghostly ladder and boxes, come together as extracts rather than narrative,” Carreiro said.
In her artist’s statement, Carreiro addresses the notion that the sea and space are seemingly infinite places, containing the unknown in their vastness and depth.
“They are also environments where humans cannot sustain life without the aid of breathing apparatus. Therefore, stars and water are referenced here in the writings and application of materials. Swirls of ink, vapoury washes and hole-punched ‘stars’ with fallen perforations allude to this connection,” Carreiro said.
All are invited to attend the ‘Afterthoughts’ closing reception at the gallery on Friday, Sept. 22 from 5 to 7 p.m. at the MIWSFPA located at 15 Artists’ Common in downtown St. Catharines.
Summer gallery hours:
The gallery resumes its regular hours on Tuesday, Sept. 12 and will be open from 1 to 5 p.m. Tuesdays through Saturdays.
For more information, please visit the MIWSFPA Visual Arts gallery website.