News

  • Community climate symposium sparks creative conversations

    Climate action in Niagara was the focus of enthusiastic gathering of scientists, Indigenous Knowledge keepers, artists and community members co-hosted by Brock’s Environmental Sustainability Research Centre as part of the FirstOntario Performing Arts Centre’s Arts in Action: Climate festival, which runs until Sunday, Feb. 8.

    published Monday, February 02, 2026 | Brock News | by

    Professor Julia Baird has long recognized the value of engaging with community about sustainability science and action.

    So, when the opportunity arose to co-lead a daylong climate symposium at the FirstOntario Performing Arts Centre (PAC) with community leader Jennifer Dockstader, the Director of Brock’s Environmental Sustainability Research Centre (ESRC) says it was “an easy yes.”

    The took place Saturday, Jan. 31 as part of a 10-day Arts in Action: Climate festival at the PAC. The symposium welcomed the Niagara community for a series of panel discussions featuring a wide variety of Indigenous, scientific and artistic voices.

    Colleen Smith, CEO of the PAC and Executive Producer of the festival, says the event built on the PAC’s history of “convening community to explore and further enhance public dialogue pertaining to local, national and global topics and concerns.”

    “When designing an art and climate festival, the notion of also hosting a climate symposium, reflecting both Indigenous and western science perspectives, was a natural progression,” says Smith. “Finding two such passionate and complementary leaders as Jennifer Dockstader and Dr. Julia Baird willing to co-lead this symposium meant that Art in Action: Climate could be a festival that could truly embrace and engage a diverse community on a subject that would complement and expand on our artistic presentations.”

    Dockstader says one of her goals as co-lead was to bring brilliant Indigenous scholars, artists and community members to a wider Niagara audience, which she says should be pushing for more Indigenous voices in public conversations.

    “We have some great minds already doing this work, so it’s wonderful to bring to the stage all of these great innovators, thinkers, creators, artists and scientists,” she says. “We really shouldn’t be doing this work without Indigenous people, so it’s been an honour to bring the people I know to this symposium.”

    Several Brock faculty members, many of whom are ESRC affiliates, also participated, including:

    • Associate Professor of Chemistry Jianbo Gao
    • Dramatic Arts Instructor Shannon Hughes
    • Assistant Professor of Physics and Engineering Jasneet Kaur
    • Associate Professor of Computer Science and Biological Sciences and Canada Research Chair in Machine Learning for Biomedical Data Yifeng Li
    • Biological Sciences and Psychology Professor Gary Pickering
    • ESRC Adjunct Professor Kerrie Pickering
    • Assistant Professor of Women’s and Gender Studies and Sociology Lyn Trudeau
    • Professor of Biological Sciences and UNESCO Chair on Community Sustainability: From Local to Global Liette Vasseur

    For Vasseur, who has placed a strong emphasis on art and poetry in her work as UNESCO Chair, the symposium was a natural fit.

    “It’s a chance to open the eyes of people to realize that we all have a role to play in this — it’s the art in action, but it’s also people in action,” she says.

    Vasseur also says sharing the stage with Rick Hill Sr. was particularly meaningful.

    “It was an honour to be able to have this conversation with Dr. Rick Hill, a conversation between the settler white scientist and the Indigenous scientist about how we can have the fertility of these two knowledges connect, to be able to advance the challenge that we have with climate change,” she says.

    In addition to the one-day symposium, Brock students minoring in Environmental Sustainability are acting as Youth Ambassadors throughout the festival and will share their perspectives at Youth in Action: Next Gen Speaks on Saturday, Feb. 7.

    Baird and ESRC Research Associate Gillian Dale are also conducting a research project on how participating in the festival may build empathy and climate action. Any festival attendee can take part.

    Overall, Dockstader says the symposium shone a light on the importance of breaking down divisions in order to tackle challenges like climate change.

    “Moving forward in Niagara, we need to be walking side by side, together, all communities walking side by side,” says Dockstader. “We all have a stake in what is going to happen with the environment in Niagara, and we leave no one out of the conversation. We are all going to be focused on solutions.”

    Baird says the chance to partner with Dockstader and the PAC to create space for sharing knowledge was a wonderful opportunity, and one that typifies the community-driven research prioritized by the ESRC.

    “I’m just thrilled about how it has come together,” she says.

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  • Dramatic Arts students discover “this rough magic.” Brock University returns to the Stratford Festival.

    Seen above: The Festival Theatre at Stratford.  Having begun performances in 1953 under a tent, the Festival moved into its first permanent theatre in 1957.  

    Every year, students at Brock University participate in a unique immersive and stimulating two weeks of study at Canada’s preeminent festival of theatre, the Stratford Festival of Theatre in Stratford, Ontario. Whether in the performance studios, rehearsal halls, seminar rooms or the four theatres of the Festival, our students are the leading participants in a diverse community from Guelph, Western, Waterloo and Windsor universities.

    To learn more about the courses Shakespeare: Voice & TextShakespeare in Performance, and the Stratford experience, we spoke with Dramatic Arts (DART) students Colby Code (Dramatic Arts BA(HONR)/BED Concurrent Education 2028), Lu Charters (Dramatic Arts BA(HONR)/BED Concurrent Education 2027), Emma Marcy (Dramatic Arts BA(HONR) 2026) and Professor Danielle Wilson of the Department of Dramatic Arts.  Danielle is a specialist in voice, performance, and devised theatre. She also directs mainstages for the Dramatic Arts and creates and performs in original new plays that tour the festival circuit.   In June 2024 Danielle hosted the inaugural National Voice Association/Association Nationale De La Voix (NVA/ANV) conference at Brock University. She is the Stratford Festival program liaison for Brock University.

    2026 Season promotion for The Tempest.

    The studio-based course Shakespeare: Voice & Text is an intensive immersion that focuses on acting the language of Shakespeare. The work is practical in its philosophy and its application, wholly designed to give the aspiring actor a handful of tools with which to explore, personalize and perform Shakespeare’s text. Combining tools to decipher Shakespeare’s language and make it their own along with exercises in voice, the course experience encourages and enables the actor to develop those facets of their vocal instrument, opening new access, experience and communication in Shakespeare’s language.

    Reflecting on the Voice and Text course, Colby emphasized the unique opportunity to learn about the textual understanding, analysis and proper use of the voice with Stratford’s voice and text coaches. “I gained deep insights into the work that Stratford performers put into their craft and much deeper knowledge about understanding Shakespeare text.”

    Emma remarked that “as an aspiring actress, the coaching I received from Martha Farrell and Tim Welham allowed me to grow as a performer, layering my action work with specificity and detail while learning new techniques and strategies.”

    Noting that this course deepened his understanding of heightened, Shakespearean language, Lu added that he feels “more confident than ever in my ability to perform Shakespeare’s text in fresh and honest ways.”

    From the perspective of a faculty specialist, Danielle remarked that for almost 20 years she has witnessed students returning from the Stratford Shakespeare intensive with a new appreciation and love for language. “It is an invaluable experience for a young person to immerse themselves in learning about and speaking the words of Shakespeare within a professional theatre context.”

    2026 Season promotion for Othello.

    The course Shakespeare in Performance invites students to explore both academic and experiential learning about three of Shakespeare’s plays in the current season. The course consists of intensive classroom study and discussion, visits with renowned artists in the Festival Company, as well as talkbacks and discussions with cast members of shows. Together the students see performances of three plays and engage with the productions through the lens of stage history, performance choices, changing reception and social contexts.

    Danielle remarked that the success of the Stratford program rests on the students’ opportunity to take full advantage of their learning in an immediate way by watching shows at night and speaking with the artists who are involved in bringing the plays to life. “I have seen them become more passionate about their learning and understanding of the world they live in as they discover that Shakespeare is grappling with the same themes that we continue to grapple with today.”

    With both a classroom and experiential approach to the study of Shakespeare, Emma noted that “having the opportunity to see the shows we were studying live immersed me in the stories and text in a way that could not be achieved in a classroom setting. After each show, we had the opportunity to meet actors in a talk-back setting which would not be possible without the festival’s amenities.”

    What makes this two-week intensive such a stimulating learning experience and an important part of our students’ degree portfolio they carry forward to teacher training, graduate or conservatory studies?

    Lu appreciated how much he will be able to incorporate his learning at Stratford into his own emerging career as an educator. “The courses give you a real opportunity to experience Shakespeare’s work in both personal (monologue performance) and external (performance viewing and play analysis) ways. Having such in-depth knowledge of how to break down and analyze Shakespeare’s text will help me teach my future students how to build the same skills,” he added.

    2026 Season promotion for Midsummer Night’s Dream.

    Emma offered that her participation in these courses strengthened her understanding of Shakespeare’s work, allowing her to view plays with new eyes, discovering hidden meanings and nuances where she never had before.

    She also exclaimed how many other students were involved. “This was a great experience to meet theatre-makers and students from the province that shared similar goals and interests to me. I also found myself surprised at the amount of curriculum that was covered, specifically in the performance portion of the class. Even though the course was only 2 weeks, I felt myself grow immensely as a performer. We broke Shakespeare’s text into manageable, digestible pieces, playing close attention to detail, we completed work surrounding vowels, consonants, punctuation, etc. and every day I left class feeling like a stronger actor.”

    Asked if she would recommend these courses to future students, Emma enthusiastically described her learning in Stratford as a truly once-in-a-lifetime experience. “The opportunity to work closely with Tim and Martha is one that should not be passed up. They are highly experienced and knowledgeable. Reading and analyzing Shakespeare’s plays with a highly knowledgeable professor made me a better theatre-maker as I understand how text is purposeful, and how performance can challenge tradition in remarkable ways.”

    Facade of the Stratford Festival Theatre.

    Colby summed it up: “Overall the experience is incredible and definitely something to consider taking if you’re passionate about Shakespeare. The Stratford courses are one-of-a-kind experiences. Getting to work so closely with the Stratford professionals is an opportunity not to be missed.”

    In 2026 the two-week session runs from June 1 through June 13. The Festival season will feature Shakespeare’s The Tempest, A Midsummer Night’s Dream, and Othello.

    Other productions to see at the Festival include Guys and Dolls, Something Rotten!, Waiting for Godot, Death of a Salesman, The Hobbit, The Importance of Being Earnest, Saturday, Sunday, Monday, The King James Bible Play, and the world premiere of The Tao of the World.

    For more information about Brock’s program at Stratford and how to register, contact Professor Danielle Wilson at [email protected].

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  • Innovative research reimagines contemporary circus studies

    A Brock-supported initiative, Circus and its Others (CaiO), recently held a conference in Bogotá, Colombia. The conference featured a multimodal program of events that convened more than 70 scholars and showcased a circus festival featuring more than 100 artists. The Volodores de Papantla, pictured here, performed the Ceremonia ritual de los Guagas in the plaza of the Centro Cultural Gabriel García Márquez as part of the Achura Karpa festival programming. Photo credit: Nicolás Mahecha.

    published in the Brock News | Wednesday, January 21, 2026 | by 

    A multi-year initiative is uniting artists, academics and audiences from across the globe to celebrate the diversity of contemporary circus.

    Circus and its Others (CaiO), co-founded by Brock University Dramatic Arts Adjunct Professor Karen Fricker and Professor Charles Batson of Union College in New York, began in 2016 as a conference exploring representations of difference in circus.

    Since its debut in Montreal, CaiO has gained momentum and a significant following of international circus artists and academics who are expanding the boundaries of circus studies.

    “What started as a conversation between North America-based colleagues has blossomed into a truly global inquiry,” said Fricker. “And the more we’ve broadened our perspectives to include traditions and cultures from the Global South, the richer the work has become.”

    Participants in the project come from a wide array of disciplinary backgrounds, including theatre and performance studies, anthropology, sociology, history, queer and gender studies, kinesiology, cultural studies. Their explorations of otherness and difference include studies of circus performances, labour and mobility practices, education and training, and colonial and post-colonial histories, among other topics.

    The final presentation of an Indigenous circus workshop as part of the Achura Karpa festival brought together a number of Indigenous circus companies and artists, including the Artcirq Inuit Performance Collective and the Volodores de Papantla, during the CaiO Bogotá conference. Photo credit: Nicolás Mahecha.

    “At its roots, CaiO has become a diverse global community made up of people coming together to share their identities, culture, art and scholarship with each other; the deep sense of shared purpose is profound,” Fricker said.

    The most recent CaiO conference was held in March 2024 in Bogotá, Colombia. A multimodal program of events convened more than 70 scholars and showcased a circus festival featuring more than 100 artists.

    An editorial committee including Fricker, Batson and colleagues Julieta Infantino (Argentina), Marco Antonio Coelho Bortoleto (Brazil), Olga Lucía Sorzano (Colombia), and Aastha Gandhi (India) have since published the first of two special issues of the peer-reviewed journal Circus: Arts, Life and Sciences.

    Focused on the theme “Transgressions and Challenges,” the articles include an exploration of the work of female porters — strong acrobats who lift, hold and support other acrobats — in circus, an account of the Brazilian circus company A Penca, whose work engages with climate emergency and a critical look on the emphasis on aesthetic innovation in circus training.

    The next CaiO conference is set for 2027 and will be held in Kerala, India. Based in Delhi, Aastha Gandhi is the co-organizer of the conference alongside Fricker and Batson.

    Circus, Gandhi said, is deeply woven into her country’s cultural tapestry.

    “Hosting CaiO in Kerala is a momentous occasion. There is a rich and complex history of circus in India, impacted for decades by shifting sociopolitical landscapes. To have visitors come from many places to celebrate the art and complexity of circus today presents an exciting opportunity to share our perspectives with the world,” Gandhi said.

    Given the widespread interest in CaiO from circus artists and academics alike over the past decade, Fricker and Batson are turning their sights on continuing to build the project in a sustainable way, including archiving conference materials and performances and identifying new leadership models that reflect the inclusive values of the project.

    “Experiencing the transformation of Circus and its Others into a robust, global inquiry is an immense privilege, and the work doesn’t stop here. We want to continue to help make space for the many diverse and beautiful voices of contemporary circus for years to come,” Batson said.

    CaiO has been supported by the Department of Dramatic Arts, the Dean of Humanities Discretionary Fund, the Humanities Research Institute, Office of the Vice-President Research, Social Sciences and Humanities Research Council (SSHRC) of Canada, and the Canada Council for the Arts.

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  • How the arts shaped Walker Cultural Leader’s path to Indigenous roots

    As part of the 2025-26 Walker Cultural Leader Series presented by the Marilyn. I. Walker School of Fine and Performing Arts, celebrated multidisciplinary artist Nicole Joy-Fraser (second from left) is in residence in the Department of Dramatic Arts (DART). Joy-Fraser plays the role of the Métis Nutcracker in DART’s mainstage production, performing alongside DART students second-year student Tejay Morley (left), fourth-year student Emma Marcy (second from right) and second-year student Sarah Lazo de la Vega Sanchez (right).

    Originally posted in the Brock News | Tuesday, December 02, 2025 | by 

    Reclaiming their First Nation identity has led multidisciplinary artist Nicole Joy-Fraser down many paths, from international theatre stages to local drum circles and, recently, to Brock.

    As one of Dramatic Arts’ (DART) Walker Cultural Leaders for 2025-26, Joy-Fraser plays the role of the Métis Nutcracker in DART’s upcoming mainstage production.

    They will join Assistant Professor and Métis Nutcracker playwright Matthew MacKenzie, a citizen of the Métis Nation of Alberta, for a public artist talk, “Making Métis Nutcracker,” on the Marilyn I. Walker Theatre stage on Friday, Dec. 5 at 3 p.m.

    Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta.

    Identity is the heartbeat of Joy-Fraser’s artistic practice, which spans more than 25 years of storytelling on stage and screen with celebrated companies such as the Stratford Festival, the Shaw Festival, Mirvish, Theatre Aquarius, CBC, CBS, BBC and Telefilm.

    “The more I learn about my background, the more I am driven to keep sharing Indigenous theatre and more deeply understand my job as an artist to propel stories forward not just about identity but also reconciliation,” Joy-Fraser says.

    Nicole Joy Fraser

    Dramatic Arts Walker Cultural Leader Nicole Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta. As a multidisciplinary artist, community theatre practitioner and cultural facilitator, Joy-Fraser continues to advocate for Indigenous ways of knowing and doing, which have greatly impacted their journey as a Sixties Scoop witness and 2Spirit Helper.

    Inspired by — as it happens — a performance of The Nutcracker they saw with their parents, Joy-Fraser spent much of their youth performing with local theatre companies. They instantly fell in love with ballet and began singing thanks to the “golden oldie” musicals on repeat in their home.

    It was in high school drama class, when handed a copy of Dry Lips Oughta Move to Kapuskasing (1989) by Cree writer and performer Tomson Highway, that Joy-Fraser began asking more questions about their roots.

    After three years at performing arts college Randolph Academy, Joy-Fraser landed a dream-come-true gig as a member of the first North American cast of Mirvish Theatre’s Mamma Mia! auditioned by ABBA’s Björn Ulvaeus himself.

    Years of performing in many non-Indigenous roles followed for Joy-Fraser on prestigious stages across Canada and with West End Theatre in London, U.K.

    At the same time, Joy-Fraser’s drive to learn about their First Nation identity burned brighter, spurring them on in their journey to find their maternal birth family.

    After years of searching and almost giving up, Joy-Fraser finally connected to their Northern Alberta roots. An Elder at their first sweat ceremony recognized their surname as belonging to their birth mother and realized her cousin was married to Joy-Fraser’s Auntie.

    “At that time, we weren’t equipped with the language and learnings to help us carry our trauma as intergenerational survivors and Sixties Scoop witnesses,” Joy-Fraser said.

    Joy-Fraser began attending traditional healing ceremonies and connecting with Elders and Knowledge Keepers. Suddenly, they were learning their history.

    “My acting roles began resonating with my personal growth, and I knew I was bound to give back to our community by sharing my story and helping others heal through the arts,” they said.

    Performing the role of the Métis Nutcracker as DART’s Walker Culture Leader has been a meaningful experience for Joy-Fraser, moved by sharing both their extensive experience as theatre practitioner as well as First Nation customs that have been part of the production process, including smudging ceremonies and feasts.

    “The best way to learn something is to experience it, and DART students are learning about Indigenous cultures by embodying this story — by living it and reflecting on it — you couldn’t ask for a more active action of reconciliation than what Brock is doing right now with this piece.”

    As an Indigenous student and actor, second-year DART student Abbey Keays of the Upper Mohawk Turtle Clan who performs in Métis Nutcracker said she has learned so much from Joy-Fraser, who she looks to as a mentor.

    “We have had important talks about what we can do to keep our cultural stories accurate, appropriate and informative. It’s not very often you get the chance to experience Indigenous work or work with Indigenous artists as an actor who is starting out,” Keays said. “I am very grateful to have Nicole Joy-Fraser to look up to in my career.”

    For more information about the Métis Nutcracker see the Department’s Events + Programming webpage.

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  • Métis Nutcracker: Classic winter tale reimagined in celebration of Indigenous identity

    Brock Dramatic Arts students are preparing for the University’s upcoming mainstage production of Métis Nutcracker written by award-winning Canadian playwright and Assistant Professor Matthew MacKenzie. Third-year student Ella Martin, Assistant Head of Wardrobe (left), adjusts third-year student Molly Solomon’s (centre) handmade Maple Sugar Fairy regalia, assisted by fourth-year student Nav Brar, Wardrobe Co-ordinator.

    Originally posted in the Brock News | Friday, November 28, 2025 | by 

    When Molly Solomon brings her contemporary Fancy Shawl Dance to life in Brock University Dramatic Arts’ (DART) mainstage production, she will draw strength from her Ojibwe name, Ishkode Kwe.

    The name, translated to “Fire Woman” and “First Spark in my Heart,” was gifted to the third-year DART student by her grandmother — and she wears it proudly, just like the handcrafted regalia she dons on stage.

    Solomon plays the Maple Sugar Fairy in Brock’s upcoming production of Métis Nutcracker, which opens Friday, Dec. 5 at the Marilyn I. Walker TheatreThe new play was written by award-winning Canadian playwright and DART Assistant Professor Matthew MacKenzie, citizen of the Métis Nation of Alberta, and is directed and choreographed by celebrated theatre artist Monica Dottor.

    Solomon says sharing her Indigenous heritage with the Brock community is a profound experience.

    “I feel so welcome when my peers and mentors are genuinely curious to learn about my Indigenous identity,” she says.

    Brimming with magic, song and dance — and sprinkled with a dash of playful audience interaction that may involve throwing snowballs at the stage — the story is inspired by MacKenzie’s family heritage.

    In Métis Nutcracker, two Ukrainian refugees named Tatiana and Vanya are forced to flee from their home in the Red Pine Forest to escape the evil Rat King. They seek safety on Turtle Island where they are taken under the protection of the Métis Nutcracker, played by DART Walker Cultural Leader and multidisciplinary artist Nicole Joy-Fraser.

    “They travel in the four directions learning about different nations and sacred medicines in the Land of Flowers, Land of Berries, Land of Snowflakes and Land of Pine Cones,” MacKenzie says of the characters’ journey in his adaptation of the classic Nutcracker tale.

    Created for young audiences, the play celebrates identity and diversity.

    “My son is Ukrainian and Métis, and I wanted to be able to speak to him about his Indigeneity while exploring concepts of colonialism in a way that he could understand,” MacKenzie says.

    For Joy-Fraser, performing the role of the Métis Nutcracker also resonates with reclaiming their own Indigenous background. Joy-Fraser is a proud bear clan matriarch who grew up in Mississauga with Euro-Settler, Tsa’tinée, Nehiyaw and Métis bloodlines from Horse Lake First Nation in Alberta.

    Paramount to the production was ensuring that youth — particularly those with an Indigenous background — had the opportunity to experience Métis Nutcracker. Support from St. Catharines theatre company Carousel Players helped to achieve this goal, with two school-day matinee performances now sold out.

    “I hope every Indigenous child sitting in the audience sees themselves and their beliefs reflected in the beauty of the show,” Joy-Fraser says. “It’s magical storytelling embedded in nature, which is so much a part of who we are.”

    Indigenous practices of cultural significance are woven throughout the play,  including set pieces, costumes and regalia featuring intricate beadwork as well as custom painted canoe paddles, created in collaboration with Indigenous theatre cohort Pemmican Collective.

    MacKenzie, who teaches Contemporary Canadian Indigenous Theatre, says learning about different Indigenous nations alongside the cast and crew has been transformative.

    Métis Nutcracker celebrates differences,” he says. “Everyone involved at Brock has come together to honour those differences, putting the ‘action’ in truth and reconciliation.”

    As the first Indigenous DART faculty member to write an original mainstage production for the University, MacKenzie says the in-house work of Indigenizing theatre is gaining momentum.

    MacKenzie is also excited to see more Indigenous representation at the University in the future.

    “We have such a supportive environment at the MIWSFPA, a true willingness and curiosity to learn,” he says. “Our conversations are centred on this performance, but they will carry forward.”

    Additional performances of Métis Nutcracker will take place Saturday, Dec. 6 at 2 p.m. and 7:30 p.m. and Sunday, Dec. 7 at 2 p.m. General admission tickets are $25 and tickets for students and seniors are $20. Visit Brock University Tickets to reserve seats.

    MacKenzie and Joy-Fraser will also host a public artist talk related to the production at the Marilyn I. Walker Theatre on Friday, Dec. 5.

    For more information about the Métis Nutcracker see the Department’s Events + Programming webpage.

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  • Students build community, deepen cultural connections in Indigenous Plus

    Brock second-year Dramatic Arts student Abbey Keays (left), fourth-year Psychology student Rhaya Clyne and first-year Concurrent Education student Bailey Clyne are among the first cohort of students to participate in the University’s new Indigenous Plus program.

    originally published in The Brock News  | Friday, November 07, 2025 | by 

    When Brock students Abbey Keays, Bailey Clyne and Rhaya Clyne reflect on what they’ve gained from the University’s Indigenous Plus program, two words immediately come to mind: culture and community.

    “There’s so much value in building community and connecting with a group of people over academics, career and culture,” says Rhaya, a fourth-year Psychology student. “A big part of my journey over the past few years has been connecting to my culture, and the Indigenous Plus program has been a good way to integrate that within my educational journey.”

    Rhaya, her sister and first-year Concurrent Education student, Bailey, and Keays, a second-year Dramatic Arts student, are among the first cohort to participate in Indigenous Plus.

    Open to Indigenous students, the free, four-year co-curricular program focuses on cultural insights, connection and career readiness. Students participate in two to four hours of programming per week that incorporates Indigenous perspectives, cultural teachings and knowledge.

    Woman sits at a classroom desk and gives a workshop.

    Cindilee Ecker-Flagg (Nokomis Migizinz), who is of Indigenous ancestry of Anishinaabe, Maliseet and settler French/English and resides in the Niagara community, recently gave a workshop on the four sacred medicines to Indigenous Plus students.

    “Indigenous Plus offers students a supportive space to explore their culture, build and connect with community, and prepare for their future careers,” said Indigenous Plus Consultant Michelle Root.

    For the Clyne sisters, the program has allowed them to deepen their relationship through a shared interest in learning more about their background.

    While they always knew they were Indigenous, the intergenerational impacts of colonialization made it challenging to get a clear picture of their lineage. They believe their family likely originated from the Six Nations of the Grand River or another nearby reserve, and most of their teachings have been from Anishinaabe Elders and Knowledge Keepers.

    “I was never supposed to know about my culture — that was the way it was intended — and because of that I’m really trying to work towards reconnecting with it in whatever ways I can,” said Rhaya.

    Bailey added that experiencing diverse ways of knowing and learning directly from Indigenous people will allow her to provide a more holistic learning experience as a future teacher.

    “I’ve really enjoyed learning from different Knowledge Keepers and Elders; it’s beneficial to have that knowledge to go along with the Western way of learning,” she said. “I want to give future students those same learning opportunities.”

    Keays, of the Upper Mohawk Turtle Clan, was also drawn to the program to build connections with Indigenous students and deepen her ancestral knowledge.

    “Indigenous culture isn’t always taught in classrooms, so it’s like getting to know about different pieces of ourselves,” she said. “I’m also helping my mom and grandmother to learn more, so we get to go on this learning journey together.”

    The program also “opened my eyes about how to add my culture to my art,” she said, pointing to her role as a performer in the upcoming Métis Nutcracker as an example.

    Presented by Brock’s Department of Dramatic Arts, the production is written by Assistant Professor Matthew MacKenzie and directed and choreographed by theatre artist Monica Dottor.

    “I get the opportunity to speak my native Mohawk language and tell the creation story in the show, so connecting my culture to my artistic practice has already fuelled my passion for performing even more,” Keays said.

    Root is encouraged by the success of the Indigenous Plus program so far and is “thrilled to soon welcome the Fall 2026 cohort to continue the journey together.”

    Registration for the next cohort runs from Monday, Jan. 19 to Friday, May 1.

    All First Nations, Métis and Inuit students interested in learning about the program are invited to attend an information session on Monday, Nov. 10 from noon to 1 p.m. in ST 108.

    For additional information, contact [email protected], visit @indigenousplus.brocku on Instagram or join the email list for updates.

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  • Co-op sets stage for Dramatic Arts student’s future career

    Image caption: Liam Farrell, a third-year student studying Dramatic Arts at Brock’s Marilyn I. Walker School of Fine and Performing Arts, completed two co-op work terms that have shaped his career path in building community through the arts.

    Tuesday, October 14, 2025 | by 

    Whether he’s on stage, behind the scenes or working with youth, Liam Farrell knows his calling is to build community through the arts.

    A third-year Dramatic Arts (DART) student at Brock’s Marilyn I. Walker School of Fine and Performing Arts (MIWSFPA), Farrell has explored different areas of the theatre industry through co-op work terms that have been pivotal in shaping his skills and career direction.

    Over the summer, Farrell completed a work term with Carousel Players, an award-winning professional theatre company for young audiences in downtown St. Catharines.

    Supporting drama educators and bringing performances to life for young campers was an experience he will never forget.

    “I was mentored by artistic professionals and had the chance to meet, and be inspired by, incredibly creative kids,” he said.

    Farrell, whose passion for performing arts encompasses acting and all aspects of creative production, helped support youth of all abilities during his time at Carousel Players.

    “Being part of their inclusive community helped me grow in adaptability and empathy,” he said.

    Photo of Liam Farrell laughing with a child at a Carousel Players camp.

    Over the summer, third-year Dramatic Arts student Liam Farrell gained valuable industry experience in the arts thanks to a co-op work term with Carousel Players, an award-winning professional theatre company for young audiences.

    Facilitated by Brock’s Co-op, Career and Experiential Education (CCEE) team, which connects students with relevant work terms and offers a range of resources to support career development, these experience shed new light on Farrell’s studies.

    “I applied ideas and approaches from my classes that deepened my understanding of arts education and my connection with the local arts community here in Niagara — the experience solidified my desire to work in theatre,” he said.

    Farrell also gained valuable experience during his 2024 work term as an actor with Pirate Life Theatre in Hamilton where he honed his problem solving skills while learning about organizational logistics and administration.

    Quentin Dus, Talent Partnership Consultant with CCEE, said experiences like Farrell’s demonstrate how they can open doors for students to explore their potential and the impact of strong partnerships between Brock’s co-op office and community partners.

    “Watching Liam thrive in his co-op role at Carousel Players as well as Pirate Life Theatre previously has been incredibly rewarding. His growth and success speak volumes about his talent, adaptability and passion for the dramatic arts,” Dus said.

    Looking to the future, Farrell aims to work with professional theatre companies, locally and abroad, and contribute his knowledge and experience to strengthening communities and building bridges through the arts.

    “I’m grateful to Carousel Players for their mentorship, and I’m excited to carry these valuable experiences forward in my career.”

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    Categories: Current Students, News

  • Distinguished grad builds community through transformative arts progamming

    Image caption: Interim Dean of Humanities James Allard (left) presented Alana Perri (BA ’13) with the 2025 Faculty of Humanities Distinguished Graduate Award on Sept. 21 during the University’s recent Homecoming celebrations.

    Friday, October 10, 2025 | by 

    Alana Perri (BA ’13) is on a mission to ensure creative expression is accessible to all.

    Perri, who recently received the Faculty of Humanities Distinguished Graduate Award during Brock’s 2025 Homecoming celebrations, is dedicated to fostering inclusivity, accessibility and empowerment by harnessing theatre for non-traditional uses.

    A performer at heart, Perri began her journey at Brock in 2009 as a Dramatic Arts (DART) student.

    Through her studies, and a pivotal course exploring “drama therapy,” she found her true calling in expressive arts therapy. She also gained co-op experience at RAFT, an organization aiming to reduce youth homelessness in St. Catharines through attachment-based programs.

    “We brought drama into a place where feelings of joy and fun were often scarce. Together we created a book together filled with poems and art called I Just Need to Let This Out. This experience showed me how the arts for everyone; I still have the book, and every day it reminds me of the power of expressive art,” she said.

    Now the Executive Director and Owner of Purple Carrots Drama Studio, an Toronto-based organization offering innovative drama and expressive arts programs for neurodiverse youth, teens and adults, she has had profound impact in the lives of others.

    When Perri took the helm of Purple Carrots in 2020, she was driven to keep the arts programs running when much of the world was shutting down during the COVID-19 pandemic.

    “We work with the disability community and with people of all abilities, so it was not possible or beneficial for everyone to participate virtually, but our community is incredibly strong and passionate and rose to the challenge, and we’re still here,” she said.

    The drama studio now serves approximately 300 participants across Canada, providing inclusive, expressive arts programs and workshops that encourage emotional regulation and self-awareness.

    “We use different art forms to help build social and communication skills and work towards a final production or performance to share with family and friends. We also provide one-on-one coaching and other community services; it’s a really beautiful purple world we’ve built,” she said.

    Perri often collaborates with fellow alumni at Purple Carrots, with more than half of the Purple Carrots team comprised of DART graduates.

    “Being part of the DART community was a totally different way of learning, steeped in community. Everyone — faculty, staff and students — support each other, during and beyond graduation. I am grateful to have been given the space to create and find my path and continue working with my Brock community,” she said.

    Perri’s professional practice previously extended beyond the drama studio as an Expressive Arts Therapist, using creative expression as a therapeutic tool to support diverse communities through life transitions, including grief and palliative care.

    Perri has also empowered the next generation of creative leaders through education, teaching students at Mohawk College how to integrate the arts into treatment for individuals living with post-traumatic stress disorder (PTSD) and instructing DART students at Brock on how to leverage movement in education and theatre applications.

    She said being recognized as a Distinguished Graduate is an honour.

    “The University has always been there to support me. I am so grateful, and I try to pay it forward everyday through the work that I do. I’ve made it this far, and I will keep going.”

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  • Enbridge bursary empowers students through work-integrated learning, advocacy

    From left: Dramatic Arts students Sandra Nampiima, Makayla Finn and Karai Flowers celebrate The Masks We Wear, the One Acts Play Festival that featured a performance co-created by Finn and her fellow upper-year Brock Dramatic Arts students, which is part of the theatre-based projects she pursued through the Enbridge Inc. Career Experience Bursary.

    This story was originally published in the Brock News on Wednesday, August 13, 2025.  Additional information has been included.


    The stage is more than a performance space for Brock University student Makayla Finn; it’s a platform for belonging and empowerment.

    This summer, it became a launchpad for deeper impact, made possible by support from Enbridge Inc.

    Finn, a fourth-year student in the Bachelor of Physical Education program with a minor in Dramatic Arts, received the 2025 Enbridge Inc. Career Experience Bursary alongside Justin Mafie, a Bachelor of Science student in Mathematics.

    The award supports undergraduate students involved in Brock’s Work Experience Program offered by Co-op, Career and Experiential Education (CCEE), with preference given to non-co-op students who demonstrate financial need. Funded by a $10,000 gift from Enbridge Inc., the bursary provides $5,000 to each recipient to pursue meaningful, career-aligned opportunities.

    Recognized on their academic transcript, the program allows students to set intentional learning goals, develop Brock’s core competencies and reflect on their growth with guidance from a member of the Co-op Education and Workplace Partnership team.

    A speaker stands at a podium with a laptop, gesturing with one hand while addressing an audience at Brock University.

    Brock University student and entrepreneur Justin Mafie presents during Black History Month and African Heritage Month events. Mafie’s digital creative agency, CREOVA, grew through the Enbridge Inc. Career Experience Bursary and Brock LINC’s Navigate program.

    Through feedback from employers and the chance to build industry connections, students gain insight and confidence to navigate their future careers.

    “We are deeply grateful for Enbridge’s generous bursary support, which makes it possible for students with financial need to pursue meaningful, career-relevant work experiences,” said Julia Zhu, Director, Co-op, Career and Experiential Education. “This support not only reduces financial barriers but also empowers students to gain the skills and confidence needed to thrive in their chosen fields.”

    The bursary allowed Finn to pursue a suite of theatre-based initiatives this summer, including directing an adaptation of Miss Julie for Brock’s One Act Festival, acting and collaborating in four Summer Institute workshops, and contributing to the DART Performance Research Institute (DART PRI).

    For Finn, who grew up in Toronto, these experiences represent more than professional growth.

    “This summer’s projects reflected a transformation,” she said. “I was once a young girl who would’ve never imagined what she could accomplish, but through faith and perseverance, I’ve learned never to take the gift of life for granted.”

    Through the One Act Festival, Finn explored themes of race, gender and class in Miss Julie, co-directing a reimagined production with third-year DART student Gianna Lupparelli that pushed boundaries and challenged norms. The production featured the performers Landon Drexler as John, Megan Mastantuono as Julie, and Sandra Nampiima as Christine. Toronto-based DART instructor Michael Reinhart was the Artistic Director of the festival.

    At DART PRI, Finn worked in an incubator focused on anti-supremacy in theatre and education, combining creativity with critical advocacy. Her projects included Wife of Bath by Independent Auntie Productions, led by renown Canadian artists Anna Chatterton and Evalyn Parry, Minosis Gathers Hope by Carousel Players, led by Monica Dufault and Christine Sokaymoh Frederick, The Square, led by the Dora Nominated Nigerian Actor, Writer, Performer and Mother, Dienye Waboso Amajor, and The Source The Work The Story by In my own head theatre, led by Dienye Waboso Amajor, Marcel Stewart (DART alumnus), and Shabnam Sukhdev.

    “Silence doesn’t create opportunity,” Finn said. “To make a positive impact, you must advocate not just for others but for yourself.”

    Her work in the arts is part of a much broader mission. This past fall, Finn launched the Black Flourishing Advocacy Initiative, a community-wide effort promoting Black mental health, leadership and critical inclusivity at Brock.

    “The goal is to create braver and safer spaces where people feel seen, heard and valued,” she said. “This bursary gave me the time and resources to grow as an artist and advocate; to show up for others.”

    As Vice-President of the Black Student Association, she is spearheading the initiative alongside Brock University Students’ Union (BUSU) clubs and community members.

    “I may not carry every lived experience,” said Finn. “But I show up. Helping someone find their voice and purpose — that’s power. I choose to speak loudly, fiercely, even when it’s uncomfortable, because my story, my truth and my voice deserve to take up space.”

    Meanwhile, Mafie used the funding to pursue his passion for entrepreneurship.

    Through Brock LINC’s Navigate program, he is developing his startup, CREOVA, which is short for “creative innovation.” The digital agency offers videography, photography, social media management and branding services.

    “With a background in computer science, math and business, I’ve always been fascinated by the intersection of data and creativity,” said Mafie. “CREOVA helps individuals and organizations tell their stories in a way that feels authentic and meaningful.”

    Through Navigate, Mafie has engaged with dozens of potential clients and gathered feedback to refine his services. The hands-on, 11-week program supports early-stage ventures by teaching lean startup methodology, connecting participants with mentors and encouraging customer discovery.

    “Receiving the bursary made a huge difference,” he said. “It allowed me to dedicate real time to developing the business and building a foundation for long-term growth.”

    Mafie said the support not only made the logistics of entrepreneurship easier but also affirmed that his work matters.

    “That kind of encouragement goes a long way,” he said. “The Enbridge bursary helped me turn an idea into something with real impact.”

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    Categories: Alumni, Announcements, Current Students, Faculty & Instructors, Future students, In the Media, Media Releases, News, Uncategorised, Visiting Artists

  • A successful DART Performance Research Institute for 2025

    above: Jewels Krauss in full mask and costume during the Summer 2024 DART PRI.

    Guest artists, faculty, instructors, staff and participating students are now halfway through the four-week program of the DART Performance Research Institute (DART PRI) for 2025.

    DART PRI is a performance research and development incubator housed in the Department of Dramatic Arts (DART) at Brock University.

    The Institute supports performance research and research creation projects that align with DART’s commitments:
    1) praxis: the generative integration of theory and practice, and
    2) anti-supremacy: active interventions into identity-based and intersectional oppressions arising from the concept of superiority and related practices.

    Projects at the PRI are organized into three main channels of development: Research Explorations, Summer Institute Workshops and Summer Institute Residencies.

    PRI Summer Institute Workshops for 2025
    For the four weeks of July 14 through August 9, 2025 the PRI welcomed seven projects at the proof-of-concept stage. The workshops provided 1-2 weeks of in-studio and online development to test or develop early drafts and ideas.
    Read about these projects and Research Explorations on the DART Performance Research Institute webpage.

    Congratulations to all of the artists and theatre makers involved with PRI!

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    Categories: Announcements, Current Students, Faculty & Instructors, Future students, In the Media, Media Releases, News, Uncategorised, Visiting Artists