York University commits $1M over three years to support Indigenous research  

Artwork by Métis (Otipemisiwak) artist Christi Belcourt

Indigenous research at York University will be supported with funding of $1 million over three years through the York University Indigenous Research Seed Fund. 

The fund provides emerging and established Indigenous scholars with support for research that advances excellence in Indigenous knowledge, languages and ways of knowing and being. 

A call for applications was administered by the University’s Indigenous Council, and in May, 10 scholars were awarded with Indigenous Research Seed Fund grants, receiving a total of $204,298. The applications for the seed fund were reviewed by a faculty committee chaired by the inaugural director of the Centre for Indigenous Knowledges and Languages, Deborah McGregor, professor at Osgoode Hall School of Law.

The Indigenous Research Seed Fund will fund scholarly output to address colonialism and advance excellence in Indigenous scholarship. A further $795,000 has been committed to support Indigenous research over the next three years, for a total of $1 million. 

The fund was created by the Office of the Vice-President Research & Innovation in collaboration with the Office of the Vice-President Equity, People and Culture in response to recommendations made in the the Indigenous Framework for York University: A Guide to Action. Guided by the Framework, and working in consultation with the Indigenous Council, the Office of the Vice-President Research & Innovation (VPRI) supported the Decolonizing Research Administration Report and subsequent implementation plan that focused on addressing the University’s research administration practices and policies, and identifying further steps the University should take to better support Indigenous scholars.  

The fund builds on the University’s ongoing commitment to support emerging and established Indigenous scholars, their knowledge creation and the Indigenous communities they are working with. 

“The Indigenous Research Seed Fund supports York’s recognition of Indigenous world views and the importance of ensuring that Indigenous scholars have space and place to thrive.” said Sheila Cote-Meek, vice-president, equity, people and culture. “While this is an important milestone for York on its journey towards reconciliation and decolonization, we still have work to do. In order to bring about change and create a truly inclusive environment we must foster an environment where diverse views are nurtured and supported.” 

The Indigenous Research Seed Fund supports the goals of York’s Strategic Research Plan 2018-2023 which identifies Indigenous Futurities as an opportunity to advance social, cultural, artistic, legal, policy, economic and justice areas that holistically shape Indigenous experience. 

“Indigenous scholars and students have and continue to contribute significantly to the benefit and well-being of society. This investment signals York’s commitment to acknowledging and supporting Indigenous research and scholarly activity, now and in the future,” says Amir Asif, vice-president research and innovation. “The Indigenous Research Seed Fund aims to facilitate research that is relevant to Indigenous life and respects Indigenous approaches to knowledge and learning. The fund will foster opportunities to collaborate, engage with, and learn from Indigenous communities.” 

York’s 2020-2025 Academic Plan: Building a Better Future affirmed its commitment to the Indigenous Framework and identified six priorities for action for building a better future, including stronger relationships with Indigenous communities. 

Successful projects were awarded to: 

  • Delany McKenzie Allen, assistant professor, Department of English, Faculty of Liberal Arts & Professional Studies (LA&PS) – Mapping Wampum Three Horizons 
  • Rebecca Beaulne-Stuebing, lecturer, Faculty of Education – The Full Moon Firekeeping Capacity-Building in Toronto 
  • Catesby Jennifer Bolton, PhD candidate, Department of History, LA&PS – National-Building: Exploring the Contributions of Anishinaabekwe to the Military, Their First Nation, and Canada 
  • Don Davies, postdoctoral Fellow, Department of Biology, Faculty of Science – Dementia Caregivers in the Metis Population 
  • Nicole Muir, assistant professor, Department of Psychology, Faculty of Health – Parental Residential School Attendance, History of Foster Care and Incarceration: Urban Indigenous Peoples’ Experiences and Strengths 
  • Archer Pechawis, assistant professor, Department of Visual Arts & Arts History and Theatre, School of Arts, Media, Performance & Design – The Electric Jingle Dress
  • Brock Pitawanakwat, associate professor, Department of Humanities, LAPS – Anishinaabe Ethno-labour and Clan Responsibilities
  • Rebecca Lazarenko, PhD candidate, Department of History, LA&PS  Complices et victimes des projets coloniaux assimilateurs: les communautés francophones et Métis de l’Ouest (1890-1945)
  • Chandra Maracle, PhD candidate, Faculty of Environmental & Urban Change – Feeding the Good Mind: Nourishing the New Faces Coming and the Post-Partum Family
  • Cecilia Best, PhD candidate, Department of History, LA&PS – Intergenerational Resilience: A Survivor’s History of the Scoop 1950-2010

AMPD alumni take home five Canadian Screen Awards 

Film reel

The Academy of Canadian Cinema & Television (the Canadian Academy) announced the winners of the 2022 Canadian Screen Awards during Canadian Screen Week, including the 2022 Canadian Screen Awards show on Sunday, April 10.  

Four alumni from York University’s School of Arts, Media, Performance & Design received Canadian Screen Awards in five categories:  

Best Web Program or Series, Fiction 21 Black Futures 
Awardee: Mumbi Tindyebwa Otu (BA ‘10 theatre) 

Best Visual Effects Vikings – The Signal 
Awardee: Bill Halliday (BFA ‘00 film and video) 

Best Original Music, Animation Let’s Go Luna! – The Way of the Gaucho 
Awardee: Ari Posner (BFA ‘92 music) 

Best Writing, Variety or Sketch Comedy TallBoyz – You’re The Dads Now!
Awardee: Franco Nguyen (BFA ‘10 film production) 

Best Performance, Sketch Comedy (Individual or Ensemble) TallBoyz 
Awardee: Franco Nguyen (BFA ‘10 film production) 

This year marked the 10th annual Canadian Screen Awards celebrating Canadian content and those who create it. The Canadian Academy is the largest non-profit professional arts organization in the country. It recognizes, advocates for, and celebrates Canadian talent in the film, television and digital media sectors. More than 4,000 members encompass industry icons and professionals, emerging artists and students. 

The full list of 2022 Canadian Screen Awards winners can be viewed online

AMPD to launch inaugural Queer Summer Institute 

Three people looking at a laptop screen

Transiting the Queer Uncommons: Queer Summer Institute in Research Creation (TQU) will run from May 2 to 26 and features two graduate courses at York University’s School of the Arts, Media, Performance and Design (AMPD). 

Inspired by radical new poetic methods of digital and intermedial performance storytelling, transgressive visual techniques emerging from new media platforms, and new activisms engaging with theories of homonationalism, pinkwashing and the global queer (un)commons, the TQU courses offer students insight and participation in the debates, voices, ideas and images of the current queer/trans digital moment. 

Partners and sponsors of the project are: the Toronto International Film Festival, Pleasure Dome, Buddies in Bad Times, the ArQuives, Hemispheric Encounters, Peripheral Visions Collaboratory (York University), Sensorium Centre for Digital Art and Technology (York University), VISTA at York University (Vision: Science to Application) and SSHRC (Social Sciences and Humanities Research Council). 

The TQU graduate courses are:  

THST 6350: Performing the Queer (Un)commons, taught by Department of Cinema & Media Arts Assistant Professor and Canada Research Chair Mary Bunch. Students engage in debates and creative practice in queer worldmaking through a focus the ways intermedial performance crosses borders – both geographic and the borders of creative practice – to imagine the world queerly. The course examines how does the transnational circulation of queer cultural production resist western imperialism and trouble colonial notions of borders, and how do translocal interconnections and exchanges between localities create queer community? 

FILM 5020: Global Queer Cinemas Confront the Pink Line taught by Department of Cinema & Media Arts Associate Professor John Greyson. Critically engaging with South African author Mark Gevisser’s investigation of new pink lines in the global LGBTQ landscape, which variously exploit, divide, but also sometimes empower queer/trans citizens, this research-creation course explores a new generation of digital queer voices and their specific interventions on our queer screens. Moving beyond the cynical ubiquity of homonormalized LGBTQ stories on Netflix and YouTube, this course seeks to explore those voices that push back against globalizing market forces and pink commodity paradigms. 

Students will meet Monday to Thursday for a hybrid (live and online) series of lectures, workshops, panels and screenings featuring international artists and scholars, including queer science fiction media artist and filmmaker Shu Lea Cheang; Columbian performance artist Nadia Grenados, and South African journalist and author of The Pink Line: Journeys Across the World’s Queer Frontiers, Mark Gevisser.

The courses are open to all AMPD graduate students and select York graduate students (by application). Students are encouraged to apply by sending a short application with their student number, program, year, and a brief statement of interest to gradthea@yorku.ca for THST 6350 or filmgpa@yorku.ca for FILM 5020. Students who are not enrolled in an AMPD program are requested to submit a creative CV in their application. 

While no prior experience in creating digital queer media/intermedial performance is required, these advanced courses anticipate students to acquire basic film/digital/media/ performance/or storytelling skills. Registration is limited. 

$3.12M in renewed support for York University Motion Media Studio at Cinespace

Cinespace Featured image shows a series of posters highlighting films

As Dean of the School of the Arts, Media, Performance and Design (AMPD), Sarah Bay-Cheng knows the importance of an empty stage. 

“An empty stage is beautiful because no choices have been made yet,” said Bay-Cheng. “That’s when everything is possible. Every idea is possible. Every dream is possible.”

That’s what students see when they walk into the York University Motion Media Studio at Cinespace.

This week, York University President and Vice-Chancellor Rhonda Lenton announced a new commitment from Cinespace Film Studios that will see $3.12 million invested to enhance the York University Motion Media Studio at Cinespace and elevate the student experience.

“Over the past two years – as change has accelerated around us and new global challenges have emerged – we have witnessed just how powerful artistic expression can be in generating new knowledge, ideas, and cultural artifacts that expand our understanding of the world, enrich the experiences of the communities we serve, and drive positive change both locally and globally,” said Lenton. “Cinespace’s generous new donation means that each student who has access to this studio will continue to have the opportunity to develop a creative voice, contribute to our collective cultural history, and affect positive change.”

From left to right: Associate Director, Motion Media Studio at Cinespace and AMPD Assistant Professor Ingrid Veninger; York University President and Vice-Chancellor Rhonda Lenton; President and co-managing partner of Cinespace Film Studios Ashley Rice; Director of the York University Motion Media Studio at Cinespace and AMPD Assistant Professor Kenneth Rogers; AMPD Dean Sarah Bay-Cheng
From left to right: Associate Director, Motion Media Studio at Cinespace and AMPD Assistant Professor Ingrid Veninger; York University President and Vice-Chancellor Rhonda Lenton; President and co-managing partner of Cinespace Film Studios Ashley Rice; Director of the York University Motion Media Studio at Cinespace and AMPD Associate Professor Kenneth Rogers; AMPD Dean Sarah Bay-Cheng

With Toronto’s multi-billion-dollar film, television and digital media industry set to grow significantly in the near future, the Motion Media Studio will serve as an incubator for diverse talent development, hands-on training, industry partnerships, community engagement, and research excellence within burgeoning media production facilities and mixed reality spaces.

The Motion Media Studio – established by Cinespace Film Studios (currently owned by TPG Real Estate Partners) and the Mirkopoulos Family in 2016 – is located in the heart of Cinespace in the GTA’s west end.

Jim Mirkopoulos, whose family was instrumental in establishing the initial commitment from Cinespace, knows the importance of providing the next generation of talent with the space to experiment and learn by doing.

“Since the pandemic, we have experienced increased demand for content, and content production,” said Mirkopoulos. “One of the key investments we can make in supporting our industry is to support its emerging talent and its next leaders.”

Ashley Rice, the new president and co-managing partner of Cinespace Film Studios, is ready to focus on the future. For Rice, the future lies with the next generation of talent in film, television and digital media.

“Giving back to the community has always been a part of Cinespace’s DNA, and when my partners and I took over leadership at Cinespace, we knew we wanted to keep that core tenet alive,” said Rice. “We believe there is a space for every emerging leader in film, television and digital media, and we hope this donation will empower students to take advantage of the opportunities at the York University Motion Media Studio at Cinespace to learn and create.”

Students will continue to benefit from hands-on learning in Toronto’s booming film-and-television production industry

This renewed support for the Motion Media Studio will enable access to state-of-the-art technology, such as markerless motion-performance capture; augmented reality, virtual reality, immersive environments and motion simulation; and more. Students will also find production process support, a suite of digital post-production equipment, and high-performance computing technology.

Most importantly, in this space, students will have the opportunity to interact with industry leaders and a network of support as they embark on their careers in film, television and digital media.

“The York University Motion Media Studio at Cinespace has offered our students unparalleled access to experiential learning opportunities, hands-on training in new media technologies, and direct exposure to industry professionals – experiences that will position them to lead in a competitive global economy that is increasingly affected by emerging technologies, digital innovation and artificial intelligence,” said Lenton.

Toronto Mayor John Tory sees the importance of partnerships like the one between York and Cinespace in supporting emerging talent in Toronto’s growing film, television and digital media industry.

“This continued partnership between York University and Cinespace Film Studio will give students access to incredible technology, as well as access to some of the industry’s greatest talents. Our film and TV sector is growing and thriving and to ensure that we can keep up with the demand, we must foster and cultivate new talent across the city. Beyond that, a space like this will help bolster our local economy by infusing the film, television and digital media industry with home-grown talent – this is good for our city and good for our residents. Thank you to York University and Cinespace for partnering together to remove barriers to access and for investing in students eager to take on the industry,” said Tory.

Bay-Cheng added, “With Cinespace’s support, we will fuel the future of storytelling by supporting student success, connecting the next generation of media talent to industry career opportunities, and sharing the diverse stories of these creators with global audiences.”

Major research project supports Inuit culture, art and ways of life

FEATURED image for Brainstorm on Inuit Art exhibit that shows proper orientation

A multimedia, multi-platform collaborative research and creation project based at York University has ignited a dialogue within the arts and research communities about the role of colonialism in disrupting Inuit cultural conditions.

Anna Hudson
Anna Hudson

While Inuit art can be found in galleries and museums around Canada and the world, the connection between the artists and their communities has been lost, posing a risk to the preservation of Inuit language, social well-being and cultural identity.

Reconnecting Inuit art and community was the basis of the Mobilizing Inuit Cultural Heritage (MICH), a multimedia, multi-platform collaborative research and creation project supported by the Social Sciences & Humanities Research Council of Canada. Led by Anna Hudson, a professor in the Visual Arts Department at the School of the Arts, Media, Performance & Design (AMPD), the project aimed to ignite an ongoing dialogue within the arts and research communities to help understand the role of colonialism in disrupting Inuit cultural traditions, and to raise public awareness and appreciation of Inuit and circumpolar Indigenous resilience.

“The MICH project was premised on the idea that there are huge collections of Inuit art in museums but often times they are missing the artists’ voice and story,” says Hudson, a Fellow of the Royal Society of Canada, an art historian and curator, specializing in Canadian art, curatorial and Indigenous studies.

“There are many instances of Inuit art produced for the post-World War Two market that have accrued in value after having been sold by the artist, benefiting the individuals who purchased or subsequently resold the art, but severing the art’s connection to the people who made it. The art didn’t stay in Arctic communities, so family members aren’t aware that a relative created well-known art that is housed and exhibited in museums and galleries,” she says.

“There is little public understanding of where Inuit art comes from and how a community’s story lives on through the art,” says Hudson.

“Through MICH, we tried to reconnect Indigenous art with Indigenous communities and provide artists with a platform to showcase their work and to build creative capacity,” she says, adding that the project looks at curation as a methodology for bringing people together on a deeper, more profound level to instigate meaningful dialogue and relationship building.

MICH witnessed a crescendo of Inuit voices and artists dating back to the 1970s, but Hudson admits it will still take time for younger generations to take the lead and have their voices heard. She says that while there has been significant progress, it is difficult to shift processes with museums and the number of Inuit academics in Canada is still too low.

But since the seven-year project began, there has been a growing awareness and advocacy around Indigenous culture, language and ways of life.

“It is interesting to see how MICH was part of a constellation of activities for raising awareness,” says Hudson. “The big takeaway for me was the relationships I’ve developed and the deep friendships I’ve made. I’ve had the opportunity to meet brilliant people. “The project was about activism, trust and the ability to learn. There is no reconciliation without reckoning.”

Through the partnership grant in collaboration with York University, Inuit artists Ruben Komangapik and Koomuatuk (Kuzy) Curley were commissioned to create a sculpture titled “Ahqahizu.” The sculpture, which is situated at the entrance to the York Lions Stadium on the Keele Campus, is carved out of a 26-tonne rock and reflects the University’s ongoing commitment to represent the identities of Inuit artists.

An image from the AGO's exhibit of Inuit art
An image from the AGO’s exhibit Tunirrisangit that came out of a collaboration with MICH

MICH collaborated with the Art Gallery of Ontario (AGO) to support a major exhibit in 2018, Tunirrisangit, which brought together two artists, Kenojuak Ashevak and her nephew Timootee (Tim) Pitsiulak. It was the first time that Inuit art was displayed in the AGO’s largest exhibition space. As part of the collaboration, MICH supported a seal fest (an alternative culinary festival) for the opening of Tunirrisangit and the gallery hosted a virtual reality exhibit during the COVID-19 pandemic that was produced by Hudson with fourth-year AMPD students for the Joan Goldfarb Visual Arts Study Centre Curatorial Placement, a course held during the Winter 2020 term at York University. The group worked in collaboration with Art Gate VR to produce the exhibit for the AGO.

This screen capture shows people interacting in a virtual reality environment with the Tunirrisangit exhibit hosted by the Art Gallery of Ontario

Coming out of MICH will be a book to be published in July 2022. The book by Hudson, titled Qummut Quikiria! Art, Culture and Sovereignty Across Inuit Nunaat and Sápmi: Mobilizing the Circumpolar North (translates to Up Like a Bullet! Art, Culture and Sovereignty Across Inuit Nunaat and Sápmi: Mobilizing the Circumpolar North) is co-edited with Professor Heather Igloliorte from Concordia University and Jan-Erik Lundström, a curator based in Sweden. The book highlights the thriving art and culture of the Indigenous Circumpolar Peoples in the present and demonstrates its importance for the revitalization of language, social well-being, and cultural identity.

Wendy Michener Memorial Lecture to discuss facing human wrongs and hospicing modernity 

hands placed on top of one another

The 2022 Wendy Michener Lecture “Facing Human Wrongs and Hospicing Modernity,” will be delivered online by Vanessa Machado de Oliveira Andreotti, a Latinx professor at the University of British Columbia on Thursday, March 31 from 2:30 to 4 p.m.  

Vanessa Machado de Oliveira Andreotti
Vanessa Machado de Oliveira Andreotti

The lecture will offer an overview of the work of Gesturing Towards Decolonial Futures (GTDF), an arts/research collective, with a focus on her book Hospicing Modernity: Facing Humanity’s Wrongs and the Implications for Social Activism and the interdisciplinary open course “Facing Human Wrongs: Navigating the complexities and paradoxes of social and global change.” 

Machado de Oliveira Andreotti holds a Canada Research Chair in Race, Inequalities, and Global Change. The March 31 lecture will explore the activist work of GTDF, a transnational, intergenerational and inter-disciplinary collective where activists, students, educators, volunteers and Indigenous knowledge keepers work together to develop public pedagogies and artistic interventions. GTDF’s projects operate at the interface of two goals: confronting historical, systemic and ongoing social and ecological violence; and the unsustainability of modern-colonial systems and ways of being.  

The lecture will explore how these approaches deepen understanding and emphasize the importance of engaging with the inevitable complexities, difficulties and failures involved in efforts to address social and ecological challenges, and the need to commit to social and organizational change over time, rather than seeking quick or feel-good solutions. 

Machado de Oliveira Andreotti began her career as a teacher in Brazil in 1994 and has since led educational and research programs in countries including the U.K., Finland, Aotearoa/New Zealand, Brazil and Canada. She works across sectors in international and comparative education, particularly focusing on global justice and citizenship, Indigenous and community engagement, sustainability, as well as social and ecological responsibility. Her research examines relationships between historical, systemic, and ongoing forms of violence and the inherent unsustainability of modernity.  

“We are incredibly honoured to host Professor Andreotti for the annual Wendy Michener Memorial Lecture,” says Laura Levin, associate dean, research at the School of the Arts, Media, Performance & Design (AMPD). “Her recent books, Hospicing Modernity and Towards Braiding (with Elwood Jimmy) are important theoretical and educational touchstones for students engaging with decolonial practices across disciplines. These publications, alongside her activist work with groups like the Gesturing Towards Decolonial Futures collective and Teia das 5 Curas, challenge our assumptions about what activist processes can and should look like. They also model how artistic methodologies create powerful spaces for grappling with rights and environmental emergencies that connect us globally.” 

This lecture is co-presented by AMPD along with York University’s Centre for Research on Latin America and the Caribbean (CERLAC), Faculty of Education, Hemispheric Encounters Partnership and Sensorium: Centre for Digital Arts & Technology

In 1986, York University established the Wendy Michener Memorial Lecture to commemorate the Canadian art critic and journalist. Michener’s understanding of French-Canadian and Anglo-Canadian culture earned her the affectionate title “Canada’s first true national critic.” Her work appeared in the Montreal Herald, Toronto Star, the Globe and Mail, Saturday Night, and Maclean’s.  

This lecture provides a discussion forum for vital issues and developments in culture and the arts. Past guest lecturers include journalist Anna Maria Tremonti, artists Matthew Ritchie and Wafaa Bilal, and creative industries executive Hael Kobayashi.  

Tickets for the event are available online. Additional information is featured on the event registration page.  

Catch a rising star’s original choreography at ‘York Dances 2022: coordinates’

Counterforce by Blythe Russell Dancers Rayn Cook-Thomas and Jessica Saftu FEATURED image for YFile

The Department of Dance in the School of the Arts, Media, Performance & Design presents York Dances 2022: coordinates – series x & y – April 6, 7 and 8 in the McLean Performance Studio, Accolade Centre East on the Keele Campus.

Restless by Kiara Sinclair Dancer Dana Brown
Restless by Kiara Sinclair. The dancer is Dana Brown

York Dances 2022: coordinates presents new choreographic works by 31 third-year BFA majors performed by students engaged in all levels of York’s programs in dance. This will be the department’s first live performance in more than two years and the dancers and choreographers are excited to share their works with an in-person audience. “coordinates explores how we navigate our spaces, relationships, identities and communities,” says York Dances Artistic Director Tracey Norman. “These emerging artists have responded to their shared and disparate senses of time and place in a number of innovative and poignant ways.”

“Restless” by Kiara Sinclair, showcases performers Dana Brown, Christiano DiDomenico, Mackenzie Grantham, Julianna Greco, Melissa Harve and Hannah Raymond and how each wrestles with the myriad of thoughts that keep them up at night.This work was a collaborative process inspired by the dancers,” explains Sinclair. “We used improvisation scores inspired by life’s worries and the accumulation of too many sleepless nights.”

In a similar vein, “Oscillate,” choreographed by Kelsey Bonvie to an original score by Liam Ferguson, addresses the ways in which humans tend to repress and internalize difficult emotions. Ranting, Bonvie suggests, is one way to relieve the pressure that builds up from keeping those feelings bottled up. More harmless bluster than full-blown rage, in “Oscillate,” Bonvie proposes that avoiding conflict and finding resolutions are oftentimes beyond one’s control.

Continuing with the theme of emotional release, choreographer Talia Cooper likewise deals with unexpressed emotions in her duet “Cathartic Reminiscence. Working with Bonvie and Travis Keith, Cooper explores how the sense of impending catharsis can consume our bodies and minds, driving out all other thoughts.

Home is Where the Heart is by Erin McKenzie. Image features dancers Christiano DiDomenico (left) and Sahara Shwed
Home is Where the Heart is by Erin McKenzie. Image features dancers Christiano DiDomenico (left) and Sahara Shwed

In “Choices,“ Erin McKenzie collaborates with dancers Jaelyn Jones, Victoria Kuronen, Sara Lopez-Videla and Christian Sears, to explore the sense of interconnectedness between people and the invisible yet visceral bonds that develop. “There is a beauty in the pull we have on each other,” says McKenzie. “But where do the boundaries of our connectedness lie? How do our choices affect those around us? And what is the impact of choosing to do nothing?”

McKenzie’s questions are echoed in Emily Weaver’s “Home is where the heart is.” Created as a queer celebration of resilience and resistance, Weaver confronts the ways in which gender identity and gender expression can unexpectedly dissolve close connections. Choreographed in collaboration with dancers Christiano DiDomenico, Ysabel Garcia, Danika Geen, Sahara Shwed and Amy Williams, Weaver addresses what happens when LGBTQIA+ individuals are forced out of long-standing relationships to search for new communities of support. A collaboration with musician James Weaver, created using improvisational prompts, guided journaling exercises, and found movement, “Home is where the heart is, serves as a call for tolerance and a vision for a better world.

Likewise looking for equilibrium, in “Counterforce, choreographer Blythe Russell investigates the surprising commonalities shared by opposing forces. Working with dancers Rayn Cook-Thomas and Jessica Saftu, Russell began by exploring opposing ideas such as frailty and strength, movement and stillness, and structure and chaos. As the creation process progressed, the piece became less about opposites and how they contrast with one another, and more about how they coexist simultaneously. “We looked to understand how frailty co-exists in strength, how movement is hidden in stillness, and how structure occurs in chaos,” says Russell. “I found myself leaning into the ambiguity of this piece, accepting that there is never one answer, and seeing the beauty that exists in the absence of polarity.”

Counterforce 2 by Blythe Russell. Dancers Rayn Cook-Thomas (left) and Jessica Saftu
Counterforce 2 by Blythe Russell. Dancers Rayn Cook-Thomas (left) and Jessica Saftu

As the pandemic wanes and new threats and instabilities emerge, creative inquiry and expression are ever more critical to sense-making in the world. “As communities continue to experience a sense of collective disorientation, this program of 31 world premieres provides an artistic compass, pointing us to what is most imperative in this moment,” states Norman. “Bringing dance to a live audience can only serve to unite and revitalize us.”

York Dances 2022: coordinates is presented in two series – series x and series y – April 6, 7 and 8, at 7 p.m. and 8:30 p.m., in the McLean Performance Studio, Accolade Centre East (ACE), Keele Campus. For tickets visit ampd.yorku.ca/boxoffice.

Passings: Professor Emeritus Hugh LeRoy  

passings

Hugh LeRoy, a prominent Canadian sculptor and educator, passed away on Jan 5. He taught at the University from 1974 to 2011.

Photo of Hugh LeRoy
Hugh LeRoy

LeRoy was a cherished professor emeritus at York University’s School of the Arts, Media, Performance & Design (AMPD) and senior scholar at the Graduate Program in Art History & Visual Culture where he nurtured and inspired generations of Canada’s cultural leaders. 

Prof. LeRoy was born in Montreal on Oct. 9 in 1939. He studied with artist and educator Alfred Pinsky at the art school of Sir George Williams University (now Concordia University). He went on to further his studies with painter and member of the Group of Seven Arthur Lismer and with poet Louis Dudek at the Montreal Museum of Fine Arts School of Art and Design, where he eventually taught and was later named dean in 1966. In 1969, he became Chair of the Sculpture Department at the Ontario College of Art and Design before joining York University’s Faculty of Fine Arts in 1974 as an associate professor in the Department of Visual Arts. LeRoy served as both Chair of the department and director of the Master of Fine Arts program. He taught at the University from 1974 to 2011.  

Prof. LeRoy exhibited his works professionally for more than 50 years. His modernist sculptures were displayed in numerous locations across Canada. Among his major commissions were public sculptures for the Justice Building in Ottawa, Banff Centre and Nathan Phillips Square. His work Four Elements Column currently resides in Lachine, Que., and LeRoy’s 1972 Rainbow Piece, installed on campus grounds outside Scott Library, is part of the permanent collection of the Art Gallery of York University. 

“As a teacher, LeRoy was unparalleled in his dedication to York’s students, cultivating and encouraging generations of artists who would create their own distinguished careers. This dedication to arts education has shaped the Canadian cultural landscape well beyond York University. Many of his former students went on to lead institutions and schools nationally,” says AMPD Dean Sarah Bay-Cheng. 

In 1967, he received first prize in sculpture at the Perspectives 67 competition in Toronto. Prof. LeRoy also participated in the 1976 exhibition Trois générations d’art québécois 1940-1950-1960 at the Musée d’art contemporain de Montréal with Red Piece, an abstract, linear sculpture of painted aluminum. In 1987, LeRoy installed The Arc & The Chord, a carved wooden sculpture that responded to the natural elements, at the Toronto Sculpture Garden. Prof. LeRoy also had a series of annual solo shows at Toronto’s Olga Korper Gallery.  

“On behalf of everyone in the Department of Visual Art and Art History, the School of AMPD and York University, we send our deepest condolences to Hugh’s family, including his wife Cynthia LeRoy and their daughters Jenny and Anna,” says Bay-Cheng.  

York University played key role in Singaporean arts and education leader’s success

York alumnus Venka Purushothaman

Venka Purushothaman, deputy president and provost for LaSalle College of the Arts in Singapore, credits York University with opening his eyes to the potential of the arts, the field in which he has made his career.

By Elaine Smith

From the beginning of his post-secondary journey, it seemed quite likely that Venka Purushothaman, who earned an honours bachelor of arts degree in English literature and mass communication and a master’s degree in English literature from York University, would pursue an academic career, and he has – but not as a professor of English. Instead, Purushothaman’s path led him to arts criticism and administration before he earned a PhD in Singaporean cultural policy and festival culture at the University of Melbourne in Australia. He has since spent 20 years at LaSalle College as a professor and administrator and will be part of the college committee that works with the government to form a national university of the arts in Singapore.

As a secondary school student, Purushothaman was eager to pursue a university degree somewhere different from Singapore, because he needed to see the world. “I spun a globe and put my finger on it and the closest spot to where it landed was Newfoundland, so I decided to come to Canada to study,” he said.

Always curious, Purushothaman began reading extensively about Canada and was inspired. When he arrived, he decided to see the country before applying to university as a way of becoming comfortable with colloquial English and building his confidence; he put on his backpack and travelled.

Purushothaman decided to pursue a liberal arts education focusing on literature because he loved to read. Toronto appealed to him because, like Singapore, it was multicultural, although “Toronto was taking multiculturalism to another level,” he said, noting that York’s curriculum and approach to learning seemed like a good fit, mixing the traditional literary canon with postcolonial works. “The first-year offerings were diverse and wide and opened up new ways of thinking,” he said.

As he absorbed these new ideas, Purushothaman also worked on campus. One of the jobs he had later in his undergraduate career was as senior don for Winters College. At the time, Winters was becoming the fine arts residence, and Purushothaman soon got to know many budding artists.

“It was a bridge to understanding the arts in its many manifestations,” he said. “I went to all kinds of performances and exhibitions to support my friends and I became more in tune with contemporary arts. It was a transformative environment.”

After earning his master’s degree, Purushothaman visited his family in Singapore, intending to return to Canada and find a position in copywriting or editing. However, fate decreed otherwise. The arts were taking root in Singapore, and he was recruited to work as an arts administrator for the Singapore Arts Centre Co. Ltd. to help establish a national arts centre, the first in the country. Purushothaman travelled the world to visit arts facilities, including Harbourfront and Roy Thomson Hall in Toronto. All the while, he continued writing, reviewing the visual arts and theatre work, he says, “that fed my soul.”

This job led him to other arts administration positions and, eventually, back to academia: first to his PhD studies and then to LaSalle College, where “I blended my interest in academia and the multi-faceted arts and creative industries.”

“I have been philosophically committed to transformative arts education,” Purushothaman said. “I do not want us to be siloed by history and tradition. Arts education should always be pioneering in that regard. Artists are resourceful and inventive, always looking for creative ways of learning. These modalities are now also valued by the non-arts sector and the place of creativity in many organizations is highly valued.”

Purushothaman believes in learning from the best and has used collaboration to tap into new ways of thinking and educating. In addition to creating the Asia-Pacific Network for Cultural Education (ANCER), he is a founder of a Global Design Initiative that pairs LaSalle with five other universities worldwide who are exploring new approaches to design education. The college is also a member of the Shared Campus Project, a consortium of universities who have a co-operation platform for international education formats and research networks. Purushothaman is also looking forward to making connections with the School of the Arts, Media, Performance and Design at York University.

“I want to see how we can find a common space to collaborate, because I truly believe in that global exchange,” he said.

Meanwhile, his latest endeavour is assisting in forming an alliance of Singapore’s two arts colleges to create a national university of the arts.

“It’s an exciting time,” he said. “It fits with the world class universities that Singapore already has. While we are seeing cuts to the arts in many countries, our government has a vision for multiple peaks of excellence. It is giving its stamp of approval to the arts, which is only fitting, because the arts are pervasive in society and help people realize their own potential.”

The arts and his early pursuit of an international education have led Purushothaman to discover and build upon his own potential and generations of artists and students have benefited.

York graduate film students organize Solidarity with Ukraine event 

female wearing headphones working a camera

Film students in York University’s Master of Fine Arts (MFA) program are coming together to support the filmmaking community documenting the war in Ukraine by hosting Solidarity with Ukraine: Music, Poetry, and Film Screening at Nat Taylor Cinema on Friday, March 25 from 7 to 10 p.m. 

Speakers and artists are joining the event from all corners of the world virtually, including political activist Denis Pilash from Kyiv, Ukraine, to introduce director Sergei Loznitsa’s film Maidan. The film screening will be the main feature of this event. The 2014 documentary film focuses on the Euromaidan movement of 2013 and 2014 in Maidan Nezalezhnosti (Independence Square) in Ukraine’s capital Kyiv. It was filmed during the protests and depicts several aspects of the revolution, from peaceful rallies to bloody clashes between police and civilians. 

Solidarity with Ukraine event poster, material in the story duplicates the poster text
Solidarity with Ukraine event poster

Historian, theatre activist and Department of History Course Director at the Faculty of Liberal Arts & Professional Studies (LA&PS) Oksana Dudko will be joining the event from Ukraine to present on the current situation, what is at stake and the global consequences. Poet and translator Ostap Kin will also join the event from New York to read Ukrainian war poetry, as well as composer and vocalist Anna Pidgorna from Vancouver who will share her music inspired by Ukrainian folklore. School of Arts, Media, Performance & Design Dean Sarah Bay-Cheng will deliver opening remarks. 

York MFA graduate students are the primary organizers of the Solidarity with Ukraine event alongside partners Ontario Public Interest Research Group (OPIRG) at York University, York Graduate Film Student Association (GFSA), York University’s Graduate Student Association (YUGSA) and Goethe Institute

The student organizers explain “while the mainstream media portrayal of the Ukrainian war is being criticized as an informational psychological war operation, the role of the independent voice of filmmakers becomes crucial.” 

When the students approached AMPD Graduate Program Director of the MFA program Manfred Becker, Associate Professors John Greyson, Ali Kazimi and Professor Emeritus Philip Hoffman with the idea of hosting a solidarity screening, they received unwavering support to move forward with planning the event.  

“Vladislava Ilinskaya emailed from Odessa, Ukraine, between air-raid sirens: ‘More than anything else right now, I am afraid of silence.’ Leena Manimekalai, filmmaker and current grad student at York, understood this sentiment as a call to organize this event, to give room to those in our York U community that need to gather to come to terms with a war that – at this very moment – is destroying a people, country, and culture, while the world is looking on in shock,” notes Becker.  

Through the many forms of art being showcased at the event, the students explain art allows society to examine what it means to be human, to voice and express, and to bring people together in times of crisis to break the silence and stand up against imperialism. 

This event is open to all members of the York community. It is free to attend, and audience members are encouraged to donate to Docudays to support Ukrainian filmmakers who are bravely documenting the events of the war in Ukraine.  

The participating panellists will be projected live on the screen of Nat Taylor Cinema, and the film will have both physical and virtual screenings. Registration is required.