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Arts and Culture

For the Record: May 20, 2021

For the Record provides postings of appointment, committee, grant, award, and other notices set out by collective agreements and university policies and processes. It is the university’s primary vehicle for sharing this information with our community.

Submit For the Record information for posting to Gazette editor Andrew Carroll.

Renewal, tenure, promotion applications

Under the terms of the Collective Agreement between Queen’s University and Queen’s University Faculty Association (QUFA) for faculty, librarians and archivists (“the Collective Agreement”), as modified by the COVID-19 Emergency Letter of Understanding (the “LOU”) dated May 22, 2020 including Schedule C (MOA re Time-Limits and Supports),  the deadline for regular faculty to apply for renewal, tenure or promotion; librarians and archivists to apply for renewal, continuing appointment or promotion; and adjuncts to apply for promotion is Sept. 15, 2021.

Members must notify their unit head of their intent to apply for renewal, tenure, continuing appointment, or promotion by Aug. 1, 2021. Articles that refer to these procedures include: Article 24 – Employment Equity; Article 30 – Renewal, Tenure and Promotion for Tenure-Track and Tenured Faculty Members; Article 31 – Renewal, Continuing Appointment and Promotion for Librarian and Archivist Members; Article 32.6  Reappointment and Promotion of Adjunct Members; and Appendix O- Aboriginal  Participation in Renewal, Tenure or Promotion Committees (or in the case of Librarian and Archivist Members, Continuing Appointment).

Search committee for Vice-Dean (Health Sciences) and Director, School of Rehabilitation Therapy Faculty of Health Sciences

A search committee has been established to recommend a candidate for appointment to the position of vice-dean (Health Sciences) and director, School of Rehabilitation Therapy in the Faculty of Health Sciences at Queen’s University.

Committee Membership

  • Jane Philpott, Dean, Faculty of Health Sciences (Chair)
  • Catherine Donnelly, Associate Professor, Occupational Therapy Program, School of Rehabilitation Therapy
  • Cathy Szabo, President and CEO, Providence Care
  • Diana O’Grady, Vice President, Patient and Client Care, Providence Care
  • Erna Snelgrove-Clarke, Vice Dean (Health Sciences) and Director, School of Nursing
  • Janet Jull, Assistant Professor, School of Rehabilitation Therapy
  • Jordan Miller, Assistant Professor, Physical Therapy Program and Associate-Director (Physical Therapy), School of Rehabilitation Therapy
  • Kathryn Parsons-Aldrich, Professional Programs Manager, Occupational Therapy and Physical Therapy, School of Rehabilitation Therapy
  • Katie Roberts (Secretary), Senior Staffing Officer, Faculty of Health Sciences
  • Megan Edgelow, Continuing Adjunct Assistant Professor, Occupational Therapy Program, School of Rehabilitation Therapy
  • Michael Coccimiglio, President of the Rehabilitation Therapy Society, School of Rehabilitation Therapy
  • Mike McDonald, Chief Nursing Executive and EVP Patient Care and Community Partnerships, Kingston Health Sciences Centre
  • Setareh Ghahari, Associate Professor, Occupational Therapy Program, School of Rehabilitation Therapy
  • Stacey Hatch, PhD candidate, Aging and Health Program, Research and Post-Professional (RPP) Programs, School of Rehabilitation Therapy
  • Steven Smith, Vice-Dean, Research, Faculty of Health Sciences; Vice-President, Health Sciences Research, Kingston Health Sciences Centre; President and CEO, Kingston General Health Research Institute

All staff, faculty, students and members of the Queen’s community are encouraged to provide input on the profile of our future Vice-Dean (Health Sciences) and Director, School of Rehabilitation Therapy, via the completion of this form. Questions can be directed to Crystal Tripple, Staffing Officer at ct82@queensu.ca.

Feedback received will be shared with the Committee and will help to inform both the development of the role description and the search process. In addition, nominations to the position, including rationale for supporting each nominee are encouraged.

How a unicorn is helping Ontario’s public and Catholic schools welcome gender diversity

Queen’s researcher Lee Airton has created Gegi.ca, an online resource that helps students advocate for their gender expression and gender identity human rights.

Gegi.ca is a newly launched website that advocates for gender identity and gender expression
Gegi.ca is a newly launched website that advocates for gender identity and gender expression

Queen’s researcher Lee Airton, Assistant Professor of Gender and Sexuality Studies in Education, and Kyle Kirkup, Associate Professor in the Faculty of Law (Common Law Section) at the University of Ottawa, have launched an online resource that targets elementary and high school students and educators seeking more information about gender identity and gender expression human rights protections. With “Gegi” – a beautiful/handsome nonbinary unicorn – as their guide, K-12 students across Ontario can acquire information and tools to self-advocate within their school and school board.

The launch of the website aligns with Education Week and Catholic Education Week initiatives across Ontario.

Gegi.ca was created following a study by Dr. Airton and Dr. Kirkup of how Ontario school boards were responding to their new legal responsibilities to offer an environment free from two separate forms of discrimination: for who you are gender-wise (your gender identity), and how you let others know through things like your clothing, grooming, and behaviour (your gender expression). The resource aims to translate and mobilize findings from their recent Social Sciences and Humanities Research Council (SSHRC) Insight Development Grant (2018-2020), which identified that Canada is going through a gender human rights law revolution and that action was needed to directly address the incremental and uneven rate at which K-12 school structures and practices are changing in response.

“Gender expression and gender identity are still new concepts to many people, let alone new areas of legal responsibility for school staff. Gegi.ca is intended to fill this gap by supporting Ontario’s K-12 students and their loved ones is the kind of self-advocacy that changes schools for everyone,” says Dr. Airton.

Each Ontario school board (public and Catholic) will have two dedicated student and staff web pages on gegi.ca. These pages connect students and their loved ones or staff directly to relevant board policies and suggest what a Gegi visitor can do or whom to contact if their board has not yet updated its policies. Students are also invited to download and share information about their gender identity or gender expression human rights in relation to athletics, field trips, and washroom or changing room access directly with school staff or administration.

The site will also host a series of downloadable and accessible resources both in French and English. These resources contain the most up-to-date law- and research-informed guidance on the changes required to fulfill every school’s duty to create a learning environment free from discrimination on the basis of gender expression or gender identity.

 “Gegi.ca is a powerful resource for Ontario students and their families to ensure their gender identity and gender expression is protected and that students can thrive and grow in our schools,” says Rebecca Luce-Kapler, Dean, Faculty of Education.

Gegi.ca targets both students and teachers, providing access to knowledge and skills that are typically only held by legal professionals. Skills fostered by gegi.ca’s resources include legal self-advocacy (i.e., correctly identifying governing laws, past legal precedents, policies and procedure; and maintaining written records and conducting correspondence), and identifying key actors and levers of power within their own school and school board. For school staff who face gender expression discrimination, gegi.ca’s board-specific pages connect to local school board policies and advocacy resources, as well as union policies. Lastly, teachers and school administrators who recognize the presence of gender expression or gender identity discrimination in their school can access gegi.ca’s collection of tip sheets and curated resources, all of which prompt proactive change. The Gegi.ca team will also share the resources with equity leads in Ontario’s school boards and work to engage all directors of education as part of the rollout.

For more information on gegi.ca, visit the website.

What are the Times Higher Education Impact Rankings?

Looking at the social impacts post-secondary institutions are creating locally and abroad.

The Times Higher Education Impact Rankings are the only global performance tables that assess universities against the United Nations' Sustainable Development Goals (SDGs) through their research, teaching, outreach, and stewardship efforts.

Over 1,000 institutions based around the globe were assessed in this year's rankings, and you can view their performance toward each of the 17 SDGs on the Times Higher Education Impact Rankings website. Find out how universities are moving toward eradicating poverty and hunger, increasing health and wellbeing, achieving gender equality, advancing climate action and clean energy, stimulating economic growth and innovation, and improving education. You can also explore Queen's University's Times Higher Education profile.

 

Transforming the global academy

Principal Patrick Deane on how the SDGs are helping break down silos, provoke dialogue, and unite us all in a common global purpose.

[Photo of Principal and Vice-Chancellor Patrick Deane]
Patrick Deane, Principal and Vice-Chancellor, Queen's University

As a member of the international group tasked with updating the Magna Charta Universitatum – the declaration of university freedoms and principles that was first signed in Bologna in 1988 – I am struck by the extent to which the intervening three decades have altered the global consensus about the nature and function of universities. Where the original document spoke eloquently to the fundamental values of the academy, the new Magna Charta Universitatum 2020 reaffirms those values but also expands upon their social function and utility. I would summarise the shift this way: we have moved from an understanding of universities as defined primarily by their ability to transcend historical contingency to a more complicated view, which asserts that timeless principles such as academic freedom and institutional autonomy are the platform from which the academy must engage with history.

If the situation in Europe and around the world in 1988 made it important to speak up for the freedoms without which teaching and research would be impoverished, by 2020 it had become equally important to speak of the responsibilities incumbent on institutions by virtue of the privileges accorded to them. The reality of rapid climate change has brought urgency and authority to this new view of universities, as have parallel trends in the social, cultural, and political climate, and “education for sustainable development” has emerged as the increasingly dominant model for global higher education – one which fuses the concerns of environment, society, and economy.  

Recent columns in Times Higher Education have admirably described the diverse ways in which the United Nations’ Sustainable Development Goals (SDGs) have been intrinsic to this reorientation of the global academy: as a rallying point for students and staff, as an accountability framework, and as a global language for political action, for example. Here at Queen’s University, the SDGs have been an important frame for our current planning process, and in all of those ways have influenced the manner in which we understand and wish to articulate our mission.

At one point in the process, an influential and valued friend of the university expressed some irritation to me about the way in which the SDGs had come to dominate and disrupt the university’s normally untroubled and inwardly-focused dialogue with itself about mission and values. “And in any case,” came the throwaway dismissal, “there’s nothing original or new about aligning with the SDGs.” Of course, that is true in 2021, but is it relevant? If a university is able to maximise its global impact, does the inherent originality or novelty of its planning parameters matter? In such exchanges – still occurring, I’m certain, on campuses everywhere – we can see that the changing consensus about which I wrote at the start is not yet complete.

It seems to me, in fact, that much of the value of the SDGs as an organising framework for universities resides in their not being proprietary or “original” to one institution, or to an exclusive group of institutions. It has often been pointed out that they now provide a shared language which helps universities in diverse geographical, political, and socio-economic locations understand and build upon the commonality of their work in both teaching and research. Adoption of the SDGs, however variously that is done from institution to institution, is turning the “global academy” from a rhetorical to a real construct, and I can’t imagine why it would be in the interests of any university to hold itself aloof from that transformation. Having watched our planning process unfold at Queen’s over the last two years, I can confirm that what the SDGs do at the global level, they do also at the level of the individual institution, providing a common language that provokes and sustains dialogue – not only between disciplines, but between the academic and non-academic parts of the operation.

I want to end by commenting on the excitement generated when siloes are broken open and when people and units understand how they are united with others in a common purpose and in service to the greater good. To cultivate that understanding has been the primary objective of planning at Queen’s for the last two years, and preparing our first submission to the Impact Rankings has been an intrinsic part of that process of learning and self-discovery. Naturally, we are delighted and excited by where we find ourselves in the rankings, but we are energised in a more profound way by the knowledge of what synergies and collaborations exist or appear possible both within our university and in the global academy.

The first 16 SDGs point to the areas in which we want to have impact. The 17th tells us what the whole project is really all about: acting in community for the communal good.

This op-ed was originally published in the Times Higher Education supplement.  

Queen’s community comes together to illustrate social impact

THE Impact Rankings submission measures the university’s overall contribution to global sustainability.

[Graphic image with a "Q" of the Queen's community]

Times Higher Education (THE), the organization best known for its World University Rankings, sees universities as representing the greatest hope of solving the most urgent global challenges. In 2019, they moved to create the Impact Rankings – an inclusive evaluation of post-secondary institutions’ commitments to positive social and economic impact measured against the United Nations’ Sustainable Development Goals (SDGs).

This year, out of more than 1,200 participating institutions worldwide, Queen’s placed first in Canada and fifth globally in the 2021 Impact Rankings. It is the first time Queen’s has participated in this ranking exercise, and our performance is a result of the campus community’s united effort to create a comprehensive submission package for Impact Rankings adjudicators.

THE Impact Rankings

While many traditional ranking processes are designed with research-intensive universities in mind, the Impact Rankings are open to any institution teaching at the undergraduate or post-graduate level. Using the SDGs as a means of gauging a university’s performance, THE developed a methodology involving 105 metrics and 220 measurements, carefully calibrated to provide comprehensive and balanced comparisons between institutions across four broad areas: research, stewardship, outreach, and teaching.

“The Impact Rankings are unlike any other ranking. They offer a global platform to acknowledge and celebrate the partnerships integral to advancing international initiatives, developing the leaders of tomorrow, and working towards an inclusive, diverse, and sustainable future,” says Michael Fraser, Vice-Principal (University Relations) and co-chair of the Queen’s Impact Rankings Steering Committee. “On behalf of the Steering Committee, thank you to the community for your support and collaboration in advancing this initiative.”

In their submissions, universities must demonstrate progress toward meeting at least three SDGs, as well as toward SDG 17: Partnerships for the Goals. THE evaluates each institution’s submission, drawing on the quantitative and qualitative data provided, as well as bibliometric research datasets provided by Elsevier, a data and analytics company.

The Queen’s Submission – A Community Effort

“Participating in the Impact Rankings requires self-reflection. We are asked to contemplate our current impact and think about what we want to achieve for the future,” says Sandra den Otter, Vice-Provost (International) and co-chair of the Queen's Impact Rankings Steering Committee. “These results testify to the work we have done together. I hope this is a moment for recognizing the progress we have made, and to furthering our aspirations as a university and as members of a global community committed to change.”

To lead its submission process, Queen’s established a Steering Committee, Project Team, and Working Group, comprised of leadership, staff, and faculty from across the university. This team set about gathering over 600 unique pieces of evidence, representing the efforts of over 70 departments and portfolios. Queen’s chose to submit evidence in support of all 17 SDGs – a decision that led to top-100 rankings in 14 of 17 SDGs, including top-10 in three categories (Zero Hunger, Sustainable Cities, and Life on Land) and being ranked first – globally – for SDG 1: No Poverty and SDG 16: Peace, Justice and Strong Institutions. 

Metrics and measurements were unique for each SDG, with each goal requiring a specific combination of quantitative and qualitative data. The quantitative evidence integrated research bibliometric data and key words that measured number of publications, co-authors, and field-weighted citations. Other quantitative measurements looked at water consumption per capita, energy and food waste measurements, university expenditure on arts and culture, the number of first-generation university students, and number of employees from equity-seeking groups.

Qualitative evidence spanned institutional policies and individual courses, to the missions of research centres and institutes, community volunteer initiatives, and strategic plans, all demonstrating how we are advancing the SDGs. Metrics often required evidence of local, national, and global-reaching initiatives to illustrate full impact.

More than 400 internal links pointing to Queen’s websites were supplied as publicly accessible evidence of Queen’s research, outreach, teaching, and stewardship efforts. Additionally, nearly 100 external links were included in the submission, each reflecting the university’s extensive partnerships: internally with student-led clubs, locally with Sustainable Kingston and United Way KFL&A, nationally with the Government of Canada, and globally with the Matariki Network of Universities.

Learn more about Queen’s performance in the Times Higher Education 2021 Impact Rankings.

The art of dark matter

A new exhibition and residency project, generated by Agnes Etherington Art Centre, the McDonald Institute, and SNOLAB, brings together artists and scientists in the quest to understand dark matter.

In the 1930s, researchers first proposed the seemingly impossible concept of dark matter, the “glue” that holds the universe together. Dark matter is made up of material that does not emit light or energy, making it invisible. Even though about 80 per cent of the matter in the universe is composed of this indiscernible substance, we barely understand how it behaves or influences other entities.

The mysteries of dark matter are being unlocked by scientists and engineers at the Arthur B. McDonald Canadian Astroparticle Physics Research Institute at Queen’s University and SNOLAB, located in an active nickel mine two kilometres below the surface, near Sudbury. This work has inspired a new collaboration with Agnes Etherington Art Centre.

  • Artist Nadia Lichtig photographing the drift entrance to SNOLAB. Photo: Zac Kenny
    Artist Nadia Lichtig photographing the drift entrance to SNOLAB. Photo: Zac Kenny
  • Artist Jol Thomson documents researchers working on CUTE (a Cryogenic Underground Test Facility) at SNOLAB. Photo: Gerry Kingsley
    Artist Jol Thomson documents researchers working on CUTE (a Cryogenic Underground Test Facility) at SNOLAB. Photo: Gerry Kingsley
  • Artist Josèfa Ntjam and SNOLAB staff scientist Dimpal Chauhan discuss ancient water. Photo: Zac Kenny
    Artist Josèfa Ntjam and SNOLAB staff scientist Dimpal Chauhan discuss ancient water. Photo: Zac Kenny

To explore the “known unknown” from different angles and demonstrate the interrelatedness of science and art, McDonald Institute, SNOLAB, and Agnes launched a residency and exhibition project, called Drift: Art and Dark Matter. Drift, an ode to the mining term for a horizontal tunnel, collaborated with four nationally- and internationally-acclaimed artists, Nadia Lichtig, Josèfa Ntjam, Anne Riley, and Jol Thoms, to partner with Queen’s and SNOLAB researchers searching for dark matter and create unique pieces inspired by these exchanges.

The first stage of the residency took place in July and October 2019. It involved two extended site visits, at Queen’s and at SNOLAB, during which the artists, scientists, and staff participated in presentations, hands-on research experiments, and field trips. The visits provided ample opportunity for Lichtig, Ntjam, Riley, and Thoms to connect with world-renowned physicists, chemists, engineers, and other scholars, including Dr. Arthur B. McDonald, co-recipient of the 2015 Nobel Prize in Physics. Discussions ranged from the basics of dark matter and neutrino physics to articulations of racialized, Indigenous, and entangled identity, prioritizing mutual exchange of knowledge and insights. The subsequent months of the residency were focused on digital discussion among collaborators and home studio production for artists.   

Josèfa Ntjam, Luciferin Drop, 2020, glass, metal, ABS filament and luminescent liquid and Myceaqua Vitae, 2020, video with sound. Collection of the artist. Installation view from Drift: Art and Dark Matter. Photo: Tim Forbes
Josèfa Ntjam, Luciferin Drop, 2020, glass, metal, ABS filament and luminescent liquid and Myceaqua Vitae, 2020, video with sound. Collection of the artist. Installation view from Drift: Art and Dark Matter. Photo: Tim Forbes

“The experience was unique for several reasons. Firstly, I was able to travel to Canada and then go two kilometres underground, together with the miners. Then the fact I was able to visit the research facilities and speak with the researchers, and later able to deepen the discussions with the researchers invited in the context of the residency,” says Nadia Lichtig, one of Drifts artists-in-residence. “The whole experience was very inspiring.” 

Drift successfully opened dialogue between artists and physicists, revealing shared values, goals, and habits and highlighting new perspectives and comprehensions of advanced scientific theories being explored and developed nationwide. The residency culminated in several artworks – installation, sculpture, textile, and video – that offer a multisensory experience of dark matter science and the “how” and “why” of that which cannot be sensed directly.

Jol Thoms, Orthomorph (Tunneling), 2020, digital print. Courtesy of the artist.
Jol Thoms, Orthomorph (Tunneling), 2020, digital print. Courtesy of the artist.

“From a curator’s perspective, I believe we have reached a historical moment when the modes and motivations of producing culture need to be reconsidered, and with this project, we’re participating in a broader movement of artists and institutions making forays to explore much wider contexts and different constructions of knowledge,” says Sunny Kerr, Curator of Drift and Contemporary Art at Agnes. “This exhibition is a crucial step at the beginning of longer conversations between art and science.”

For those interested in experiencing the exhibition in person, it is on view at the Agnes until May 30, 2021. It will then tour across Canada to galleries with McDonald Institute and SNOLAB affiliations in Vancouver, Ottawa, Toronto, and Sudbury. 

Nadia Lichtig, Blank Spots, 2021–ongoing, frottage on canvas, theatre lights, sound. Collection of the artist. Installation view from Drift: Art and Dark Matter. Photo: Tim Forbes
Nadia Lichtig, Blank Spots, 2021–ongoing, frottage on canvas, theatre lights, sound. Collection of the artist. Installation view from Drift: Art and Dark Matter. Photo: Tim Forbes

Drift: Art and Dark Matter also takes the form of an online exhibition that can be found on Digital AGNES. The digital exhibition showcases the meeting of theories and voices that informed this exciting transdisciplinary residency and features behind-the-scenes videos, interviews, and interactive activities.


Agnes is open: Agnes reopened its doors to the public on Feb. 20. In addition to Drift, visitors can experience two other exhibitions, From the vibe out: Neven Lochhead and Radicals and Revolutionaries: Artists of Atelier 17, 1960s as part of the Agnes’ current season offerings.

Josèfa Ntjam, Organic Nebula (detail), 2019, carpet, photomontage. Collection of the artist.
Josèfa Ntjam, Organic Nebula (detail), 2019, carpet, photomontage. Collection of the artist.

 

Lights, camera, livestream!

Work presented by Queen’s University’s Festival of Live and Digital Art recognized as one of top 10 moments in Canadian Theatre for 2020.

During a time when theatres went dark and the performing arts community had to introduce new ways to showcase their talents, a program at Queen’s University pushed forward by moving its unique Festival of Live and Digital Art (FOLDA) online.  

As a result, the Globe and Mail has named a production at FOLDA as a top-10 moment in 2020 Canadian Theatre. Included on that list were the National Ballet of Canada and the Toronto production of Hamilton. 

In its third year, FOLDA is an annual festival held in Kingston in June that exists with the support of The Isabel Bader Centre for the Performing Arts, The Dan School of Drama and Music, and The Department of Film and Media. Due to the pandemic, it was presented this year in an entirely digital format.  

This year, Miwa Matreyek, a designer, director and performer from Los Angeles, presented three livestreamed works, including Infinitely Yours where her silhouette interacts with animations. It was included in the Globe and Mail’s top 10. 

“Iterative development has been at the core of the curatorial approach to FOLDA,” says Michael Wheeler, assistant professor, Dan School of Drama and Music. “Around a third of the pieces at FOLDA are finished works like Infinitely Yours. Many other works are works in progress as creators experiment with concepts and gain feedback from audiences. It was for this reason we were also excited to see The Chop Theatre's Pathetic Fallacy on the same Globe and Mail list. This show was developed in an iterative creation process at festivals around the world, including two years at FOLDA, before finding a completely digital presentation form working with Rumble Theatre in 2020." 

SpiderWebShow established FOLDA at The Isabel in 2018 with a goal of creating an annual festival for audiences and artists to examine how digital technologies are transforming life performance. Wheeler is also the co-creator and director of artistic research of SpiderWebShowthe first and only nationally-driven performing arts website of its kind in Canada. 

“The inclusion of Miwa Matrayek's work at FOLDA on this list of notable theatre productions emphasizes the shifting nature of the medium that SpiderWebShow has been dedicated to considering,” says Wheeler. “We are thrilled for Miwa and hope it will encourage new audiences to join us each June in an exploration of what live performance can be." 

Read more about FOLDA in the Globe and Mail. 

Armand Ruffo wins Latner Writers' Trust Poetry Prize

Armand Ruffo
Armand Ruffo

Armand Ruffo, Queen’s National Scholar in Indigenous Literature and professor in the Department of English, is this year’s winner of the Latner Writers' Trust Poetry Prize, it was announced on Wednesday, Dec. 2.

The $25,000 prize is awarded to a mid-career poet in recognition of a remarkable body of work, and in anticipation of future contributions to Canadian poetry.

“To receive this award from my peers who in their own right are highly respected poets is truly an honour,” Ruffo says. “Above all it is further validation of my artistic practice and it tells me to keep at it. By nature of the work writers tend to fall into periods of silence and I think of this award as a hammer to help me break through those periods.”

An Anishinaabe scholar, filmmaker, writer, and poet, Ruffo has received numerous awards over his career and has twice been a finalist for the Governor General’s Literary Awards – 2019 for his poetry collection Treaty # and in 2015 for his book Norval Morrisseau: Man Changing Into Thunderbird.

Ruffo has also written three plays and has written, directed and produced a short film and a feature film.

Listen to his interview for Latner’s Writers’ Trust with Kaie Kellough, one of the prize jurors.

Leveraging creative potential during a pandemic

Queen’s University researchers respond to a critical need with unique music program Rise, ShineSing!

The Accessible and Inclusive Music Theatre project, led by Queen’s researchers Julia Brook and Colleen Renihan, is embarking on its second year of investigating how participation in an accessible online music and movement program can improve well-being and foster creativity, particularly among older adults.  

The first year of the program Rise, ShineSing! included three weeks of in-person sessions at the Isabel Bader Centre for the Performing Arts which saw sessions of 50 people in the rehearsal hall, singing and moving together, followed by 12 weeks of online sessions over Zoom. 

We came together as a team to consider what a collaborative approach to these wicked problems of ageism in music theatre, loneliness, and a lack of understanding about the creative potential of people throughout the lifespan could yield,” says Dr. Renihan, whose research investigates issues of voice, cultural memory, and empathy in opera and music theatre. 

After moving online due to the pandemic, Drs. Brook and Renihan decided to continue the program, based on its early success. 

We determined this program filled a significant need in the community,” says Dr. BrookWe are both community-minded musicians and scholars, wanting to work and make beautiful change in our local community here in Kingston. We believe in the flexibility that music theatre offers with its combination of music, story, and movement. We believe that one can thrive and be creative across the lifespan. 

Dr. Renihan adds for the second year of the program they are aiming to share their findings through publication, public presentations, and through the formation of a national network of researchers and creators with similar goalsThey are also interested in the effects of participation in this kind of creative work on well-being. Finally, with the pandemic, they are investigating the surprising gains of engaging in performance and creation over Zoom. 

The second year of the program includes participants from outside of Kingston, including some people from long-term care homes, recognizing the need in this community for interaction, connection, and artistic stimulation, especially during the COVID-19 pandemic. 

During each weekly session, participants engage in a series of vocal and movement warm-ups, and sing and dance to a repertoire of folk, musical theatre, and popular hits. 

“Our project aims to find ways to help people of all ages and abilities to leverage their creative and artistic potentials in a digital space,” says Dr. Brook, whose research area focused on music education. 

This research project is currently recruiting participants of all ages and abilities: No previous singing or dancing experience is required, and no digital savvy beyond clicking the Zoom link is needed. 

To find out more, sign up for a weekly newsletter and get the Zoom link to participate by visiting the project’s website at www.riseshinesing.ca. 

The Accessible and Inclusive Music Theatre Project is supported by the Social Sciences and Humanities Research Council of Canada, the Canadian Foundation for Innovation, and the Dan School of Drama and Music at Queen’s University. 

Putting a stamp on the season

Queen’s University professor Gauvin Alexander Bailey consulted on this year’s Christmas stamp for the United States Postal Service.

Over Christmas, millions of letters and packages are delivered all over the world, affixed with special stamps for the season. But how are the images for the stamps selected? 

Queen’s University art expert Gauvin Alexander Bailey acted as a consultant for the selection of artwork for this year’s United States Post Service (USPS) Christmas stamp. This year’s version of the stamp features a detail of Our Lady of Guápulo. Painted by an unknown artist, likely an Amerindian working in Cuzco, Peru, the 18th-century oil painting depicts the Virgin Mary looking down at a richly dressed Christ Child. 

As an acknowledgment of the importance of Latinx culture in the United States, the USPS wanted a Christmas image that reflected this community and the rich cultural heritage of Spanish America in general. They contacted Dr. Bailey (Art History and Art Conservation) who is an expert in Southern European and Latin American Baroque Art to review the selection. 

“I was approached in 2017 by PhotoAssist, a Maryland-based image fact-checking company contracted by the United States Postal Service because the USPS wanted to make a Christmas stamp with a Latin American image. One of my specialties is colonial Latin American painting,” explains Dr. Bailey. “As a consultant I reviewed art, text, and subject matter to make sure the painting and its historical significance are represented accurately.” 

Dr. Bailey says normally the Madonna and Child images chosen for Christmas are European in origin – in the past many have been from the Italian Renaissance, from U.S. museums (e.g. a Florentine Renaissance one for the 2016 Christmas stamp, from the National Gallery of Art). Our Lady of Guápulo is in the Metropolitan Museum of Art. 

This oil painting depicts a pilgrimage image of the Virgin and Child (a dressed sculpture) named the Virgin of the Rosary of Guápulo in present-day Ecuador. She herself is a 1584 copy of a Spanish sculpture called the Virgin of Guadalupe. In fact, “Guápulo” was a local Quito mispronunciation of “Guadalupe.” Toward the end of the 17th century paintings of the sculpture began to proliferate as a way of raising funds for the original shrine and the Virgin’s cult spread throughout the Andes. 

“The painting on the USPS Christmas stamp represents the apex of colonial painting in South America and is painted with extreme delicacy and attention to detail, particularly of the costume,” says Dr. Bailey, Bader Chair in Southern Baroque Art. “What makes it interesting is that it is not just a copy of the original but reflects Peruvian taste in the lavishness of its costume and golden crowns, and in the prominence of the floral bouquet.” 

For more information, view the stamp here

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