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Wellness through creativity

Art Hive @Agnes offers young adults the opportunity to relax, recharge, and expand their creative powers within a studio setting.

  • Arts educator and certified art therapist Harper Johnston speaks with one of the participants
    Arts educator and certified art therapist Harper Johnston speaks with one of the participants of Art Hive @Agnes, hosted at the Agnes Etherington Art Centre. (Photo by Garrett Elliott)
  • Art Hive @Agnes offers participants a chance to relax, recharge, and expand their creative powers within a studio setting.
    Art Hive @Agnes offers young adults (ages 18-24) a chance to relax, recharge, and expand their creative powers within a studio setting. (Photo by Garrett Elliott)
  • Art Hive @Agnes participant drawing
    As part of the Art Hive @ Agnes program, a team of Queen’s graduate students will create surveys, track data, and present findings in a final report. (Photo by Garrett Elliott)
  • Art Hive @Agnes participant creating
    Art Hive @Agnes is a weekly drop-in art and wellness program for young adults (18-24) currently being held at the Agnes Etherington Art Centre. (Photo by Garrett Elliott)

Art and wellness is the focus of a new weekly drop-in program for young adults (18-24) at the Agnes Etherington Art Centre

Facilitated by arts educator and certified art therapist Harper Johnston, Art Hive @Agnes offers participants a chance to relax, recharge, and expand their creative powers within a studio setting. The free sessions are being held at the Agnes 4-6 pm each Thursday until March 28. No prior art experience is necessary and materials are provided.

“Artmaking is innately therapeutic. We know this from the outstanding amount of positive research being reported today,” says Shannon Brown, Program Coordinator at the Agnes. “The idea that everyone is creative and can draw from their own personal expression to process and support inner transformation towards health is being embraced by those in healthcare and among the general public. When we step into a flow state, which happens when people are focused on an enjoyable task such as artmaking, blood pressure lowers, experiences of pain and worry drop away and personal agency is activated. Add to this a supportive community, such as an Art Hive community, and the participants can work side by side and share hopes and fears, gain acceptance and be witnessed in the creative act of artmaking and healing. It’s a beautiful process and we are grateful to be able to offer this special creative environment to the young adults of Kingston. “

As part of the program here, Michelle Searle, an assistant professor of the Assessment and Evaluation Group at Queen’s, will be overseeing an evaluation team made up of Queen’s graduate students. The team will create surveys, track data, and present findings in a final report. The purpose of these evaluations is to document the benefits of Art Hive, measure the attainment of the program goals, and evaluate the needs of participants to further improve the program.

The Art Hive @Agnes program aligns with the university’s increasing focus on the health and wellness of the Queen’s community. Earlier this year Queen’s adopted the Okanagan Charter and, in November, launched the Campus Wellness Project with the aim of advancing, encouraging, and supporting a culture of wellbeing.

“In today’s times where students are needing increasing amounts of mental health supports, it is important for them to have access to various types of therapeutic outlets and opportunities,” says Rina Gupta, Director, Counselling, Queen’s University. “Traditional counselling can be very helpful in times of uncertainty, but not all students feel comfortable talking about their concerns and/or negative experiences. The idea of being able to offer students the opportunity to express themselves through creativity and art is fantastic as it acknowledges the holistic needs of individuals. We fully support the Art Hive @Agnes project and we will be the first to refer students to it. We also look forward to future collaborations with the Agnes Etherington Art Centre, as we view art therapy as being a valuable addition to the mental health resources available to Queen’s students.”

Outreach partnerships supporting Art Hive @Agnes include: Counselling Services at Student Wellness Services; the Alma Mater Society Peer Support Centre; Kingston Health Sciences Centre and Queen’s Faith and Spiritual Life Services.

For information about the Campus Wellness Project and to learn about other consultation opportunities, visit the project website or contact Project Lead Jennifer Ross at campuswellness@queensu.ca.

Ka’tarohkwi Festival of Indigenous Arts brings top artists to The Isabel

[Jeremy Dutcher]
Jeremy Dutcher, winner of the 2018 Polaris Prize, will be performing at the Isabel Bader Centre for the Performing Arts during the Ka’tarohkwi Festival of Indigenous Arts. (Supplied Photo) 

The inaugural Ka’tarohkwi Festival of Indigenous Arts, curated by Queen’s Canada Research Chair in Indigenous Arts Dylan Robinson, is being hosted at the Isabel Bader Centre for the Performing Arts from Feb. 12 to March 24.

Supported by the Isabel and Alfred Bader Fund, A Bader Philanthropy, the Ka’tarohkwi Festival is an exciting multi-disciplinary blaze of Indigenous creativity at the Isabel celebrating the music, film, dance, multimedia, theatre, visual art, and virtual reality stories from the top Indigenous creators in Canada.

]Ka’tarohkwi Festival of Indigenous Arts]
Ka’tarohkwi Festival of Indigenous Arts

“ts’áts’eltsel xwoyíwel tel sqwálewel kw’els me xwe’í sq’ó talhlúwep! We gather together to experience this exceptional work by Indigenous artists from near and far,” says Dr. Robinson.  “This festival draws its name from the Huron and Mohawk word for the lands we gather on – Ka’tarohkwi. And as a xwelmexw (Stó:lō) guest here, I am grateful to the Haudenosaunee and Anishinaabe people for their leadership, and for these lands that sustain us and the creative work that is part of the festival.”

The festival includes top artists from across Canada such as such as Jeremy Dutcher, Tanya Tagaq, the National Arts Centre Orchestra, Monique Mojica, Bracken Hanuse Corlett, Dean Hunt, Digging Roots, Lisa Cooke Ravensbergen, and Tanya Lukin LinklaterThe Festival celebrates the creation of new works, and includes world premieres in the Wani’/Lost and Niiganni-Gichigami. Ontiatarío. Lake Ontario programs.

The festival film series is presented in collaboration with imagineNATIVE film festival and the Department of Film and Media. Filmmakers include Stephen Campanelli with a film inspired by Anishinaabe writer Richard Wagamese, Terril Calder, Jay Cardinal Villenneuve, Asinnajaq, Sean Stiller, Asia Youngman, Caroline Monnet, Zoe Hopkins, and Lisa Jackson.

“These prominent artists demonstrate the vibrancy of Indigenous arts today, and to these artists I say, ‘You have power, you have a voice. Raise your voice to be sure the people hear you,’” says Associate Vice- Principal, Indigenous Initiatives and Reconciliation Kanonhsyonne (Janice Hill).

The Isabel presents the virtual reality installation BIIDAABAN: FIRST LIGHT VR, March 17-25, created by Lisa Jackson, Mathew Borrett, Jam3, and the National Film Board of Canada, and hosts RESURGENT VOICES: Indigenous Oration and Aurality on Sunday, March 24, 4-6 pm where Geraldine King and Beth Piatote explore the sonic impact of Indigenous oration.

The Festival is affiliated with SOUNDINGS: An Exhibition in Five Parts at the Agnes Etherington Art Centre, curated by Candice Hopkins and Dylan Robinson, that includes newly-commissioned ‘scores’ by artists including Tania Willard, Tanya Lukin Linklater, Raven Chacon, Cristobal Martinez, Cheryl L’Hirondelle, Olivia Whetung, Peter Morin, and Ogimaa Mikana,  and a speakers’ series, entitled “Against Hungry Listening.” The exhibition is accompanied by a specially commissioned book of scores designed by Sebastien Aubin.

“The arts are a powerful voice in our society, and the profound messages from these outstanding Indigenous artists transformative. The Isabel is honoured to collaborate with curator Dylan Robinson and all the artists involved for their originality and creativity in bringing this festival to fruition, as we are to work with the Agnes Etherington Arts Centre, imagineNATIVE, and Queen’s Department of Film and Media as affiliated collaborators,” says Tricia Baldwin, Director of the Isabel Bader Centre for the Performing Arts. “We are grateful to our benefactors, the Isabel and Alfred Bader Fund, A Bader Philanthropy. This is especially poignant right now, as the late Alfred Bader, a man dedicated to artistic excellence and justice in this world, continues to inspire us forward."

View the Ka’tarohkwi Festival of Indigenous Arts schedule or visit The Isabel website.

Festival passes and individual tickets are available through the Isabel Box Office, 613-533-2424 (Monday-Friday, 12:30-4:30 pm), and online at queensu.ca/theisabel.

Agnes launches winter season

  • Visitors enjoy Soundings: An Exhibition in Five Parts.
    Attendees of the Agnes Etherington Art Centre winter season launch enjoy Soundings: An Exhibition in Five Parts. (Photo by Tim Forbes)
  • View of Rome, Capital of Painting
    Attendees of the Agnes Etherington Art Centre winter season launch view some of the works in the Rome, Capital of Painting exhibition. (Photo by Tim Forbes)
  • Attendees of the Agnes Etherington Art Centre winter season launch enjoy Soundings: An Exhibition in Five Parts.
    Attendees of the Agnes Etherington Art Centre winter season explore Soundings: An Exhibition in Five Parts, one of two new exhibitions. (Photo by Tim Forbes)
  • Curators Dylan Robinson and Candice Hopkins introduce their exhibition Soundings: An Exhibition in Five Parts.
    Curators Dylan Robinson and Candice Hopkins introduce their exhibition Soundings: An Exhibition in Five Parts. (Photo by Tim Forbes)
  • Visitors watch Heidi Senungetuk’s Qutaanuaqtuit: Dripping Music from Soundings: An Exhibition in Five Parts.
    Visitors to the Agnes watch Heidi Senungetuk’s Qutaanuaqtuit: Dripping Music from Soundings: An Exhibition in Five Parts. (Photo by Tim Forbes)

The Agnes Etherington Art Centre launched its winter season Thursday evening with the introduction of two new exhibitions.

Attendees of the launch event were able to view the new exhibitions – Soundings: An Exhibition in Five Parts, an immersive and evolving experience of Indigenous cultures, and Rome, Capital of Painting, which reveals the place Rome occupied in the mind of 17th-century artists.

“Our two new winter shows are gorgeous and revelatory. Rome, Capital of Painting, offers insights into the art of early modern Europe through The Bader Collection, while Soundings: An Exhibition in Five Parts reveals Indigenous cultures of North America through newly commissioned works by 14 contemporary artists,” says Agnes Director Jan Allen. “With the performative and evolving nature of the works in Soundings, its layers of meaning will unfold best through multiple visits. I hope the entire community responds fully to this invitation to explore decolonization and what it can be.”   

FEATURE EXHIBITIONS

SOUNDINGS: AN EXHIBITION IN FIVE PARTS

How can a score be a call and tool for decolonization? Curated by Candice Hopkins (Tlingit) and Dylan Robinson (Stó:lō), Soundings: An Exhibition in Five Parts features newly-commissioned scores and sounds for decolonization by Indigenous artists who attempt to answer this question. The scores take the form of video, objects, graphic notation, museological objects, and written instructions. At different moments during the exhibition these scores are activated by musicians, dancers, performers and members of the public, gradually filling the gallery and surrounding public spaces with sound and action.  The exhibition is accumulative, gaining new artists and players throughout the run of the show. Soundings artists include Raven Chacon and Cristóbal Martínez, Sebastian De Line, Camille Georgeson-Usher, Cheryl L’Hirondelle, Kite, Tanya Lukin Linklater, Ogimaa Mikana, Peter Morin, Lisa C. Ravensbergen, Heidi Senungetuk, Olivia Whetung and Tania Willard.

Soundings will be accompanied by a postcard publication of scores designed by Sébastien Aubin and a public listening series entitled “Against Hungry Listening,” which includes notable composers, musicians, scholars and artists discussing de-colonial, queer, feminist, black and Indigenous-specific forms of listening.

Public art installations by Raven Chacon, Camille Georgeson-Usher, Ogimaa Mikana and a curatorial score are on view on Queen’s main campus. These outdoor artworks are generously supported through the Isabel & Alfred Bader Fund of Bader Philanthropies. 

Soundings is affiliated with The Isabel Bader Centre for the Performing Arts’ concurrent Ka’tarohkwi Festival of Indigenous Arts. Visit The Isabel website for details on a diverse array of performances by acclaimed Indigenous artists working across theatre, dance, music, film and performance art.

Soundings is one of the 200 exceptional projects funded through the Canada Council for the Arts’ New Chapter program.

ROME, CAPITAL OF PAINTING

Rome, Capital of Painting reveals the place that the Eternal City occupied in the minds of 17th-century artists. From prints after famous relics of antiquity to paintings reflecting the most revolutionary artistic developments of the period, this show probes Rome’s layered appeal and invokes the pioneering manners of Adam Elsheimer, Nicolas Poussin, Michelangelo da Caravaggio and Annibale Carracci. Curated by Jacquelyn N. Coutré, the exhibition sheds light on the artistic attractions that prompted painter and theorist Karel van Mander to refer to Rome as “the capital of painting.”

Other artists featured in the show include Etienne Allegrain, Stefano Della Bella, Sébastien Bourdon, Leonard Bramer, Jean Ducamps, Adam Elsheimer, Hendrik Goltzius, Johann König, Antoine Lafréry, Johannes Lingelbach, François Perrier, Cornelis van Poelenburgh, Jacob Symonsz. Pynas, Michael Sweerts and Moses van Uyttenbroeck.

CONTINUING EXHIBITIONS

To April 7, 2019: In the Present: The Zacks Gift of 1962

To April 12, 2020: The Art of African Ivory 

The Conversation: In the post-truth era, documentary theatre searches for common ground

Reality-based theatre is one way artists are challenging the lies put out by politicians who exploit our contemporary insecurities.

[Porte parole]
Based in Québec, Porte Parole led by Annabel Soutar has toured and run several documentary theatre shows. Pictured here, The Watershed, a docudrama about the politics of water in Canada. (Photo courtesy Porte Parole)

With the onslaught of “alternative facts” or “fake news,” it can feel as though the ground has become almost liquid.

One strategy to confront the ongoing public lies has been to embrace journalistic principles and aggressively fact check statements. Reality-based theatre is also inspired by this same desire, tapping into the contemporary zeitgeist for authenticity.

In Canada and the U.S., we have been experiencing a flourishing production of reality-based theatre (also called “documentary drama”). Sometimes, it takes the form of an autobiographical performance where the performer and the character are the same people. Other times, it is a verbatim theatre where playwrights cull the script from interview testimony and archival documents. Plays created by the Montréal-based company Porte Parole, led by playwright Annabel Soutar, are a great example of verbatim theatre.

Yet, this quest for authenticity is an impossible dream.

Poststructuralism shattered our singular reality

Poststructural theorists from the 1980s and 90s like Jacques Derrida and Judith Butler rejected binary ways of thinking and instead asserted that our “realities” are made up of performative constructions. In other words, there is no absolute real; there are only representations of, or performances of, reality.

But poststructuralism has not just been about negating the idea of a singular reality. With its world-creating power, poststructuralism has been a potent feminist political tool used by feminist theorists, activists and artists to shatter monolithic conservative ideology. It was a way for many to strike against patriarchy, against conventionality, against strict norms, and was used to create space for otherness, for feminism, for LGBTQ identities.

Fredy is Annabel Soutar’s documentary play about the tragic death of Fredy Villanueva who was shot by a Montréal police officer in 2008. It premiered March 2016 at La Licorne in Montréal, directed by Marc Beaupré. (Photo courtesy Porte Parole)
 

However, since the performative power to generate alternate worlds is ideologically neutral, it has also been used in the interest of climate change deniers and the extreme right.

The poststructuralist genie is out of the bottle and we cannot put it back in: simply demanding aggressive fact checking and asserting a return to “capital-T” truth will not work. Given that realities are multiple and shifting, reality-based performances can help us to navigate the political landscape of “fake news.”

Embracing insecurity

The nostalgic-driven desire for security manifested in the 2016 Trump campaign, “Make America Great Again” and the Brexit slogan “Take Back Control” is directly linked to poststructuralist liquid uncertainty. These movements are stimulated by a flood of insecurity in the face of globalization, mass migration, social fluidity, the transience of traditions and conventional value systems.

As a researcher of Canadian theatre, I have observed that contemporary documentary plays that deal in reality and facts consistently conclude that nothing can be known.

On the surface, theatres of the real offer authenticity and certainty in their attachment to reality. But watching one of these plays does not produce a secure experience of truth. The closest we can get to an objective reality is the feeling of real, replacing fact with feeling.

Come from Away is an example of theatre based on reality.
 

Researchers Meg Mumford (Australia) and Ulrike Garde (Germany) coin the term “productive insecurity” in their work on verbatim theatre. They say that when artists intentionally display multiple points of view, it generates a sense of insecurity for the audience about what is true. This insecurity can be productive for the audience.

These feelings of insecurity are not just something to be endured but they should be embraced and fostered. The plays challenge established ways of knowing, urging us to be humbly aware of our limitations in the face of complex problems.

Theatres of the real do this. They provide emotionally and intellectually engaging environments and scenarios in which we can safely experience that insecurity. Theatres of the real give us a chance to develop the capacity for recognizing and managing our vulnerability.

Multiple truths?

Attention needs to be focused not on whether something is objectively valid as true, but on how that reality has come to be seen as true. What makes a truth true? Rather than pressing for an impossible singularity, documentary theatres of the real embrace multiplicity.

Rather than claiming direct access to the world as it is, these plays ask audiences to be thoughtful about how these staged realities came to be. What is selected? What is omitted? How is the narrative of a documentary world constructed? Often these plays deliberately expose these mechanisms of truth-making and knowing.

We can only ever partially know the world: we are surrounded by hybrids and multiplicities, creating more rather than fewer worlds. Breaking away from the rigidity of binary views: real/not-real; red!/blue!; we are better off with more perspectives, not fewer.

In moving the positive embrace of multiple realities from theory into practice, reality-based documentary theatre makes visible the processes of reality creation.

Searching for shared perspectives

In Lily Tomlin’s one-woman play The Search for Signs of Intelligent Life in the Universe, the character of Trudy the bag lady says, “After all, what is reality anyway? Nothin’ but a collective hunch.” Focus here on the word “collective.” To have reality, we need to have community.

Lily Tomlin in The Search for Signs of Intelligent Life in the UniverseLilyTomlin.com

Linguist J.L. Austin, author of How To Do Things With Words, asserts a performance is only “felicitous” if there is “uptake;” that is, ideas presented in performances can only be valid if other people agree that they are valid. The need for uptake can slow down the creation of new dramatic worlds, restricting innovation. So change can be slow.

But we need to listen to each other as we work together to create a larger territory of shared perspectives. We need to rebuild social connections, so that more people can agree together on what constitutes reality. We don’t need to agree about content, only about process.

To doubt is to question appearances; to doubt is to contemplate and weigh. Doubt impels us to engage insecurity and question how representations are made.

When conspiracy theories flourish and lies are indifferently accepted, the thread between our lived experiences and our cartography of that world breaks. Returning to the first principles of how “reality” comes to be is a necessary first step.

Does what I see represent my local experience? Does my experience of reality align with other people’s? Are these the realities that we want? Instead of being fearful, insecurity makes me hopeful.The Conversation

_______________________________________________________

Jenn Stephenson is a professor at Queen's University's Dan School of Drama and Music. She is the author of two books: Performing Autobiography: Contemporary Canadian Drama (UTP, 2013) and Insecurity: Perils and Products of Theatres of the Real (UTP, 2019).

This article is republished from The Conversation under a Creative Commons license. Read the original article.

The Conversation is seeking new academic contributors. Researchers wishing to write articles should contact Melinda Knox, Associate Director, Research Profile and Initiatives, at knoxm@queensu.ca

An evening of cheer

The Queen’s University Engineering Society welcomes the holidays with a festive tradition.

For the 73rd year in a row, Grant Hall will be ringing with the sounds of the season as the Engineering Society of Queen’s University hosts the Festival of Cheer.

The event is an opportunity for students and members of the Kingston community to come together, sing holiday music, listen to unique musical groups and spread holiday cheer.

Formerly the Festival of Carols, event co-ordinator Rebecca Wytsma says the change was made to reflect the diversity of the programming. This year the Queen’s Muslim Student Association, Queen’s Hillel and the Anglican Church, among others, will bring their own unique sounds and stories to the celebration.

The youth in the community will also be represented this year by the Young Choristers.

“It’s important to us to spread holiday cheer and bring the community and students together,” says Wytsma. “It is very important to keep this tradition going.”

Queen’s University Chaplain Kate Johnson is helping with the event this year and says it’s positive in many ways.

“The students have always provided the leadership and dedication to ensure this has been a tradition for 73 years," she says. "It’s such an amazing and joyful event that welcomes everyone with open arms. It’s wonderful.”

The event is running on Sunday, Nov. 25 at 7:30 pm at Grant Hall. Donations to the food bank are welcome and everyone is invited to stay afterwards for refreshments.

For more information visit the Facebook page.

Introducing our new faculty members: Ricard Gil

Ricard Gil is a faculty member in Smith School of Business.

This profile is part of a series highlighting some of the new faculty members who have recently joined the Queen's community. The university is currently in the midst of the principal's faculty renewal plans, which will see 200 new faculty members hired over five years. 

Ricard Gil (Smith School of Business) sat down with the Gazette to talk about his experience so far. Dr. Gil is an associate professor of business economics.

[Queen's University Ricard Gil Smith School of Business]
Ricard Gil is a faculty member in Smith School of Business. (University Communications)
Fast Facts about Dr. Gil

Department: Smith School of Business

Hometown: Barcelona, Spain

Alma mater: Harvard University (post-doctoral fellowship), University of Chicago (PhD), Universitat Pompeu Fabra (undergraduate)

Research area: Organizational economics

Hobbies include: European football, Netflix (House of Cards), food, sports

Dr. Gil’s web bio
Tell us a bit about your academic journey.
I completed my PhD at the University of Chicago. My first job was at University of California in Santa Cruz – which was a lovely place to be, at least for a little while. I recommend Northern California to everyone.
While at UCSC, I took a one-year hiatus to complete a post-doctoral fellowship at Harvard Business School. I was offered tenure at Santa Cruz, but made what might be considered an unconventional decision…I instead took an offer without tenure at John Hopkins University. I was single and young back then, so it made sense at the time.
In between, I took a year off and visited the MIT Sloan School of Management and the department of management at the London School of Economics.
Hopkins was a good experience as I had never taught in graduate programs before. I also met my wife and started my family in Baltimore.
I have lived in three different time zones since moving to North America – it has been an interesting journey so far!
What are you researching right now?
My scope of research has to do with firm behaviour. It’s all about governance.
The idea is, for very simple transactions like you and I going to the grocery store…there’s no governance for that. Why? Because it is very simple. You go to the store, you buy a product, they give you a receipt which is a contract that states if the product is not in good condition you can bring it back.
The world is not always characterized by these very simple transactions – especially when you have firm to firm, firm to government, or government to individual relationships. The complexities can come from the fact there are more than two parties involved, or how to define the limitations and the contributions of each party. You need to establish a good governance model in these cases.
I study how transaction characteristics drive the adoption of different governance models. I have studied it in the airline, movie, and TV industries…and I once even studied dry cleaning.
[Queen's University Ricard Gil Smith School of Business]
Dr. Gil demonstrates the demand and supply curve. From his career, it is clear his knowledge has been in high demand - he has taught and researched at five universities, including Queen's. (University Communications)
How did you decide this was what interested you, and that you wanted to research it?
You are basically able to observe the same sort of transaction, under the same circumstances, and understand why the diversity of governance models happens. I find that interesting.
I always thought that, through the study of many years, one comes out with many questions which others might not be reflecting on. I like to communicate those.
If I get to shake students out of their comfort zone and make them think in a way that is not conventional, it’s a good day. That’s what keeps it interesting.
What do you do for fun?
I am a soccer fan – I root for Barcelona. I like sports in general – European football tends to drive my weekend.
I like to travel. I watch a lot of movies and shows – not as much as I used to, with young kids I don’t travel as much anymore, and don’t get to watch movies in-flight. Having said that, I just finished the latest season of House of Cards. I am always looking for new shows.
How did you decide Queen’s was the right fit for you?
While I was at Hopkins, I came to Queen’s for a research seminar. I met some people and liked my experience here. There was a job opening a few months later and some of the people I met encouraged me to apply.
Kingston seemed more attractive than Baltimore, and the university’s student profile made it seem like a pretty good deal. So my family moved to Kingston in May – mainly to avoid moving during winter! My wife is happy, my four-year-old is enjoying his school, and our nine-month-old doesn’t seem to mind.
I am looking forward to teaching next year once it is determined who I am teaching. I hear very good things about Smith undergraduates.
In the meantime, I am helping the school with some committee work, getting ready for winter, and conducting some research and supporting my colleagues’ research. And I am once again navigating the bureaucracy to obtain Canadian permanent residency – I currently hold Spanish and U.S. citizenship.

Talking treaties, research, and rights

A pair of recent events are furthering Indigeneity and reconciliation on campus through knowledge sharing.

[Queen's University Gazette Indigenous Research Workshop Graduate Studies]
Following the Indigenous Research Workshop talks, attendees broke into groups to discuss specific issues and ideas. (University Relations)

The relationship between settlers and Indigenous Peoples was in focus at Queen’s on Friday and Saturday.

A workshop focused on research collaboration with Indigenous communities was hosted through the day on Friday. The workshop is an initiative of the School of Graduate Studies in collaboration with the Aboriginal Council of Queen's University. The event was focused on creating mutually respectful relationships as the basis for research collaborations between academics and Indigenous communities.

It was followed by the Indigenous Knowledge Symposium, which began Friday night and concluded Saturday evening. It is the twentieth year Queen’s has hosted this symposium, which unites students, faculty, staff, and community members on campus for a discussion about contemporary Indigenous issues. The symposium was hosted by the Office of Indigenous Initiatives.

Friday morning started with a keynote address by Ovide Mercredi, former National Chief of the Assembly of First Nations, and was followed by a panel featuring academics and community leaders who have experience in research collaborations.

In the afternoon, workshop participants had an opportunity for group discussion and reflections. Over 100 students, faculty, and community members attended the event.

“A similar event last year taught us that there is a depth of interest at Queen’s in learning about the distinct requirements of research with Indigenous communities,” said Marta Straznicky, Associate Dean in the School of Graduate Studies, who co-chairs the planning group with Marlene Brant Castellano.

A key message throughout the workshop was that, when it comes to doing research with Indigenous communities, the relationship is as important as the research.

[Queen's University Gazette Ovide Mercredi Assembly of First Nations]
Ovide Mercredi. (University Relations)

“We are raised as Indigenous Peoples to solve problems and not just study them, so my experience with research growing up was not positive,” Dr. Mercredi said. “Nowadays, our people are more interested in data to support our negotiations. It cannot be a unilateral decision to study us – it has to benefit us directly and be guided, controlled, and interpreted by us.”

In the evening, as part of the Indigenous Knowledge Symposium, Dave Mowat of Alderville First Nation – located southeast of Peterborough – spoke at the symposium about the displacement of the Mishizaagig – the Missisaugas – from the Bay of Quinte region in 1783. He co-presented alongside Laura Murray of the Department of English and Cultural Studies, who has been researching “The Crawford Purchase” of lands in the Ka’tarohkwi area by the British.

Saturday’s program featured a panel on modern treatymaking, featuring Heather Castleden, Canada Research Chair in Reconciling Relations for Health, Environments, and Communities at Queen’s, who co-presented with Edward R. Johnson (a Huu-ay-aht citizen) on the “Maa-nulth Treaty”. The panel also four graduate students who spoke to “Treaty Making for Community Engaged Research”.

There was an additional panel later in the day looking at historical perspectives on treatymaking from three Mohawk experts. In the afternoon, attendees heard from Aaron Franks, a senior manager with the First Nations Indigenous Governance Centre, in a talk which looked at treaty education.

[Queen's University Gazette Laurel-Claus Johnson Indigenous Symposium]
Laurel Claus-Johnson spoke at Friday's workshop, and joined the Knowledge Symposium. (Supplied Photo)

“Events like these are an important way to influence long-term institutional change, enhance the support available on campus for Indigenous students and researchers, build stronger relationships with local Indigenous communities, and honour the original inhabitants of the land – the Anishinaabe and the Haudenosaunee,” says Kanonhsyonne (Janice Hill), Associate Vice-Principal (Indigenous Initiatives and Reconciliation).

The symposium was conducted with respect for traditional Indigenous protocols. Indigenous community members and Elders were in attendance as participants and stakeholders, and presentations were in the form of a talking circle. The sessions were moderated with the use of a talking stick and given guidance by Elders.

Approximately 170 students, faculty, staff, and community members took part in Friday's events, while another 63 came to campus on Saturday.

Remembrance restored through labour of love

[Stained-Glass cartoon]
Sharon Wightman, left, and Margaret Bignell, right, have collaborated on the restoration of a stained-glass cartoon created in 1925 by artist Peter Haworth. (University Communications)

Pieced, pasted, and put back together, the ornate and vibrant stained glass cartoon has been a labour of love 16 years in the making for Sharon Wightman.

A volunteer at the Queen’s University Archives and a graduate of the university’s art conservation program, Wightman first came upon the cartoon – basically a blueprint for a stained-glass window – by British-Canadian artist Peter Haworth as she searched a collection of rolls in the basement of Kathleen Ryan Hall in 2002.

[Stained-Glass cartoon]
Following 16 years of work at Queen’s University Archives, this stained-glass memorial window cartoon has been restored. (University Communications)

Haworth had arrived in Canada in 1923 and his first commission was for a stained glass window for what was then known as the Ontario Agricultural University, now the University of Guelph. It was to be a memorial for those killed in the First World War. Before getting to work on the window, Haworth, a veteran himself, first created a actual-sized cartoon of the design. 

The result is finely-detailed, colourful, and stunning.

Created in 1925, the cartoon would later be stored in Haworth’s studio. It would survive a fire and, eventually, be donated to the Queen’s Archives as part of a collection.

Now, more than 90 years after it was created, the cartoon has been brought back to life.

Throughout the process, there have been a number of instances of good fortune, such as finding a missing roll and completing the project just in time for the 100th anniversary of the end of the First World War.

“The interesting part for me is we had the two rolls and we found the missing one downstairs right away. It was the first roll. It was eerie,” Wightman says. “We had the two already laid out and unrolled the third. The lines, where the leading would be, lined up perfectly. We unrolled a bit further and they matched up again. Then we knew we had it, which was quite exciting because there were many rolls downstairs.”

It has been a painstaking process – repairing rips and tears, finding missing pieces and creating in-fills. The back of the completed cartoon is more complex than a jigsaw puzzle.

Providing support throughout the project has been Margaret Bignell, a Queen’s Archives conservator and another graduate of the Queen’s art conservation program.

It’s rewarding to see the project completed, she says.

“I think the artist would be very pleased that it is together again,” says Bignell, who recently retired from Queen’s. “It is a magnificent piece of art and I’m just really happy that people can now appreciate it because it is beautiful.”

With a second lease on life, the cartoon will now be professionally photographed and stored securely by Queen’s University Archives. 

Learn more about the Queen’s University Archives.

Decolonize these walls

A new Indigenous art exhibit at the Agnes Etherington Art Centre comprises four outdoor artworks, and 11 indoor artworks which will appear in January.

  • [Queen's University Soundings Indigenous Art Jeffery Hall]
    Curatorial score for the exhibition is located on Jeffery Hall, adjacent to Agnes Etherington Art Centre. (Photo by Tim Forbes)
  • [Queen's University Soundings Indigenous Art Macintosh-Corry]
    Camille Georgeson-Usher, through, in between oceans, 2018, vinyl transfer on Mackintosh-Corry Hall. (Photo by Tim Forbes)
  • [Queen's University Soundings Indigenous Art Macintosh-Corry]
    Ogimaa Mikana, Never Stuck, 2018, vinyl transfer on Mackintosh-Corry Hall. (Photo by Tim Forbes)

Students, employees, and visitors to campus may have noticed a number of public art displays installed this fall, which are located around Mackintosh-Corry Hall, Jeffery Hall, and Harrison-LeCaine Hall.

The four artworks are part of an exhibition which opens in January at the Agnes Etherington Art Centre called Soundings: An Exhibition in Five Parts. The exhibition was curated by Dylan Robinson, Assistant Professor and Canada Research Chair in Indigenous Arts, and internationally-renowned Indigenous curator Candice Hopkins. It features newly-commissioned scores, sounds, and performances by Indigenous artists.

“One of the recommendations of the Queen’s Truth and Reconciliation Commission Final Report ‘Yakwanastahentéha Aankenjigemi: Extending the Rafters’ was that Indigenous history and culture become part of the physical make-up of the university,” says Dr. Robinson. “Not only do these artworks respond to this recommendation, but in some cases also ask viewers to reconsider the built environment and colonial architecture of the university.”

Soundings is affiliated with the Isabel Bader Centre for the Performing Arts’ concurrent Ka’tarohkwi Festival of Indigenous Arts. Visit their website for more details on a diverse array of performances by acclaimed Indigenous artists working across theatre, dance, music, film and performance art.

These outdoor artworks are the first component of Soundings, which features 11 additional new works by Indigenous artists inside the Agnes Etherington Art Centre. When the exhibition opens on Saturday, Jan. 5, it will include video, objects, graphic notation, Indigenous cultural belongings, and written instructions for visitors. Uniquely, each of these new artworks functions as a “score,” yet rather than written in music notation these scores are written symbols, language, and recorded instructions. At different moments during the exhibition, these scores will be activated by musicians, dancers, performers, and members of the public, and gradually fill the gallery and surrounding public spaces with sound, performance, and action.

“The scope, public presence, ambition, urgent cultural currency, and performance-driven character of this exhibition project make Soundings a landmark in Agnes’s program history,” says Jan Allen, Director of the Agnes. “Soundings curators Dr. Robinson and Ms. Hopkins are bringing leading Indigenous artists together around a powerful invitation to express the terms of reconciliation. I’m thrilled to see the results unfolding from this high level of creative exchange.”

Soundings is on view through Sunday, April 7, 2019. Watch for upcoming performances of the works announced in the At Agnes newsletter, and on the gallery’s website.

The presentation of these outdoor artworks is generously supported through the Isabel & Alfred Bader Fund of Bader Philanthropies. 

Extending the rafters

Four Directions completes expansion, fulfilling a Queen’s Truth and Reconciliation Commission task force recommendation.

  • [Queen's University Four Directions]
    The entrance to 144 Barrie St. features a Haudenosaunee longhouse aesthetic. (University Communications)
  • [Queen's University Four Directions]
    146 Barrie St., meanwhile, honours Anishinaabe peoples with a circular room for cultural and ceremonial events. (University Communications)
  • [Queen's University Four Directions]
    Four Directions Director Kandice Baptiste, along with past Director Kanonhsyonne (Janice Hill) and Dean of Student Affairs Ann Tierney, have been driving forces behind the renovation project. (University Communications)
  • [Queen's University Four Directions library]
    This library, located in 146 Barrie St., is one of many new and refreshed study areas at Four Directions. (University Communications)
  • [Queen's University Four Directions Lauren Winkler]
    Indigenous student and former Queen's Native Students Association president Lauren Winkler provided remarks on behalf of Indigenous students. (University Communications)
  • [Queen's University Four Directions]
    The renovations have opened up more wall space to hang art and other decorations. Ms. Baptiste examines a canvas which features the hand prints of Indigenous students who previously attended Queen's. (University Communications)
  • [Queen's University Four Directions]
    A new addition to the walls of Four Directions will be a canvas containing the advice and well-wishes of attendees to Monday's opening event. (University Communications)
  • [Queen's University Four Directions]
    In addition, the centre planted a white pine - which carries special significance in Haudenosaunee culture - on the front lawn. A plaque marking the tree will be unveiled at a future date. (University Communications)

A key recommendation of the Queen’s Truth and Reconciliation Commission (TRC) task force report became reality on Monday, as the recently renamed Four Directions Indigenous Student Centre opened its newly expanded doors.

In the spring, 146 Barrie – the original home of Four Directions – and neighbouring 144 Barrie Street were stripped down to the plaster. Contractors updated the insides of the two 19th-century homes and, yesterday, the updated interiors were shown off at an open house.

“We are excited to welcome Indigenous students and the campus community to our new renovated space,” says Kandice Baptiste, the centre’s director. “We are thankful to our colleagues in the Division of Students Affairs and our campus partners for their support in bringing this project to life. The doubling of our centre demonstrates Queen’s commitment to our growing Indigenous student population. We trust that the centre will continue to serve as a safe place for Indigenous students and the Queen’s community for many years to come.”

The ground floor of 144 Barrie includes an expanded kitchen and programming space. It has a longhouse aesthetic paying tribute to Haudenosaunee peoples.

146 Barrie, meanwhile, honours Anishinaabe peoples with a circular room for cultural and ceremonial events, along with a library and quiet study rooms for students.

On hand to celebrate the rejuvenated and expanded facility were members of the Aboriginal Council of Queen’s University; members of the local Indigenous communities; Indigenous students, faculty, and staff; and key members of the Queen’s executive team. 

“When we released the Queen’s Truth and Reconciliation Commission Task Force report, we pledged to do better in our efforts to support Indigenous students,” says Daniel Woolf, Principal and Vice-Chancellor. “The opening of this expanded and revitalized space is an important step, and I am certain Queen’s will build on this momentum and continue to create a more welcoming environment for the Indigenous community.”

The Queen’s TRC task force report which was titled “Extending the Rafters”, called for more space for Indigenous students on campus. Recommendation 13 specifically called on Queen's to "Expand Four Directions [Indigenous] Student Centre and ensure that it is appropriately staffed and resourced to adequately support expanding enrolment of Aboriginal students".

"The recommendation that the Centre be expanded was very much reflective of the needs of Indigenous students," says Lauren Winkler, a student member of the TRC task force. "Four Directions is known as being a "home away from home" for Indigenous students and now there is more space for our community to grow and thrive. Not only do we have more space, but this space was designed with us in mind. Having a space that is reflective of our different cultures really shows us that there is space for us on a campus that often acts as an overwhelming reminder of our colonial histories and present-day realities."

The project was funded by the Division of Student Affairs and also received support from the federal Enabling Accessibility Fund for upgrades that have made both buildings more accessible, including two washrooms and kitchen. 

To learn more about Four Directions Indigenous Student Centre, visit www.queensu.ca/fourdirections or visit 144 and 146 Barrie for a tour of their updated home.

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