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Unprecedented grant awarded to Queen’s Art Conservation

Prestigious Andrew W. Mellon Foundation funding for Queen’s Master of Art Conservation program increases focus on Indigenous material culture.

The internationally-recognized Master of Art Conservation program at Queen’s has received a grant of $632,000 over five years from the Andrew W. Mellon Foundation to develop conservation research and online courses with a focus on Indigenous material culture.

Specifically, the new funding will help initiate and implement comprehensive change to the program’s curriculum and research activities and will help advance the university’s goals of diversity, equity, anti-racism and inclusion. 

Art Conservation student Paige Van Tassel  at work on a piece of art
Conservation student Paige Van Tassel is mechanically surface cleaning a 19th century Iroquois beaded frame. Photo by Marissa Monette

The Andrew W. Mellon Foundation supports institutions of higher education and culture as they renew and provide access to a heritage of ambitious, path-breaking work. Importantly, this is the first time the United States-based Andrew W. Mellon Foundation has funded a Canadian art conservation project.

“We are very grateful to the Andrew W. Mellon Foundation for their generous support for this project,” says Rosaleen Hill, Director of the Art Conservation Program. “We are excited to have this opportunity to engage with the broader community, nationally and internationally, in curriculum diversification. This project will have a significant and lasting impact through the development of online courses and the creation of an international network of colleagues focused on diversity."

Founded in 1974 as Canada’s only graduate program in art conservation, the Queen’s program has established key priorities, including an increased focus on Indigenous material culture and ethics. As graduates from this program go on to care for objects and artworks in public and private collections, this project will have a fundamental influence on how these objects are preserved and accessed in future.

The new five-year project also focuses on developing strengths in research and curriculum on both Indigenous material cultures and modern media and is designed to increase course accessibility through the use of web-based learning.

The proposed activities of the project include:

  • Symposiums to engage the Canadian and international conservation communities, and the broader field of cultural heritage, in an open discussion related to the challenges involved in the development of new curriculum
  • Hosting visiting scholars to build local, national and international networks which include Indigenous elders and knowledge keepers, to support curriculum diversification focusing on Indigenous material and modern media
  • Web-based courses to maximize access to new curriculum content
  • Increasing diversity in the conservation profession through engagement with under-represented groups, coordination with heritage institutions with Indigenous youth programs to provide a pathway to graduate studies in art conservation

“One of our institutional research strengths, the Art Conservation program is internationally recognized for excellence in scholarship and for the development of graduates who go on to work in the world’s leading museums, archives and galleries,” says John Fisher, Interim Vice-Principal (Research). "This support from the Andrew W. Mellon Foundation will allow the program to better diversify and support a more inclusive and global approach to preservation, such as exploring new and innovative ways to recognize and incorporate traditional knowledge.”

For more information on the Queen’s program, visit the website.

  • Art conservation professor and students work to restore baskets.
    Amandina Anastassiades, Assistant Professor, Artifact Conservation, works with students restoring a selection of unique woven baskets.
  • Alison Murray, Associate Professor, Conservation Science, discusses techniques with a student of the Master's of Art Conservation program at Queen's.
  • A student of the Master's of Art Conservation program
    A student of the Master's of Art Conservation program works on restoring a painting. The program has received a grant of $632,000 over five years from the Andrew W. Mellon Foundation.
  • An art conservation student works with an old photograph.
    Students of the Master's of Art Conservation program work with a range of media, including artistic objects, paintings, and photographs.

Residency a homecoming for soprano

Susan Gouthro returns to Kingston and Queen's as artist-in-residence at the Dan School of Drama and Music, will perform at The Isabel on March 9.

Susan Gouthro returns to Kingston and Queen's as Artist-in-Residence at Dan School of Drama and Music, will perform at The Isabel on March 9.
Soprano Susan Gouthro (Artsci'99) will be artist-in-residence at the Dan School of Drama and Music from March 5 to 10 and will perform at The Isabel on March 9. (Supplied Photo)

When Canadian soprano Susan Gouthro arrives at the Dan School of Drama and Music as the artist-in-residence from March 5 to 10, it will also be a homecoming for the Queen’s University alumna.

After graduating in 1999 with a Bachelor of Music, Ms. Gouthro then completed her formal training with a Master’s of Music from Western University. Her training then led her to Europe and she took up a permanent soloist position with the Kiel Opera House from 2002-2014, performing roles including Mimi in Puccini’s La Bohème, Violetta in Verdi’s La Traviata, Marguerite in Gounod’s Faust, Donna Anna in Mozart’s Don Giovanni, and Rosalinde in Johann Strauss’ Die Fledermaus.

During her Queen’s residency, Ms. Gouthro will visit several classes, lead a vocal master class and will be available for consultation with students or faculty. The residency will culminate with a public recital with Queen’s alumna and pianist Allison Gagnon, at the Isabel Bader Centre on Friday, March 9 at 7:30 pm. The program includes works by Poulenc, Wolf, Burge, Harbison and Yeston.

She is certain that returning to Queen’s, and her hometown Kingston, will be special.

“I haven’t had much contact at all with the university since I left. I had been toying with the idea of doing a concert in Kingston or at Queen’s for years but it just hadn’t come to fruition since I was always working in Germany,” she says. “I’ve never really sung professionally in my own country, let alone hometown.  Therefore, despite singing professionally for 15 years, many of my friends and family have not had the opportunity to see me perform live. So, doing this concert at Queen’s enables me not only to perform for the university and music community, but also for some dear friends and family members.” 

Dr. Gagnon has led an outstanding career both as a pianist and an educator. She currently directs the Collaborative Piano Program at the University of North Carolina School of the Arts, and appears in recital with both instrumental and vocal colleagues. Before joining the UNCSA faculty in 1998, she taught at Queen’s and was staff pianist at McGill University.

Recently, Gouthro moved to Harrisonburg, Va., where she is pursuing a Doctorate of Musical Arts degree in Voice Performance, Pedagogy and Literature at James Madison University.

However, Queen’s will always be a special place for her, thanks to the friendships she developed as well as finding her love of music even though she started off in English studies.

“My time as a student at Queen’s is very full of fond memories,” she says. “I remember vividly switching into the School of Music and just being amazed at how I was learning something new each day that I had never heard of before.  You see I fell into music and did not have a background of musical training. Starting at 21 is late indeed – but it worked. I was fascinated with the idea of performing and so drawn to it.  I am so grateful to have found the opportunity to have that nurtured at Queen’s.” 

Concert information and tickets are available at The Isabel website. Further information about the performers is available online.

Gouthro’s residency is supported by the George Taylor Richardson Memorial Fund and the Faculty of Arts and Science Visiting Scholar program.

Karilee Whiteway: 1960-2018

Karilee Whiteway

Karilee Whiteway, a research administrator for the School of Computing, died Feb. 5. She was 58.

Ms. Whiteway had a lasting, positive impact on her friends and colleagues at Queen’s and will be greatly missed.

During her time at Queen’s she was honored with the Special Recognition for Staff Award and the inaugural Queen’s School of Computing Distinguished Service Award.

A brief obituary is available online.

Gaining real-world, international experience

  • Student team for International Planning Project course (SURP 827)
    Led by Ajay Agarwal (School of Urban and Regional Planning), this year’s group of students traveling to India as part of International Planning Project Course (SURP 827), was the largest yet at 12.
  • Villagers taking collaborate with International Planning Project course (SURP 827)
    Women from one of the villages in the greenbelt surrounding Auroville draw pictures in an effort to overcome the language barrier with the student planners.
  • Student team for  International Planning Project course (SURP 827)
    Ajay Agarwal (School of Urban and Regional Planning), front, second from left, led a team of 12 students as they took on a planning project for the city of Auroville, India.
  • Villagers taking collaborate with International Planning Project course (SURP 827)
    Students meet with officials from Auroville. The team was tasked with creating a growth management framework for the greenbelt surrounding the intentionally-planned community.

The School of Urban and Regional Planning’s International Planning Project course (SURP 827) is a learning experience like no other.

Each year, Ajay Agarwal has taken a group of planning students from Queen’s to the Indian city of Auroville, where, in a period of just two weeks, they are tasked with creating a project report of professional quality that can be used by the community.

For the students who take part in the course, it is an opportunity to be part of a consulting team while gaining real-world and international experience at the same time.

It is also an exercise in resilience, adaptability and resourcefulness, all vital tools for future planners, Dr. Agarwal points out.

This year the team was tasked with creating a growth management framework for the greenbelt surrounding the intentionally-planned community. There are a number of villages within the protected area and their population growth and development has placed increasing pressures on the greenbelt.

“The concern is that if that development is left unchecked the very purpose of the greenbelt will be lost,” Dr. Agarwal says. “So the people of Auroville wanted us to suggest ways to ensure that any development that takes place inside the greenbelt is in harmony – and harmony being the key word – with Auroville’s vision for the future.”

Starting the course in September, the student team has three months to conduct research, collect information and make initial contacts before heading to India in early December.

Once the 12-member team was assembled in Auroville, Dr. Agarwal quickly put them to work. Several students only had time to take a shower before taking part in the initial presentation.

It was a tough schedule for sure but a realistic one when it comes to consulting and planning for an international client. Time, as the students learned, is at a premium.

The first week was mostly dedicated to conducting interviews with stakeholders and gathering information, points out Meghan Robidoux, who acted as the project manager for the team. With data gathered from 19 interviews and two focus groups, they quickly learned that much of the earlier research was not really applicable. Nothing can substitute for direct engagement and interaction, they found out. Thankfully they were prepared for such an outcome.

“At the end of our first week we sat down and kind of redefined the scope of our project based on all the information we collected and the feedback from that initial presentation,” she says. “So much changes once you get there. We knew that from the beginning that would be the case. Ajay prepared us very well. We knew that was going to happen and that was okay.”

The team also quickly learned that working in India is very different from Canada. The culture is very different and communicating can be difficult. Internet connectivity is spotty and they initially had no working cellphones.

Yet they were able to find solutions – resilience, adaptability and resourcefulness.

“We went old school,” Dr. Agarwal says. “We had a giant poster on the wall with a timetable and Post-Its with everybody’s name on it. So everybody, including me, was supposed to keep checking the schedule throughout the day. It kept changing every hour.”

The team quickly determined that working together was the only way to succeed.

“This was a large group, so that was a challenge at times, trying to make sure that we were using everyone to the best of their ability and taking advantage of so many people’s assets and skill sets,” Ms. Robidoux says. “In so many ways it was great because we had such a talented team. I feel strongly that every member really contributed in important ways to the project. So managing the team wasn’t a problem in that sense, it was more of making sure that everyone had the opportunity to share their opinion and group meetings took a long time.”

As a member of that team Jennifer Smyth found the international course to be the experience she was looking for and she is certain that it will help her now and in the future.

“One of the major planning lessons that I’ve taken away from this is learning in a foreign context. I know for some team members it was a challenge to go to this place where they have beliefs that we couldn’t necessarily understand or agree with. But as a planner acknowledging those beliefs was so important,” she says. “Just planning for a project with so many unknowns was a huge learning experience, maintaining an objective stance among so many varying perspectives and finding balance. I think this experience really helped us learn how

Now in its sixth year, Dr. Agarwal has seen the course grow in popularity and become one of SURP’s key learning experiences. Both Ms. Smyth and Ms. Robidoux were drawn to Queen’s specifically because of the international opportunity offered through SURP 827. With 12 participants, this year’s group was the largest to travel to India.

For his work in creating and continuing the course Dr. Agarwal received the 2016 International Education Innovation Award, which recognizes excellence in the internationalization of curriculum in programs or courses. It is one of the six Principal’s Teaching and Learning Awards.

For more information about the course or to obtain a copy of the full project report, contact Dr. Agarwal.

A crusader for mental health

Queen’s University professor Dorothy Cotton has been awarded the Order of Ontario for her work with law enforcement and mental health agencies.

Queen’s University adjunct professor and mental health advocate Dorothy Cotton has been awarded the Order of Ontario, the highest citizen honour in the province. For more than 30 years, Dr. Cotton has been working with police organizations to help them change the way they respond to people with mental health challenges.

“This is more than just recognition of my work,” says Dr. Cotton, who works within the federal correctional system and has taught at Queen’s since 1986. “I’m symbolic of the huge amount of work that has been undertaken between police and mental health agencies. I didn’t invent the field but my approach brought people together.”

Dorothy Cotton (Psychology) has earned the Order of Ontario.

Dr. Cotton has worked as a clinical and correctional psychologist whose primary interest is in police psychology. She provides a variety of services to police organizations including pre-employment and fitness for duty assessments, program development, and research consultation. Dr. Cotton is also well known for her work in the area of police interactions with people with mental illnesses and received the Queen's Diamond Jubilee Medal for her work in this area.

Dr. Cotton says one of her proudest accomplishments is developing the TEMPO model (Training and Education about Mental Illness for Police Organizations). It provides a blueprint for Canadian law enforcement officers to help them interact with people with mental health challenges in the field.

She also talks about her work in early 2000 that brought together law enforcement and mental health professionals into one room. “We convinced the Canadian Association of Chiefs of Police to get involved and we hosted our first conference that featured half police officers and half mental health workers. It resulted in new programs and strategies for working with people with mental health challenges.”

The official Order of Ontario ceremony is set for February 27 and Dr. Cotton admits the whole process has been a bit overwhelming. “The whole experience has been very hard to get my head around. I’m just a normal person. Receiving this honour is very exciting.”

The Order of Ontario recognizes individuals whose exceptional achievement in their field have left a lasting legacy in the province, in Canada and beyond. Order members come from all walks of life, represent diverse professions, and have played an important role in shaping our province. Members of the Order are a collective of Ontario’s finest citizens whose contributions have shaped – and continue to shape – the province’s history and place in Canada.

For more information visit the website.

Music of champions: How CBC and NBC Olympic themes shape our differences

This column was originally written for and published by The Conversation Canada, which provides news and views from the academic and research community. Queen’s University is a founding partner. Queen's researchers, faculty, and students are regular contributors. Visit theconversation.com/ca.

File 20180210 51694 13h2n03.jpg?ixlib=rb 1.1
Fireworks explode behind the Olympic flame during the opening ceremony of the 2018 Winter Olympics in Pyeongchang, South Korea, (AP Photo/David J. Phillip,Pool)

What role does music play at the Olympics?

Audiences are usually aware of the moods music can evoke during emotionally heightened moments, like national anthems at medal ceremonies. Yet we rarely consider the Olympic theme music used by major media networks as something that helps to frame sports coverage.

It’s the theme music that fills our ears before and after commercials and quietly accompanies their intimate athlete profiles. That theme music can actually have an impact on the way we view sports.

I compared the music of NBC and CBC — the official Olympic networks in the United States and Canada — to explore what might be revealed in the differences of the cultures of sounds between the two countries.

NBC’s Olympic theme is arguably the most memorable in sport. To understand why it is so unforgettable, we first must consider the musical catalogue of its composer, John Williams. Williams has been credited for writing “the soundtrack of our lives.”

Since the 1970s he has written the movie soundtracks for generations of Western movie goers — giving many of us music to accompany our lives. These movies include hits like Jaws, Star Wars, Superman, E. T., Indiana Jones, Home Alone and Harry Potter. Williams not only captured the American film score sound, he defined it.

When we listen to the Olympic Theme we must consider this music alongside his previous scores — all those movie scores that that have trained our ears to respond to particular musical gestures as moods and emotions.

Musical gestures can be gendered

So what are these musical gestures and how are we trained to respond? There are numerous means by which we can analyze these gestures and their associations. By examining the scores and noticing how all aspects of the music — the themes, orchestration, stylistic decisions, etc. — consistently align with particular characters and events, certain patterns begin to emerge.

Let’s consider how musical codes can be gendered. Musicologist Phillip Tagg has analyzed how, musically speaking, masculinity and femininity have been represented since the 1970s.

Female leads are often depicted by flowing melodies dominated by strings and woodwind instruments. For example, have a listen to Williams’ score for the Lois Lane’s theme from Superman:

Male characters, meanwhile, tend to be more consistently associated with music that is more up tempo, with more staccato articulation and shorter note lengths. The melodies for male heroes tend to have more leaps, and the instrumentation is dominated by brass and percussion. This description, not coincidentally, applies to the music for Superman himself:

Because these musical codes for “femininity” and “masculinity” are continuously repeated within popular culture, including across Williams’ scores, we have been trained to hear them as “soft” and loving" (female) or “strong” and “determined” (male). Gender becomes musically audible.

Olympic themes through the years

Williams wrote the NBC theme for the 1984 Los Angeles Olympic Summer Games. The work lasts almost four minutes, and contains several sections.

It opens with Leo Arnaud’s “Bugler’s Dream”(0:00 to 0:46); at 0:46, Williams moves into his first fanfare in the trumpets — a striving, strenuous, leaping idea which we hear three times before they finally reach their melodic goal on the fourth attempt — the highest note they play in the entire work.

A snare drum then leads us into the “Olympic Theme” (at 1:06), marked by a flowing melodic idea with smooth articulations in the strings and horns. This section is more closely aligned with Williams’ lead female characters from his previous scores. At 1:52, we move into a more syncopated, livelier melody, eventually leading us back at 2:55 to the louder, “active” fanfare, after which the theme and the fanfare are heard together.

Williams’ Olympic music is a dramatic soundtrack that offers both soft, legato string melodies and active brass fanfares that have then been used by the network to shape tele-visual moments (like female or male athlete profiles) according to the emotional affect they sought to create.

The NBC Olympic mini-soundtrack as a brand is largely unchanging: While NBC “mines” the soundtrack to produce shorter excerpts appropriate for their coverage, the piece otherwise is not altered.

CBC’s attempts to adapt

How does this short soundtrack compare with the music used for CBC’s Olympic and Paralympic Games coverage? The CBC Olympic Theme, written by Marc Cholette, has been used since 1988; it is infused with trumpets and percussion which signify strength.

Unlike Williams’ music, however, there is only one theme; it is “active,” the dynamics are consistent throughout, and there is no dramatic change of orchestral colour between families of instruments. While the music builds to the theme’s highest pitch at the end (thus symbolizing achievement), never do the instruments push to their limits through extreme range or technical demands, never going beyond their comfort zones to what is just beyond reach.

Given Williams’ ubiquitous soundscapes within which most Westerners have been musically “earwashed,” it is perhaps understandable why listeners might hear the CBC theme as less dramatic.

But what really distinguishes the CBC theme from Williams’ music is what happens to it every two years: The CBC adapts it to incorporate the musical styles of the country.

Melding disparate musical sounds into one new work is part of the CBC’s mandate. In the early 2000s, the network was under pressure to make their programming more multicultural and so they shifted their focus to incorporate more “fusion programming.” This involved bringing together musicians from different cultures, styles and languages to see whether they might be able to find new ways to collaborate.

While the CBC’s intentions may have been good, the results have been mixed. According to ethnomusicologist Rebecca Draisey-Collishaw, the musical output has not served to reflect creative and multicultural “meetings” between different musical traditions. Instead it more often represents — musically — cultural minorities being assimilated into mainstream, white, Anglo codes that serve to reinforce the status quo.

A contemporary version of “multicultural fusion” is evident in the CBC’s music for the upcoming 2018 Winter Games in Pyeongchang, South Korea.

The updated theme, written by composer Tim Weston and staff at creative audio agency Grayson Matthews, opens with a voice accompanied by synthesized strings; at 0:09, the composers add a janggu (a Korean drum) and a gayageum (a 12-string zither-like instrument). The janggu and gayageum are perhaps the traditional Korean instruments most familiar to Westerners.

At about 0:22, listen for how the Korean instruments are “assimilated” into a Western framework of meter, chord progressions and catchy syncopation.

Finally, the piece closes with a modified version of the CBC Olympic Theme:

The NBC and CBC Olympic themes are markedly different. The American network uses a soundtrack that is both unchanging and grounded in codes developed within movie soundtracks over the last half century.

The CBC theme, meanwhile, is less dramatic but celebrates itself as a fusion of musical traditions. Unlike American audiences, Canadians travel sonically beyond their borders. While an admirable project, on closer analysis, this music — like many of the CBC’s previous fusion experiments like Fuse, a national radio program that aired between 2005 and 2008 — seems to appropriate sound to “add spice” to Western sonorities. Case in point: They even describe the theme as “Korean flavoured” on the website.

By choosing traditional Korean instruments, they limit the representation of South Korea as a society that is traditional and dated, and perhaps less modern than Canada.

Over the next two weeks, I invite you not only to watch the Olympic coverage but listen to it and consider how music — a seemingly benign medium — does its ideological work.

This article was originally published on The Conversation. Read the original article.

Learning Indigenous languages

Practice your “Boozhoo” (how the Anishinaabe say “greetings”) and “Miigwetch” (“thank you”) and learn about Indigenous cultures in a new Queen’s program.

Mishiikenh (Vernon Altiman) leads an Anishinaabemowin class. (University Communications)
Mishiikenh (Vernon Altiman) leads an Anishinaabemowin class. (University Communications)

A new certificate program will provide students with an introduction to three Indigenous languages, while also deepening their knowledge of Indigenous cultures.

Launching this fall, a new Certificate of Indigenous Languages and Culture will provide an introduction to Mohawk, Inuktitut, and the Anishinaabe language – known as Anishinaabemowin, meaning ‘language of the people’.

The certificate brings together existing Indigenous language courses at Queen’s plus new Anishinaabemowin training into a program which can be completed through full-time studies in one year, or part-time over two years. The existing language training tends to attract both Indigenous students seeking to learn more about their history, and non-Indigenous students hoping to better understand Indigenous culture.

“Offering this type of program helps us respond to both the needs of our community and the broader responsibilities we have as an institution,” says Jill Scott, Vice-Provost (Teaching and Learning). “This certificate will assist in revitalizing Indigenous languages and fostering greater understanding of Indigenous cultures and ways of knowing.”

Professors in this program include Mishiikenh (Vernon Altiman), an Elder-in-Residence and Cultural Counsellor at Four Directions Aboriginal Student Centre, who teaches Anishinaabemowin; Thanyehténhas (Nathan Brinklow), Lecturer and part-time Chaplain at Queen’s, who teaches the Mohawk language; and Noel McDermott (PhD'15), an Assistant Professor who teaches Inuktitut.

In addition to helping students recognize the three languages and grasp them at a beginner level, the certificate will also include exposure to Indigenous ceremonies, traditions, and contemporary issues. For instance, weather permitting, each Anishinaabemowin class begins with a smudging ceremony held outside Kingston Hall. 

Students introduce themselves in Anishinaabemowin to start each class. (University Communications)
Students introduce themselves in Anishinaabemowin to start each class. (University Communications)

The creation of this certificate program supports the recommendations of both the national Truth and Reconciliation Commission (TRC) report and Queen’s own TRC task force report, both of which call for the creation of “credentialed Indigenous language programs” at post-secondary institutions.

In the future, the Department of Languages, Literatures, and Cultures is working with Tsi Tyonnheht Onkwawenna Language and Culture Centre (TTO) to launch a Mohawk language certificate within the Tyendinaga Mohawk Territory. The two-year program would intensively focus on language instruction and would aim to help revitalize the language among the Indigenous community as well as their understanding of the rich Mohawk culture.

“I am very excited by the recent unanimous Senate approval of this new certificate program, and by the prospect of the collaborative certificate in Mohawk Language and Culture,” says Kanonhsyonne (Janice Hill). “I am very happy to see the university taking up the Call to Action and the recommendation in our very own Extending the Rafters report through the further development of Indigenous language offerings. Further, ensuring these programs are credentialed by the university ensures student eligibility for financial assistance and makes these important programs more accessible.”

Applications for this certificate program will open in May. It is expected to attract approximately 10 to 15 students annually. 

Researching rock and roll at the BISC

An English castle, Jimi Hendrix, and a dive into sixties counterculture; all in a day’s work for one Undergraduate Student Summer Research Fellow.

The images of a sunny English castle and sixties rock and roll may not normally spring to mind when thinking about undergraduate research, but for Jena Hudson (ArtSci’18), it was the setting and theme of her summer research project.

Ms. Hudson spent 12 weeks at the Bader International Study Centre (BISC) in East Sussex through the Undergraduate Student Summer Research Fellowship (USSRF). She assisted Dr. Christian Lloyd, Academic Director at the BISC, with researching his second book on Jimi Hendrix, of whom he is a leading expert.

“Hendrix spent the most important time of his career in London, so being in England for this research was perfect,” says Ms. Hudson. “Being able to access primary resources, and conduct interviews with people in London who were actually there in the sixties, was such an incredible experience.”

From left to right: Doug Kaye, former neighbour of guitarist legend Jimi Hendrix, Dr. Christopher Lloyd, Academic Director of the Bader International Student Centre, and Jena Hudson (ArtSci’18), USSRF fellow, sit on Jimi Hendrix’s bed in his former apartment while conducting a research interview.
From left to right: Doug Kaye, former neighbour of guitarist legend Jimi Hendrix, Dr. Christian Lloyd, Academic Director of the BISC, and Jena Hudson (ArtSci’18), USSRF fellow, sit on Jimi Hendrix’s bed in his former apartment while conducting a research interview.

For Ms. Hudson, the most exciting part of the summer was conducting an interview with a man who knew Hendrix, in Hendrix’s apartment.

“The apartment is now part of the Handel & Hendrix in London Museum,” says Ms. Hudson. “It was recreated to look as it did when he lived there. The man we interviewed, Doug Kaye, worked in the restaurant underneath the apartment, and that’s how he and Hendrix got to know each other. Getting to interview him in that space, with audio playing around us from recordings from the sixties, was surreal.”

Ms. Hudson also researched issues in the counterculture that Hendrix was part of in London in the sixties. Hendrix spent the most important time of his musical career in London, and the final years of his life there before his death at the age of 27.

“I looked at how sexism, racism, and consumerism existed within that idealized time period,” says Ms. Hudson. “There are reviews in IT, an underground newspaper that was a pioneer at the time, which describe Hendrix as ‘the wild man of Borneo’, based on his race. In Hendrix’s life, he gave interviews that show he had some sexist views towards women. Even though the hippie culture at the time had an image of anti-consumerism, they were kind of a wasteful bunch, buying very cheap clothes and throwing them away.”

One of the unique ways for Queen’s students to engage in research, the USSRF is a paid fellowship available to continuing undergraduate students in the social sciences, humanities, and creative arts interested in developing research skills under the guidance of an eligible faculty researcher. It also provides meaningful opportunities to engage in discovery-based learning and to develop research and presentation skills. Students on main campus work with their supervisor to develop a project, while students going to the BISC select a project from those offered by faculty.

To learn more about the USSRF, visit the Queen’s University Research Services website. The application deadline for the 2018 summer program is March 9, 2018.

Queen’s professor earns 3M honours

Richard Ascough is the universitys ninth faculty member to be named a national teaching fellow.

Richard Asccough
Richard Ascough has been selected as a 3M Teaching Fellow.

Queen’s University professor Richard Ascough has received the prestigious 3M National Teaching Fellowship from the Society for Teaching and Learning in Higher Education (STLHE).

Founded in 1986 through a partnership between the Society for Teaching and Learning in Higher Education and 3M Canada, up to ten Canadian academics annually are named fellows, in recognition of excellence in educational leadership and teaching in the post-secondary sector. Dr. Ascough (School of Religion) is the ninth Queen’s professor to be made a 3M Fellow following James Fraser (Physics) in 2017.

 “I find it both humbling and exciting to be selected as a 3M Teaching Fellow as it recognizes my commitment to actively engaging students in their learning contexts and experimenting with innovation in the classroom,” says Dr. Ascough, Associate Dean (Teaching and Learning).

A recent D2L Innovation Award in Teaching and Learning winner, Dr. Ascough has always approached teaching with innovative and unique ideas. In the 1990s, he embraced online learning and has been a change-maker in regards to attitudes towards online course design.

 “Dr. Ascough has been at the leading edge of technology-enhanced learning, leaping into online teaching in the late nineties when instructors had to accept their role as digital pioneers, contending with clunky platforms and sometimes severe skepticism from their academic peers,” says Jill Scott, Vice-Provost (Teaching and Learning). “He has never been satisfied with simply using technology, but has continually pushed the limits of the medium to ensure deep, transformation learning.”

In the classroom, Dr. Ascough creates imaginative, interactive exercises that ignite his students’ passion for learning. Long before active learning classrooms were being constructed, Dr. Ascough began developing exercises that draw students out of their comfort zone and create excitement about learning. Participatory exercises are one of the hallmarks of Dr. Ascough’s teaching.

“Dr. Ascough embodies Queen’s mission as a research-intensive university with a transformative student learning experience,” says Benoit-Antoine Bacon, Provost and Vice-Principal (Academic). “In my experience, every institution has those few individuals who are hugely influential to so many, yet never seek acclaim. Richard is one of those special leaders.”

For more information on the 3M National Teaching Fellowship visit the website.

Fellowships profile new generation of Indigenous scholars

The Faculty of Arts and Science has launched a Pre-Doctoral Fellowship program to recognize outstanding scholarship among Indigenous PhD candidates.

The Faculty of Arts and Science has launched a new Pre-Doctoral Fellowship for Indigenous Students. Those wishing to learn more should attend an upcoming Feb 15 webinar. (Supplied Photo)
The Faculty of Arts and Science has launched a new Pre-Doctoral Fellowship for Indigenous Students. Those wishing to learn more should attend an upcoming Feb 15 webinar. (Supplied Photo)

A new program aims to bring some of Canada’s most promising Indigenous doctoral candidates to Queen’s for a year to further their learning, and allow Queen’s to learn from them.

A prestigious Pre-Doctoral Fellowship program, one of the first of its kind in Canada, has been created as a way of recognizing up and coming Indigenous scholars and enhancing their academic profile. The Faculty of Arts and Science is offering four spaces in this Fellowship program, which provides the recipients with a $34,000 annual stipend, teaching wages, and funds for research and conferences.

“We are proud of our continuing dedication to life-long learning and reconciliation efforts, and of the many academic and personal successes of our Indigenous students, faculty, staff and alumni,” says Lynda Jessup, Associate Dean (Graduate Studies and Research) with the Faculty of Arts and Science. “After working with Erin Sutherland (PhD’16), an Indigenous student who had received a pre-doctoral fellowship at another university, I was inspired to develop this program as a way of supporting culturally relevant learning opportunities both for Queen’s and for Indigenous students.”

To be eligible, students must have Indigenous heritage, must be enrolled in a doctorate program at another Canadian university, and must relocate to Kingston for the year. During the year, the PhD candidate would teach a course within the Faculty of Arts and Science, which would help Indigenize some of Queen’s curriculum, and they would engage with local Indigenous peoples and communities.

The candidates would also have the chance to broaden their scholarly network by working with Queen’s faculty members and researchers, thereby improving their career opportunities. Most importantly, the Fellowship would support the successful completion of their doctoral studies.

“The pre-doctoral fellowship I received gave me time, space, and support to finish my dissertation, and it gave me a new community to share my ideas with, to learn from, to be with,” says Dr. Sutherland. “The community helped me to develop ideas which ended up being central to my dissertation. Specifically, my time spent with community – both at the University and outside of it – supported my learning and discussion of Indigenous methodologies. Most importantly, it better prepared me to deal with change and how to work in and adapt to a new academic and community environment.”

Applications are being accepted to this pilot program until Sunday, Apr. 1. A webinar is planned for Thursday, Feb. 15 to share more information about the program with potential applicants. For more information on this new program, visit the Faculty of Arts and Science’s website.


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