Lynne Van Luven
Who doesn’t like summer? Classes are finished, the fall semester is still far enough away to not worry about and we’ve all got some time to put towards our own creative practices. What’s on deck for some of our faculty this summer? Let’s find out.
Outgoing Associate Dean Lynne Van Luven has been busy winding up her job in the Dean’s Office and trundling all her books back upstairs to her permanent home in the Department of Writing. But, before she assumes full teaching duties again, she’s taking a well-deserved administrative leave for the 2014/15 academic year.
“In the period of my leave, I hope to get a whole lot of work done on Flesh Wounds, which is the working title for my new book of
Bland with Canadian actress Neve Campbell
essays about the hilarious and hair-raising process of ageing,” she says. “I have lots of research and writing to do, so I am most appreciative of the time off.” But having time off doesn’t come naturally to the diligent Van Luven. “I have never—since I started teaching at universities back in 1981—had a full year off to work on a project,” she admits. “I hope I just don’t blow all my time pursuing Skittles and beer . . . or, alternately, wine and roses.”
Busy Department of Theatre continuing sessional instructor Leslie Bland always has some fascinating side-projects on the go. Recently back from a trip to Paris and from attending the Banff World Media Festival in June, he’s currently completing his latest film project.
“I’m wrapping post production on our feature documentary Gone South: How Canada Invented Hollywood,” Bland reports. “There will a world premiere of it in August in Los Angeles hosted by the LA Consul General for Canada.” Word is the premier might even be held at the famous Grauman’s Chinese Theatre in Hollywood. (Maybe Bland can give a tour of all the famed Canadian hand-prints in the concrete there.) Gone South comes on the heels of the all-female stand-up comedy series She Kills Me that Bland recently produced and directedfor broadcast on APTN.
School of Music director Susan Lewis Hammond is cracking the books this summer—her own book, that is. “I’ll be finishing a textbook titled Baroque Music: History, Culture,
Performance—forthcoming with Routledge in 2015″, she says. On top of that, she’ll be presenting on a panel “on the value of a Bachelor of Music degree” at Congress 2015 at Brock University, and traveling to do research at the University of Toronto. Let’s hope there’s time for some relaxing in her schedule, too.
Writing professor and filmmaker Maureen Bradley recently completed editing her locally-lensed debut feature film Two 4 One—Canada’s, and possibly the world’s, first mainstream transgender romantic comedy— and is now in the process of submitting it to major film festivals, both Canadian and international.
As well as preparing for his prestigious Fellowship from the Radcliffe Institute at Harvard University in
2014/15, School of Music professor Dániel Péter Biró will have his new composition Al Ken Kara (That Is Why It Was Called) performed on July 26 at the Teatro Fondamenta Nuove in Venice, Italy. This piece was originally composed as part of the Mediterranean Voices film project. In addition, the book The String Quartets of Béla Bartók: Tradition and Legacy in Analytical Perspective that he co-edited with fellow School of Music professor Harald Krebs, has just been released by Oxford University Press.
Visual Arts professor Robert Youds currently has his light-based sculpture “turn on your electric* on view as part of the Vancouver Art Gallery’s exhibit Out of Sight: New Aquistions, running to September 1. He’s also completing a major sculptural commission which will be opening at the Vancouver Art Gallery’s Offsite this fall. Locally, his piece “soft works for complicated needs*” is featured in the current AGGV exhibit Through the Looking Glass until September 7. In addition to that, Youds will have the paintings “our aurora borealis and everything else” as part of the Transformation of Canadian Landscape Art: Inside and Outside of Being at the Xi’an Art Museum in China from August 10 – September 21. Better still, he’ll be travelling to Xi’an and Beijing to give talks and to meet foreign dignitaries as part of the exhibit.
Stay tuned for more summer plans!
Three things set Jackson 2Bears apart as the 2013/14 Audain Professor of Contemporary Arts of the Pacific Northwest for the Department of Visual Arts. Not only is he the first UVic alumnus and first local artist to hold the position, but he is also the first person reappointed for a second year.
Following in the footsteps of such noted Indigenous artists as Rebecca Belmore, Michael Nicol Yahgulanaas and Nicholas Galanin, 2Bears is a Kanien’kehaka (Mohawk) multimedia artist and a frequent face around campus. Having completed both his Masters and PhD here, he taught for both Visual Arts and UVic’s Pacific Centre for Technology and Culture before accepting the Audain position. But he’s kept busy off-campus this past year by participating in solo and group exhibitions such as Ghost Dance: Activism. Resistance. Art. at Toronto’s Ryerson Image Centre, the Beat Nation tour which saw him invited to perform in Montreal and a number of East Coast performances with the Noxious Sector collective, as well as participating in Open Space Gallery’s recent public art symposium Reclaim The Streets.
As with all Audain professors, 2Bears’ year was split between teaching and studio practice. “There were periods where I was really focused on working with students—which was fantastic—but because of the way the position is set up, I found a lot of time for my own work,” he says. “Much of my year was about intense research; I really wanted to use this time to experiment with my own practice. Sometimes at the mid-career level, you find yourself in ruts or overly familiar ways of working; I was conscious of trying to upset that for myself. I wanted to do the research in order to recreate my practice.”
But he was also found himself challenged by his experience teaching the 300-level Audain seminar, which included students working in a variety of mediums: from painting and sculpture to digital media, performance and music. “Working with students at the senior level, it feels less like teacher/student relationships and more like we’re a group of artists working together, helping each other out,” he says. “I found that immensely helpful—especially in an environment where you’re forced to be critical of other peoples’ work all the time in that role, you go home and do that to yourself; it enhances your own practice. You look at your own work, and the voice in your head says, ‘Am I following my own advice here? Have I really thought this through?’”
2Bears in performance
Currently working on creating entirely new digital instruments for his Audain exhibition in September 2014 (“I’m adapting an old analogue synthesizer into a video performance machine . . . I want to treat video like sound, so it can warp and move like a synthesizer and music”), 2Bears has also been writing (“I’m also working on some new texts directly related to indigenous philosophy and technologies”) and looking at enhancing community engagement with the Audain position.
“I’ve been building relationships between Visual Arts and First Peoples House, Open Space and the community, but it’s taken a lot of this year just to get that off the ground,” he says. “But it would make me very happy to see that carry on, create more of a sense of community with the Audain position—not just community here on campus but bringing in other artists as well.” Already in the works is a series of mini-residencies with fellow contemporary indigenous artists Maria Hupfield, Sonny Assu and Corey Bulpitt.
All in all, 2Bears is pleased with his first year as an Audain Professor. “Absolutely, it’s been a great year,” says an enthusiastic 2Bears. “It’s been a real challenge working with students—in this environment, it’s very rich, very interdisciplinary, and everybody’s coming at things from different angles and perspectives—but it’s been fantastic.”
Created in 2009 as part of a $2-million gift from B.C. art philanthropist Michael Audain and the Audain Foundation, the Audain professorship brings in mid-career professional artists to both work with students and further their own work.
School of Music alumna Andrea Blair has been nominated as one of Canada’s top teachers by Canadian Family magazine.
Blair, who received her Masters in Music Education in 2007, is among the top 12-finalists selected in Canadian Family’s annual awards—only one of two teachers from BC, and the only one on Vancouver Island. “It was completely out of the blue,” says the Gordon Head Middle School music teacher, who has now been teaching for 19 years. “It’s quite an honour to even be nominated and be one of the 12.”
The awards are decided by reader voting, which means Blair needs as many votes as possible before the June 25 cut-off date; click here to vote—and you can vote from any device once a day, so don’t be shy. (As of this writing, she’s in second place!) The teachers with the top-three vote tally will each win $2,500 for their schools.
Daniel Davenport in band class (Photo: Travis Paterson, Victoria News)
But it wasn’t like Blair put herself into the running—she was actually nominated by the parent of one of her students, Daniel Davenport. “My son has learning disabilities—he is dyslexic and dysgraphic,” wrote Leslie Davenport in her nomination letter. “When he started middle school he told us he wanted to join the band. The problem was that he was incapable of reading music. I approached the music teacher, Mrs. Blair, and asked if he might be able to join in some way. I was thinking of him banging a tambourine or something. Mrs. Blair said she would find a way. This started a three-year project of my son’s journey into music. For Mrs. Blair, it was not enough for him to just do some simple percussion; instead, she designed a whole new sheet music system for dyslexics.”
Having dyslexia and dysgraphia means Daniel can’t read or write either music or the English language—but, thanks to the creative and continued efforts of his dedicated band teacher, he is now playing clarinet in the school band.
Read more about Andrea and Daniel in this recent Victoria News article.
Andrea Blair’s innovative music system
Blair was inspired by a toy xylophone with coloured bars and colour-coded sheet music to create a musical system that didn’t rely on notes, bars and musical staffs. Instead, she used coloured markers and graph paper to create a system that Daniel could read and understand.
“I was taking a class with [UVic Music educator] Mary Kennedy and thought, ‘Why not just put it on graph paper?’,” Blair recalls. “So, a 2×2 block of squares represents a quarter note, and a half note would be four squares. It’s all based on math. You know how music sometimes gets all jumbled up? This is quite simple.”
Blair says she spends a “couple of hours” transposing the music for Daniel. “If I was going to do it for anyone else, I would use Excel, but for him it would be too much.” Obviously, her system works. “He’s doing pretty well,” she says of Daniel’s ability. “For the most part, he’s able to play all of our classes music.”
Andrea Blair leading one of her band classes
Given the success she’s had overcoming Daniel’s dyslexia and dysgraphia, does she see a future for her innovative system? “Yes, it’s got good potential,” she says. “My thing here at Gordon Head is inclusion for all, and this is a good system. I would definitely like to explore it more. Dr. Kennedy was saying to me, ‘Would you please start your doctorate?’” she pauses and laughs. “It’s a possibility.”
As for the prize, Blair doesn’t want to put too much thought into that yet. “The wish-list keeps growing,” she laughs. “The kids in my class certainly have some ideas about what’s needed, but we’ll deal with that when it happens—if it happens. I did tell Daniel he would be able to choose something for the room as well.”
Right now, Blair just needs people to vote. “You can vote daily, on as many devices as you wish,” she says. “It’s now literally a popularity contest—but everyone on the list is deserving.”
And that’s not false modesty—every teacher on the list has amazing stories to share. “When I got the email saying I was nominated, I went to my administration and said, ‘I really feel like I was just doing my job’,” Blair recalls.
Quartet Fest West, the popular summer string quartet intensive, returns to the School of Music from June 9 – 20. Attracting participants from across Canada, the US and Italy, the festival of concerts, workshops and coachings is hosted by UVic’s beloved quartet-in-residence, the Lafayette String Quartet.
The LSQ’s Ann Elliott-Goldschmid with students at QuartetFest West 2013
Anchored by the chamber music workshop, Quartet Fest West is an in-depth study of the string quartet literature that also features a series of public concerts (see below) and masterclasses (open to the public by donation). Another highlight is an open discussion with Andrew Dawes, first violinist of the Orford String Quartet and the Tokyo String Quartet.
“It’s really intensive,” says LSQ violinist Ann Elliott-Goldschmid of the Quartet Fest West experience. “The students learn how to communicate very effectively, they have to learn the music quickly and come to agreements quickly—they don’t have a semester to work on something, they only have 10 days.”
Alcan String Quartet
Participants and the public alike will have the opportunity to soak in the host quartet’s prowess in a concert on June 18. Performing works by Boccherini, Shostakovich and Mendelssohn, the Lafayette String Quartet will share the stage with David Ellis, cellist of the Alcan String Quartet—this year’s guest coaches from Chicoutimi, Québec. One of Canada’s most celebrated chamber music ensembles, the Alcan String Quartet is celebrating its 25th anniversary this year.
The festival culminates in a student concert on June 20 featuring chamber groups made up of Quartet Fest participants.
Open Discussion with Andrew Dawes
7:30pm – 9:00pm Friday, June 13 • Maclaurin Building Room B037
Admission by donation
Join a chat with teacher and soloist Andrew Dawes, founding member and first violinist of the Orford String Quartet and first violinist of the Tokyo String Quartet. During his career he performed over 3,000 concerts on six continents and made 60 recordings.
Lafayette String Quartet with David Ellis, cello
8pm Wednesday, June 18 • Phillip T. Young Recital Hall (UVic MacLaurin Building, B-Wing) • Tickets are $12 (students) and $25 (general) from the UVic Ticket Centre (250-721-8480).
Don’t miss this concert featuring Boccherini’s Cello Quintet, Shostakovich’s Quartet No. 10, Op. 118 and Mendelssohn‘s Quartet in E minor, Op. 44, No. 2
Participating Quartets Concert
8pm Friday, June 20 • Phillip T. Young Recital Hall (UVic MacLaurin Building, B-Wing)
Admission by donation
Featuring participating quartets of Quartet Fest West 2014, the program for this concert is yet to be announced.
Be sure to check the School of Music’s online calendar for more QuartetFest West workshops and events.
The Faculty of Fine Arts is requesting expressions of interest for the following sessional assignments:
Got a great course idea?
Fall Term – FA 200 A0: Special Topics in Fine Arts (maximum enrollment: 150 students), September-December 2014.
A multi-disciplinary investigation into various aspects of the arts. Focus may vary from year-to-year. Class runs Monday and Wednesday, 4:30pm – 5:50pm.
Spring Term -FA 335 A01 – Popular Culture (maximum enrollment: 75 students), January – April 2015.
An interdisciplinary examination of the popular arts and their place in society. The topics for
examination will vary in different years and sections. Class runs Monday and Thursday, 8:30am – 9:50am.
Expressions of Interest are due by 4:30pm Thursday, June 19th, 2014. Positions will be assigned no later than June 27, 2014.
Insert your course here
Please submit a written letter of interest indicating qualifications and experience,
potential course outline along with a current Curriculum Vitae to:
Samantha Knudson, Academic Administrative Officer
Faculty of Fine Arts (Fine Arts Building, Rm 116)
University of Victoria, PO Box 1700 Stn CSC, Victoria BC V8W 2Y2
If you are interested in proposing future courses that fit within the Fine Arts curriculum (see Undergraduate Calendar pg. 310), please contact the Dean of Fine Arts Office to schedule an appointment. Sessional Instructors are CUPE 4163 (Component 3) positions with Sessional Lecturers Certification.
The University of Victoria is an equity employer and encourages applications from women, persons with disabilities, visible minorities, aboriginal peoples, people of all sexual orientations and genders, and others who may contribute to the further diversification of the University. The University reserves the right to fill additional teaching assignments from the pool of applicants for this posting. All positions are subject to enrolment and budgetary approval.