- Norman Armour’s performing arts practice includes curator, producer, director,
actor and interdisciplinary artist. Since graduating from Simon Fraser University’s
School for the Contemporary Arts in 1986, he has collaborated on over 120
works for the stage and other media. His career has covered a wide range of
creative interests. He has directed and taught in the theatre departments of
Simon Fraser University and Emory University (GA). He has consulted on not-
for-profit organizational development, overseen integrated outreach programs,
and spearheaded public forums on innovation in the performing arts. Norman has
served as president of the Vancouver Professional Theatre Alliance (1994-96). In
1990, he co-founded Rumble Productions, an interdisciplinary theatre company.
He also co-founded the PuSh International Performing Arts Festival and is
currently its artistic & executive director. Norman is the recipient of numerous
awards, including Simon Fraser University’s Distinguished Alumni and the City
of Vancouver’s Civic Merit and Mayor’s Arts awards. In the spring of 2014 he
directed the premiere of Pauline, a new opera by Tobin Stokes and Margaret
- Susan Bennett is University Professor in the Department of English at the University of Calgary. Best known for her work on theatre audiences, she has published on many different topics within theatre and performance studies. Among her books are Theatre & Museums (Palgrave 2013), Shakespeare Beyond English (Cambridge UP 2013, co-edited with Christie Carson) and Performing Environments: Site-Specificity in Medieval and Early Modern Drama (Palgrave 2014, co-edited with Mary Polito). Forthcoming essays address contemporary performance practices in a variety of cultural contexts – the Iraqi Theatre Company’s Romeo and Juliet in Baghdad (The Oxford Handbook of Shakespeare and Embodiment, ed. Valerie Traub, Oxford, 2014), Disney princess makeovers (in TDR’s special issue on “Desire,” co-authored with Marlis Schweitzer), and Cirque du Soleil’s instrumental role in urban gentrification (Cirque Global, eds. Patrick Leroux and Charles Batson, McGill-Queens UP, 2015).
Her current research looks at the relationships between performance of all kinds and the marketing of products, places and nations. Most recently, she has been in China where she was able to re-examine the site of the 2012 World Exposition in Shanghai (about which she wrote in “China’s Global Performatives,” Performance & The Global City, eds. DJ Hopkins and Kim Solga, Palgrave, 2013) and to visit Pritzker Prize-winner Wang Shu’s Ningbo City Museum.
- Kelsey Blair is a PhD student in the Department of English at Simon Fraser University. Her areas of interest include affect theory, empowerment, and the intersection between performance studies and the socio-cultural study of sport.
- Lorna Brown is a Vancouver based visual artist, curator, writer and editor. Recent independent projects include Digital Natives, (http://digitalnatives.othersights.ca/), a public artwork commissioned by the City of Vancouver; Ruins in Process: Vancouver Art in the Sixties, (http://vancouverartinthesixties.com/) an online digital archive of over 1000 texts, videos, films and images, and Institutions by Artists, (http://arcpost.ca) an international project involving a 3 day conference, print and online publishing, original research and commissioned artworks. Brown was the inaugural curator for the Inside the Library initiative, with Group Search: art in the library, a series of six artists commissions for the spaces and systems of the Vancouver Public Library Central Branch. Exhibitions of her artwork include Threshold (cont.) at the Koerner Library at UBC http://www.belkin.ubc.ca/past/lorna-brown and AdmIndex, an online work commissioned by the Audain Gallery at SFU Woodwards http://audaingallery.ca/projects/lorna-brown/ Recent writing projects include Agility in Public, an interview with Anne Pasternak, Director of Creative Time NY; http://fillip.ca/content/agility-in-public, and Haptic: Tegan Moore and Elspeth Pratt, by Bookmachine for Publication Studio. Brown was the Director/Curator of Artspeak Gallery from 1999 to 2004 and is a founding member of Other Sights for Artists’ Projects, (http://othersights.ca) a collective of artists, architects and curators presenting projects that consider the aesthetic, economic and regulatory conditions of public places and public life.
- Writer, Director, PerformerAlex is the writer and narrator of the critically acclaimed acoustic installation LIFE UNSEEN. She is a New York Radio Award nominee, Society of Canadian Musicians award recipient, writer of two award winning short films,
and writer of the stage play SMUDGE, which earned two Best New Play nominations in Canada, and was Time Out’s Critics Choice during its UK premiere. Now living in the UK, Alex has written for The Royal Court, London 2012 Olympics, Graeae , BBC radio; winning an AMI award for her adaptation of The Hunchback of Notre Dame, Channel 4 series Cast Offs (nominated for BAFTA and Royal Television SocietyAward), and Face Front. She has worked as Literary Manager with Graeae, directed with Extant Theatre, Paines Plough, and is co-founder and artistic director of Invisible Flash, a new company dedicated to telling great stories, simply told, enhanced for a non sighted audience. Recently, Alex performed in Ontario as the Choir Leader in The Book of Judith. She is currently writer in residence with Theatre Centre UK, is developing a Travel Book as a Winston Churchill Fellow, and is co-writing Assisted Suicide The Musical. Her teaching interests are in voice, particularily with those with differing speech patterns or speech impairments.
- Clint Burnham has taught at Emily Carr Institute of Art and Design, the University of British Columbia, Capilano College, and, since 2007, in the Department of English at Simon Fraser University. He has published monographs on Fredric Jameson, Steve McCaffery, and the Kootenay School of Writing, and co-edited From Text to Txting (with Paul Budra) and Digital Natives (with Lorna Brown). Clint has written extensively on visual art, including journalism in The Globe and Mail, Camera Austria, FUSE, Artforum, and Flash Art, and in gallery catalogues in Canada, the U.S., and Europe. He is currently working on two monographs, one on Slavoj Žižek and digital culture, and one on Fredric Jameson and The Wolf of Wall Street.
- Christos Dikeakos was born in Thessaloniki, Greece and moved to Canada in 1955, earning a BA in Fine Arts at the University of British Columbia in 1971. An early participant in the “Vancouver school” of photoconceptualism, he curated shows at UBC and at the Vancouver Art Gallery, including the early conceptual photography exhibition, The Photo Show (1970, with Illyas Pagonis) and a portion of the VAG’s conceptual art exhibition, 995,000 (1970). Chris’ Instant Photo Information (NFB, 1970) is a crucial early book work in the conceptual tradition. Dikeakos started to photograph in panoramic format during the early eighties with the Sites and Place Names series that he shot in Athens, Berlin, Saskatoon and Vancouver. This body of work is a study or critique of urban history, topography and how the city is in a constant state of flux. In the 1990s the focus of this series shifted to a new emphasis on the historical and cultural aspects of inhabitation, designed to heighten non-Native awareness. This aspect came from his association with First Nations artists and familiarity with works by Joe David, Robert and Reg Davidson, Beau Dick and Art Thompson among others. In the 1990s and 2000s he often shot around his studio in the False Creek Flats, site of Expo (1986) and the Olympic Village (2010). Dikeakos’ current work is around vanishing rural farming and orchard landscapes and the shifting economic terrain of the southern Okanagan. He is also writing an essay for his exhibition Puis-Je Duchamp (London Museum, McMaster University), a show on media studio practice and his long time interest in Marcel Duchamp.
- Originally from an arts background, Kirsten Forkert is a researcher and activist. She is employed as a lecturer in the School of Media at Birmingham City University, in Birmingham UK. Her book Artistic Lives (Ashgate 2013) explored the material conditions faced by cultural producers in London and Berlin, focusing on the role of housing and welfare in relation to freelance cultural work. Kirsten is now working on another book entitled Austerity as Public Mood, as part of Rowman and Littlefield’s Radical Cultural Studies series. The book explores the cultural politics of austerity in the UK, and in particular the role of nostalgic conceptions of work and community to justify support for austerity measures. She is also involved in Mapping Immigration Controversy, a collaborative, ESRC-funded research project on UK government communications on immigration, within a climate of increasing nationalism and right populism in the UK and Europe.
- Janice Forsyth is the Director of the International Centre for Olympic Studies at Western (ICOS), where she is also an Assistant Professor in the School of Kinesiology, Faculty of Health Sciences. She specializes in Olympic and Canadian sport history. Her research on the Olympic Games addresses questions of power and cultural representation as they relate to Aboriginal involvement in Olympic Ceremonies. Since joining academe in 2005, her projects have attracted over half a million dollars in research runding from the Social Sciences and Humanities Research Council (SSHRC), university, and government agencies. Outside of academe, Janice frequently provides leadership and support to government and service organizations in policy and program development and evaluation. Current and past organizations she has worked with include the national Aboriginal Sport Circle, the Canadian Association for the Advancement of Women in Sport and Physical Activity (CAAWS), Athletes CAN, Sport Canada, and Canadian Heritage. In addition, Janice regularly provides insight and commentary for media reporting on all substantive matters related to the Olympic Movement. Select outlets include: CBC, CTV, The Globe and Mail, The New York Times, NPR, The Wall Street Journal, ESPN, The Guardian, The National Post, USA Today, Aboriginal People’s Television Network (APTN), Cultural Survival, and Forbes. She is a member of the Fisher River Cree First Nation.
- Working in a range of media from sculpture to film and photography Neville Gabie’s practice is frequently inspired by a response to specific locations or situations. Often developed over a sustained period of involvement with the site, local community and with other creative and academic professionals, his projects value collaboration as key to their success. Many significant works are the result of Neville taking up the post as Artist in Residence in a variety of settings which include; Tate Liverpool; Halley Research Station, Antarctica; The Queen Elizabeth Olympic Park during construction; Cabot Circus development, Bristol; Vitamin Creativespace, Guangzhou, China; International Art Space, Kellerberrin, Australia; Modern Art Projects, South Africa; and with a crofting community in Achiltibuie, North West Scotland. Other projects include POSTS published by Penguin Books; and a five year project initiated and co-curated with the artist Leo Fitzmaurice in a Liverpool tower block entitled ‘Up in the Air’; For ‘Life and Death of the Arts in Cities After Mega Events’ Neville will be speaking specifically about his 18 month role as Artist in Residence during the construction of the Olympic Park in Stratford, London, 2010-2012 and about his post Olympic project ‘The Greatest Distance’ 2012/13 developed in response to his experience on the Park. Born in Johannesburg, South Africa Neville Gabie studied at the Royal College of Art and is currently based in Stroud, Gloucestershire. His work is included in the Tate and Arts Council Collections and collections in South Africa. http://www.greatlengths2012.org.uk http://www.nevillegabie.com
- A professional contemporary dancer, Alana Gerecke is a Trudeau Scholar and a doctoral candidate in the English Department at SFU. Her dissertation examines the spatial and social politics of contemporary dance set in public, urban places along the North American west coast.
- Jen Harvie is Professor of Contemporary Theatre and Performance at Queen Mary University of London. Her writing about the cultural politics of performance in urban contexts includes Fair Play – Art, Performance and Neoliberalism (2013), Theatre & the City (2009), Staging the UK (2005) and articles in Contemporary Theatre Review, Performance Research and the edited collection Performance and the City. Her editorial work in this area includes a special issue of Contemporary Theatre Review co-edited with Keren Zaiontz on ‘The Cultural Politics of London 2012’ (2013). Jen is co-author of The Routledge Companion to Theatre and Performance (second edition 2014) and co-editor of Making Contemporary Theatre: International Rehearsal Processes (2010; with Andy Lavender) and of Palgrave Macmillan’s series Theatre& and a special issue of Contemporary Theatre Review on ‘Globalization and Theatre’ (2006) (both with Dan Rebellato). Jen is currently working with feminist performance-making pioneer Lois Weaver on a book on Weaver’s practice (forthcoming 2015).
Robert L. Kerr
- Robert has a successful 29-year history leading innovative arts organizations and programming and producing extraordinary festivals and events emphasizing partnership, collaboration and community engagement. Program Director for the Vancouver 2010 Cultural Olympiad, Robert led an exceptional team in programming, producing, fundraising, and marketing a three-year series of multi-disciplinary festivals of arts and popular culture centered on extensive community partnerships. An Olympic and Paralympic arts festival of unprecedented scope and scale Cultural Olympiad 2010 attracted over 5.8 million attendees to 1031 performances and 48 exhibitions by national and international artists across the full spectrum of performing, visual, media, and literary arts in 60 venues over 60 days. Founding Executive Director of Coastal Jazz & Blues Society he led the creation and development of the organization and its many programs including the world renowned Vancouver International Jazz Festival. Producing Artistic Director of Major Civic Events for Vancouver 125 (Cultural Capital of Canada), Robert collaborated with the local arts and cultural community to program and produce Birthday Live and Summer Live in 2011, two major multidisciplinary festivals. Robert served as a board member of the BC Arts Council from 2002 – 2006, and served three terms on the board of Tourism Vancouver. A co-founder of WESTCAN Jazz Association in 1988, Robert led its transformation into the national arts service organization Jazz Festivals Canada, which he served as president from 2000 – 2006. Robert currently manages festivals and cultural programming for the City of Toronto at Fort York National Historic Site.
- Paul Kingsbury is an Associate Professor in the Department of Geography at Simon Fraser University. Specializing in social and cultural geography, his research draws on the theories of Jacques Lacan and Friedrich Nietzsche to examine multiculturalism, consumption, power, and aesthetics.
- Vanessa Kwan is a Vancouver-based artist and curator. As an artist, her work has involved the production of work in public space, and is concerned with the limits and potential of bringing art practices into venues of diverse cultural and social contexts. Recent projects include a large-scale permanent public artwork called Geyser for Hillcrest Park (with Erica Stocking), Sad Sack, a series of public events and collaborations on the subject of melancholy, and Everything Between Open and Closed, a study of signs. She is a founding member of the performance collective Norma, who were honoured with a City of Vancouver Mayor’s Arts Award for Public Art in 2011. As performance curator at the Vancouver Art Gallery, she produced FUSE, the gallery’s premiere performance event, from 2008 – 14. She has been a guest curator of exhibitions/ performance at 221A Artist Run Centre, The Richmond Art Gallery, the Powell Street Festival and the PuSh International Performing Arts Festival, and was Director of Programming at the Vancouver Queer Film Festival from 2006 – 08. She is a member of Other Sights for Artists’ Projects curatorial collective, and is active in expanding dialogue and opportunity for art projects in public and non-gallery-based spaces. Her writing on art and performance has been published in a number of exhibition catalogues (for Centre A, Access Gallery, 221A Artist Run Centre and others), and in print media such as the Georgia Straight, C Magazine, Canadian Art and FUSE. She is currently Curator of Community Engagement at the grunt gallery.
- Lindsay Lachance is an Anishinaabe P.H.D. student at the University of British Columbia. Lindsay has a Masters in Theatre Theory and Dramaturgy from the University of Ottawa. Her areas of interest include performance aesthetic, the physicalization of spirituality in time and space, and the multiple creation processes of Aboriginal performance techniques in Canada.
- After many years working in the arts in the UK and Canada Duncan is currently in thePhD program at SFU’s School of Communication. He received a SSHRC award for his research to examine how cultural tourism is influencing and redefining Canada’s artistic and cultural landscape. Results from his Master of Urban Studies research examining the 2010 Cultural Olympiad have been published in the Canadian Journal of Communication (2012) and The International Journal of Cultural Policy (2012). He was invited to present his research findings to the London 2012 Cultural Planners at London’s City Hall in the run up to the London Games. He has recently completed a book chapter on ‘BC’s arts, cultural and creative sector’ for the forthcoming book looking at Gordon Campbell’s decade in power. http://pages.cmns.sfu.ca/low-duncan/
- Michael McKinnie is Senior Lecturer in Drama at Queen Mary, University of London. His research focuses primarily on the relationship between theatre, cities and political economy. He has published on topics such as the role of theatre in urban development, the cultural economics of contemporary performance and the imbrication of performance and urban governance. Michael is the author of City Stages: Theatre and Urban Space in a Global City (University of Toronto Press, 2007), which was awarded the Ann Saddlemyer Award for Outstanding Book by the Canadian Association for Theatre Research. He is also the editor of Space and the Geographies of Theatre (Playwrights Canada Press 2007) and a number of articles in scholarly journals and edited collections. At present, he is working on a book about performance and the cultural politics of place for Cambridge University Press. This book considers what the places of performance might tell us not only about the spatiality of performance itself, but about broader issues of politics, economics, history, environment and culture (and theatre’s complex relationship to them). Before becoming an academic, Michael trained as a dramaturg and worked in new play development at Necessary Angel Theatre in Toronto.
- After first year studies at the (then) Vancouver School of Art, Geoff was on his way to study printmaking at the Nova Scotia College of Art and Design in 1977, when he dove into a lake and broke his neck. After rehabilitation in his hometown Edmonton, he returned to Vancouver and became involved in the disability advocacy movement, with the BC Coalition of People with Disabilities. He developed an appreciation for community arts through an active role in the early years of the Public Dreams Society. In 1998 he became Executive/ Artistic Director of Kickstart Disability Arts and Culture, and presented original dance, visual art exhibits, music, theatre as well as the very successful Kickstart Festival (Vancouver and Victoria). Geoff has maintained his long-standing interest in dance and visual art, and was one of the five artists featured in Bonnie Sherr Klein’s 2006 film “Shameless: The Art of Disability”. After curating the 2010 edition of the Kickstart Festival in Vancouver, Geoff retired to Victoria where he is currently pursuing his own artistic interests.
- Angela Piccini teaches in the Department of Film and Television in the School of Arts at the University of Bristol. Her research focuses on moving images, urban screens, materiality and the built environment, and the ways in which video archives intersect with physical and digital communities of practice. Publications related to the Vancouver 2010 Winter Olympics have appeared in World Archeology (2012) and the Oxford Handbook of the Archaeology of the Contemporary World (2013), which she co-edited.
- David Pinder is Reader in Geography at Queen Mary University of London. His research is concerned with how urban spaces and society are imagined, produced and contested, and with attempts to reimagine and to reconstitute their possibilities. This includes a focus on utopia in relation to twentieth-century European modernism and avant-gardes as well as critical urban theory. He is the author of Visions of the City: Utopianism, Power and Politics in Twentieth-Century Urbanism (2005), and of a number of papers that seek to reclaim and to rethink utopia as a vital concept for addressing urban questions today. He has also written widely on art, spatial practices and the politics of urban space, and he was a guest editor of a theme issue of the journal Cultural Geographies on ‘Arts of urban exploration’ (2005). He is currently writing on artistic explorations of urban spaces, and on counter-cartographies of global cities and capitalist globalization. He was recently a Velux Visiting Professor at Roskilde University, Denmark, and has previously held visiting positions at the Shelby Cullum Davis Center for Historical Studies at Princeton University, and at the City University of New York Graduate School.
- Dylan Robinson is a Stó:lō scholar and a Banting postdoctoral fellow in the First Nations Studies Program at UBC, located on the unceded ancestral territory of the Hun’qumi’num-speaking Musqueam peoples. His research focuses upon the sensory politics of Indigenous activism and the arts, and questions how Indigenous rights and Settler colonialism are embodied and spatialized in the public sphere. From 2010-2013 he led the Aesthetics of Reconciliation project with Dr. Keavy Martin that examined the role that the arts played in the Truth and Reconciliation Commission on the Indian Residential Schools. His current research documents the history of contemporary Indigenous public art across North America. This project involves working with Indigenous artists and scholars to collaboratively imagine new modes for public engagement and create new public works (from performance intervention to sculpture) that speak to Indigenous experience. Dylan’s publications include the collection Opera Indigene: Re/Presenting First Nations and Indigenous Cultures about operatic representations of First Peoples and the lesser-known history of operatic work created by Indigenous composers and artists. In January 2015 Dylan will begin a new position as Canada Research Chair in Indigenous Arts at Queen’s University.
- David Roche is an inspirational humourist, a performer and keynote speaker who has transformed the challenges and gifts of living with a facial disfigurement into a compelling message that has won standing ovations from New Zealand to Moscow, England to Australia, across Canada and the USA including at the White House, the Kennedy Center and the Sydney, Vancouver and London Olympics Arts Festivals. With the publication of his first book, The Church of 80% Sincerity, he is also an author. David has been featured in four films, including the recent Shameless: The Art of Disability, a feature-length documentary by Bonnie Sherr Klein from the National Film Board of Canada. As a long-time activist and pioneer in disability-related arts, he has served on boards of the Association for Theatre and Accessibility and Vancouver’s KickstART. Currently he is co-artistic director of Realwheels Theatre Company in Vancouver. He lives in Roberts Creek, BC with his wife, Marlena Blavin. Together they have presented Love at Second Sight in many schools and enjoy facilitating storytelling workshops with many-abled participants.
- Jenny Sealey has been Graeae’s Artistic Director since 1997. In 2009, she was awarded an MBE in the Queen’s Honours and became an Artistic Advisor for Unlimited 2012 Festival. Recent theatre credits for Graeae include: The Threepenny Opera (co-directed with Peter Rowe, co-produced with the New Wolsey Theatre, Ipswich, Nottingham Playhouse, Birmingham Rep and West Yorkshire Playhouse); Belonging (co-production with Circo Crescer e Viver) Reasons To Be Cheerful (2010 co-produced with The New Wolsey Theatre, Ipswich and Theatre Royal Stratford East, 2012 national tour co-produced with the New Wolsey Theatre); Signs of a Star Shaped Diva; Static (co-production with Suspect Culture); Blasted; Whiter than Snow (co production with Birmingham Rep); Flower Girls (co-production with The New Wolsey, Ipswich); peeling and Bent. Recent outdoor productions for Graeae include Against the Tide; The Iron Man; The Garden (with Strange Fruit); Sequins and Snowballs and The Limbless Knight – A Tale of Rights Reignited. In 2012 Jenny co-directed the London 2012 Paralympic Opening Ceremony alongside Bradley Hemmings (GDIF). She also won the Liberty Human Rights Arts Award and was named on the Time Out London and Hospital Club h.Club100 list of the most influential and creative people in the creative industries. Since 2012 Jenny has been awarded an honorary doctorate degree in Drama from Royal Conservatoire of Scotland, in Performing Arts from Middlesex University and a Fellowship at Central School of Speech and Drama.
- KIM SOLGA is Associate Professor in the Theatre Studies program at Western University, Canada; for the past two years she has been a Senior Lecturer in the Department of Drama at Queen Mary, University of London. She is the author of Violence Against Women in Early Modern Performance: Invisible Acts (2009, ppb 2013), and co-editor of Performance and the City (2009, ppb 2011) and Performance and the Global City (2013), both from Palgrave. Her 2012 play anthology New Canadian Realisms: Eight Plays, co-edited with Roberta Barker, won the 2013 Patrick O’Neill Award from the Canadian Association for Theatre Research (CATR), and the companion volume of essays, New Canadian Realisms: New Essays in Canadian Theatre 2, received an honorable mention for the same prize in 2014. Other editorial work includes special issues of Canadian Theatre Review (2011, on performance pedagogy), Shakespeare Bulletin (2013, on early modern theatre and naturalism), and the forthcoming A Cultural History of Theatre: The Modern Age (Bloomsbury, 2016). Her Theatre& Feminism is also forthcoming from Palgrave (2015). Kim is an award-winning teacher, and blogs about teaching and performance at http://theactivistclassroom.wordpress.com.
- Heather Sykes an Associate Professor at the Ontario Institute for Studies in Education (OISE) at the University of Toronto. My research interests focus on issues of sexuality, gender and colonialism in physical education and sport, through the lenses of post-structural, queer and feminist theories. Currently, I am researching how anti-colonial activists mobilize against sporting mega-events, such as the Olympics, and the im/possibilities of alliances and solidarities with increasingly homonational settler gay/lesbian movements. I have been Co-Editor of the journal Curriculum Inquiry and am actively involved in the North American Society for Sport Sociology and the American Educational Research Association.
- Sarah Thomasson is a PhD candidate at Queen Mary University of London in the departments of Drama and Geography. Her dissertation, which is entitled ‘Producing the Festival City: Place Myths and the Festivals of Edinburgh and Adelaide’, compares aspects of the Edinburgh International Festival, the Adelaide Festival and their associated Fringe Festivals to interrogate the relationship between these cultural events and their host cities. She also works as Administrative Assistant for Contemporary Theatre Review.
- Coll Thrush is associate professor of Indigenous history at the University of British Columbia in Vancouver. He is the author of Native Seattle: Histories from the Crossing-Over Place, which won the 2007 Washington State Book Award for History/Biography, and co-editor with Colleen Boyd of Phantom Past, Indigenous Presence: Native Ghosts in North American History & Culture. His article “City of the Changers: Indigenous People and the Transformation of Seattle’s Watersheds” was named Best Article of 2006 by the Urban History Association, and his article “Vancouver the Cannibal: Cuisine, Encounter, and the Dilemma of Difference on the Northwest Coast, 1774-1808” won the Robert F. Heizer prize for best article of 2011 from the American Society for Ethnohistory. Professor Thrush is currently working on Indigenous London, which examines that city’s history through the experiences of Indigenous travelers – willing or otherwise – from territories that became the US, Canada, Australia, and New Zealand. During the 2013-2014 academic year, he was a visiting fellow at the Institute for Historical Research of the University of London and the Eccles Centre Fellow in North American Studies at the British Library.
- I am a Geography doctoral student at Royal Holloway University of London. My broad research interests focus on identities, culture, and consumption. My doctoral research explores the public performances of diasporic Iranian identities in London and Vancouver through commercial food spaces in terms of spaces of production, consumption, and representation. In particular, I examine the role of Iranian restaurants, grocery stores, and commercial food spaces selling Iranian products in how they are representative of diasporic Iranian culture. I completed my MA Geography at Simon Fraser University (2010). My MA research looked at how Aboriginal people in Vancouver, Whistler, and the surrounds were engaged in the 2010 Winter Olympic Games planning process, considering the specific claims of Canada’s Aboriginal population to the right to participate in public processes. In addition, the study also considers questions of commodification and appropriation of culture, and the extent to which Aboriginal participation in the 2010 Olympic Games was a spectacle. More specifically the two central aims of the study were to examine how Aboriginal participation has evolved in the Olympic Games and what this has meant for various stakeholders involved; and to analyse the quality of Aboriginal participation and the extent to which is was effective in Vancouver 2010.
- Adrienne Wong is an artist who works primarily in live performance and theatre. She is interested in asking audiences to make connections with the environments and people who surround them by “re-seeing” the familiar and re-imagining the everyday. Works include a series of site-specific audio plays, PodPlays; a participatory show for kids about city planning, Me On The Map; a live, analogue Facebook, Placebook; an intimate performance for two people in different cities, LANDLINE; and curating the research wing of SpiderWebShow.ca. Adrienne is Associate Artist with Neworld Theatre. adriennewong.ca
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