Heather McCallum Scholarship/ La bourse Heather McCallum
The Heather McCallum Scholarship was established in 1987 by the Canadian Association for Theatre Research (CATR) in honour of the former head of the Theatre Department at the Toronto Reference Library. The McCallum Scholarship supports projects that involve original research in archives and collections. Interdisciplinary projects and projects that take researchers outside of traditional theatrical archives are welcome. Projects with a Canadian emphasis are particularly encouraged.
La bourse Heather McCallum a été créée en 1987 par l’Association canadienne de la recherche théâtrale (ACRT) en l’honneur de l’ancienne directrice de la section théâtre de la Bibliothèque de référence de la Communauté urbaine de Toronto. Cette bourse soutient des projets de recherche originaux dans les archives et les collections. Les projets interdisciplinaires ou sortant des voies traditionnelles de la recherche archivistique sont également admissibles. Les projets ayant une perspective canadienne sont tout particulièrement encouragés.
Deadline: April 16, 2018. See here for more details
Laine Newman, “‘A Spark of Freedom’: Archiving and Activating Intergenerational Trauma Through Creative Practice”
Inspired by Holocaust survivor and Newman’s grandfather Dovid Zisman’s poetry and performance work, Newman’s project offers a particularly unique combination of personal history and archival research, with rich interdisciplinary potential in the fields of performance historiography, trauma performance, poetry, social justice, and intergenerational queer Holocaust stories.
Newman’s project centers on several questions that deftly encompass past, present, and future: “How does creative practice impact and map trauma? How is this consumed and received intergenerationally? And how might these creative works impact future conceptions of social justice, equity, and activism?” In addition to close readings of her grandfather’s poems, Newman will travel to Warsaw this summer to work in the Archives of the Jewish Historical Institute, where she will research Yiddish poetry and the role art played in resistance efforts, then and now. Beyond this traditional archival research, Newman’s project also involves the documentation of oral histories from queer third generation Holocaust survivors, which will be featured in a documentary film to be completed in 2019. The film will not only draw upon Newman’s creative interests in directing documentary film but also expand her examination of the intersections of activism and creative practice as inspired by her grandfather’s work.
The Scholarship Committee was particularly struck by Newman’s scholarly motivation and the comprehensiveness of the proposal, even going so far as to note her intention to study Yiddish to assist in deeper understanding of archival documents and her grandfather’s poetry. The proposal and the project reflect Newman’s clear and deep interest in offering new historical and geographic lenses for considering performance. Moreover, the project’s interdisciplinary and intersectional interests demonstrate that, in the words of her referee, Newman is “fiercely committed to equity in the field.”
Indeed, the committee felt Newman is well-suited to tackle this project, as it seems a natural extension of Newman’s doctoral dissertation that examined queer geographies and the ways that what Newman calls “placefulness” confronts the erasure of histories and gives import to specific geographies. According to her referee, Newman’s dissertation research “inaugurates new avenues of scholarship in queer theory, artists’ access to performance space, equity, and arts programming” and is “powerful” and “beautifully written.” Moreover, she has already made significant strides in this avenue of research toward this project, with presentations, translations, and digitizations of relevant sources. The committee was particularly impressed with Newman’s ambitious overall goal of using this archival research to ultimately create a multi-platform project that includes poetry translation, the documentary, a roundtable, and a scholarly article. While firmly grounded in scholarly rigor and research, the project is also clearly a powerful labor of love, a deeply personal project that considers the ways artistic practice and performance live in and beyond the archive, inspiring personal and public activism on multiple levels and in diverse forms.
2018 McCallum Committee: Heather Davis-Fisch (Chair), Heather Fitzsimmons-Frey, Emily Rollie
Kimber Sider - for her project titled “Théâtre Equestre Zingaro: Interspecies Performance & Equestrian Theatre.”
Sebastian Samur - for his research with Montreal’s Mime Omnibus
Ashley Williamson - for her dissertation project titled “Living Canada’s History: Troubling the Narratives of Canadian History through Museum Performance.”
Richard Wilcox - to support his research on Daniel MacIvor
Gill Garratt - to assist with plans to traverse the 150km Maitland River system, a serpentine body of water winding through Huron County, in order to devise a performance-based enactment of the river system as a performance text in its own right
Keren Zaiontz – to assist in her travels travels to Vancouver, British Columbia in the spring of 2011 to document the fourth annual HIVE festival
Anton Wagner – to assist him in his archival research into the relationship between William Lyon Mackenzie King, and government policy on the performing arts.
Steph Berntson - to assist in her travels to witness contemporary Kabuki, Kyogen and Noh performances in Japan, for an exploration into the relationship between the sounds of these historical forms and the contemporary city
Halli Marshall – for travel to London with a special invitation to visit a new archive that will further her research on Gilbert Murray.
Tony Berto – to support an archival effort to compile a list of ‘every Queer representation on (non-musical) Canadian theatre stages in English that have been written by a Canadian playwright between 1995 and 2007.’
Lisa L’Heureux – for a study on theatre for young audiences in francophone Ontario during the 1980s
Mark Turner – for his proposal to organize the audio-visual materials relating to the performing arts, that are sitting in the archives of the Centre for Newfoundland Studies
Jane Baldwin – to assist her in her study of the contribution of Jean Gascon to theatre in Canada.
David Ferry – for travel costs in his update and collation of James Reaney bibliography
Natalie Papoutsis – for duplication of CBC radio adaptations of Greek tragedies by celebrated Canadian peformers
Birgit Schreyer – to fund her travel to Vancouver, so that she could assist director/ dramaturge Rachel Dito. Ms. Shreyer intends to turn her research results and experience into an article on current Vancouver-based theatre artists and forms.
Krista Charbonneau – for a research project involving Canadian puppet artist Ronnie Burkett and his unique form of puppet theatre – the focus of her project is “to develop new sources of primary research materials to study the development and function of Burkett’’s text-based puppetry.”
Rebecca Burton – “to research and gather information on feminist/ women’s theatre in BC,” for an academic paper to be given either at the Staging the Pacific Province – Theatre in BC Conference, or at the 2002 ACTR Conference in Toronto.
Heather Fitzsimmons-Frey – to attend the Wole Soyinka Conference at the Drama Centre in October of 2001, as part of her ongoing research into the performance of African, and especially Nigerian, plays in Canada. Heather also intends to consult the lack Theatre Archives at the University of Guelph, and to conduct several interviews with theatre practitioners in her field.
Myra Malley – for research on the American connections of four pre-World War II professional stock companies that operated in Toronto between 1874 and 1936. Among other things, her findings will be featured in a Toronto performance chronology that she is compiling to cover the period of her research.
Shannon Hengen – the history of Debajehmujig Theatre for a monograph entitled – Tellers of Tales – the First Fifteen Years of Debajehmujig Theatre.
Susan Stackhouse – to collect dialect samples from PEI, NB, and NS as part of her work as Associate Editor (and sole Canadian representative) for the International Dialects of English Archive (IDEA).
Allana Lindgren – for research on the early choreographic works of the Canadian dancer, choreographer and visual artist Francoise Sullivan
Shauna Dobbie – for a project entitled “Unveiling the Lighting Design Process in Canadian Theatres”
Erin Hurley – for research in Quebec on the relationship between nationalism & theatrical production
Gilles-Philippe Pelletier – for a mémoire-création entitled Les trois corps
Lisa Coulthard – to attend School of Criticism & Theory
Shemina Keshvani – for travel to India for comparative study of postcolonial theatre & film
Tony Van Bridge – for distribution costs of his autobiography Also in the Cast
Ann Jansen – for Australia trip to 3rd International Women Playwrights Conference & Australasian Drama Studies Association conference
Martin de Jonge – to produce a documentary video on the theatrical dimensions of recreating “living history”
Catherine Graham – to conduct research in Headlines Theatre Co. archives in light of interest in Boal popular theatre techniques
Ted Little – for work documenting the archival material for the Calling Lakes Community Play (1992) at Fort Qu’Appelle
Toby Ryan & Mayte Gomez – for their editing project on the criticism of Oscar Ryan
Erdmute Waldhauer – for publication costs of Drama at Queen's, a sesquicentennial history
Erika Patterson – for research on Canadian Fringe Festivals
Patricia Badir & Lise Ann Johnson – for help in preparation of An Annotated Bibliography of Plays and Criticism Pertaining to Women in the Canadian Theatre Written Between 1950 and 1990
Paula Sperdakos – for research on Dora Mavor Moore
Bruce Kirkley – for research into the transformation of major Canadian stage dramas into television productions
Robert Barry Scott – to create a performance calendar data base related to the history of theatre in Ontario 1914-1967
Kathleen Fraser – to support her project “A Butterfly on the Wheel”, a study of the image and reality of women on the Canadian stage 1880-1914