CreateandCommemorateOctober13,2020

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reimagineNS:CreateandCommemorateReportbyBrianLilleyandJacquelineWarwickPersonnelPeterDykhuis,director/curatorandvisualartist,DalhousieArtGalleryMartineDurier-Copp,academicdean,NSCADUniversityKevinLewis,visualartistandfilmindustryprofessionalRaeesaLalani,artisticdirector,PrismaticFestivalBrianLilley,professorofarchitecture,DalhousieVéroniqueMacKenzie,dancerandchoreographerHollyMathieson,conductorandmusicaldirector,SymphonyNovaScotiaNathanSimmons,actorKarenSpaulding,performancepresenterandowner,TheCarletonJacquelineWarwick,director,FountainSchoolofPerformingArts,DalhousieJeremyWebb,artisticdirector,NeptuneTheatreOverviewOurteamdiscussedtherolesandfunctionsofthecreativeandperformingartsinhealingMi’kma’ki/NovaScotiafromtheterribleharmsof2020.Weaskedourselves:• Whataretheobligationsandthechallengesforcreatorsandcreativecommunitiesin

Mi’kma’ki/NovaScotiatoday?• WhatspecificidentitiesofcreativecommunitiesinMi’kma’ki/NovaScotiadistinguishus

fromotherCanadianandinternationalartsandcreativecommunities?• Whatisneeded—andwillbeneeded—tosupportcareersforartistsandcreatorsin

Mi’kma’ki/NovaScotia?• WhatrolecanDalhousieplayinsupportingavibrantarts/creativecultureinthisprovince?Ourstimulatingconversationsincludedcritiquingthelimitationsofreductivestereotypesandclichés,reflectingontheroletheartsplayinhealingfromtraumaandincommemoratingthepast,anddeepthinkingaboutthelanditselfandhowlandscapeshapesourcommunities,ouropportunitiesandourcreativeexpression.Inonevividexample,weacknowledgedthetremendouspowerofartinclaimingspace,forgoodorill.ThegrinningsculptureofteethoutsidethePortlandStreetdentureclinicownedbymasskillerGWwastakendownonlythreedaysafterhismurderousrampagebecauseits

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monstrousimpositionoverthestreetwasnolongertolerable.1Thesculpturewasmerelytheleastdamagingwaythemurderervictimizedthelanditself;heroameduncheckedalongbeautifulcountryroadsthatwerethemselvesdefiledbyhisdeeds.Thus,unlikewithothermassdeaths(e.g.9/11,theMontréalPolytechnique,theSwissAircrash),thereisnosinglesitewheremournerscangathertocommemorateandcommunewiththespiritsofthevictimsofApril18–19.Yetthesprawlingterrainthatwasharmedwasalsohealedbyseveralspontaneousacts:thesolemncavalcadeofcarsandtruckspastsitesofsignificantremembranceallowedforacreativecommunalresponse;afour-daybonfireinEnfieldbylocalFirstNationscommunitiessmudgedandcleansedtheland;andtheflightpathintheshapeofaheartoverPortapiquebypilotDemitriNeonakiscreatedpowerful,ephemeralartonApril19.2Inourdiscussionsofthekillings,then,wesawthatpublicartcanharmandcanheal,andthatthelandisacrucialpartnerinallofourendeavours.WeareinspiredtoadvocateformorepermanentartprojectstocommemorateandhonourthevictimsofPortapiqueandotheraffectedcommunities.Intacklingthequestionswesetourselves,wetouchedonthemesofspace,venueandaccessibilityandalsocommemorationandculturalmemory,andwesawthatalloftheseconceptsareinterconnected.Aswemoveforwardintonewandunimaginedkindsofcommunity,wearehumbledandinspiredtoconsiderwaysinwhichNovaScotia’sartssectorcanhelpfacilitatetheworkofhealing,recoveryandreinvention.Artistsshapenarrativesabouthistoricaleventsandhumanexperience;theirworkmustbecarriedoutresponsiblyandsensitively,withsupportfromandengagementwiththecommunity,academicinstitutionsandthinkers.Memory&CommemorationInthebroadestsense,artisconcernedwithtellingstories.Throughdance,music,architectureandtheatre,weexpressstoriesandideasaboutthepast,presentandfutureofourcommunities.Theretentionofone’sownlanguageisaninalienablehumanrightthathasbeendeniedthroughcolonialisminthisregion(andothers),andwemournthelostpossibilitiesforstorytellinganderosionofmetaphor,imageryandideas.AswellasacknowledgingthedeliberatedestructionofIndigenouslanguages,wetalkedabouthowimmigrantgroupspreserveorloselanguage,andhowlanguageisintertwinedwithcommunityandidentity.The

1 https://www.cbc.ca/news/canada/nova-scotia/police-remove-denture-clinic-signage-from-shooter-s-business-amid-community-outcry-1.5541632 2 https://atlantic.ctvnews.ca/i-wanted-to-hug-the-community-n-s-pilot-pays-heartfelt-tribute-to-victims-of-mass-killing-1.4904165

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poweroflanguageinshapingidentityisenormous,andthemetaphorsandparablesofdifferentlanguagegroupsilluminatetherangeofwaysinwhichtheworldisexperiencedandnavigated.Wemayalsorecognizethatartofferschannelsforcommunicationthatgobeyondlanguage,andthatcanexpressemotionsandideasthatare“beyondwords.”Moreover,weidentifiedandanalyzedtheshiftsinourowncommunicationmodesduringthefirstwaveofthepandemic:asrestrictionsbegintolift,wefindourselveshavingtorelearnface-to-faceinteraction,andwenotethewaysinwhichsocialnormshaveeroded—oratleastchanged—duetoourmonths-longrelianceononlineplatformsforcommunication.Wewonder:whatwillbethelanguagesandsocialnormsinapost-pandemicworld?WemayperhapsdevelopwaysofcommunicatingthataremoreunderstandingofandhospitabletopeopleontheAutismspectrumand/orpeopleraisedinculturalcontextsthatdonotfavourdirectaddress.Throughprocessesofabstractionanddefamiliarization,artistsandcreatorsgainsomedistancefromtheirthemes,andthisnecessarydistancingcanitselfallowforhealing.Processesofmakingartcanbetherapeuticforthecreators,whomayfinditsafestandmostrestorativetoconfronttraumathroughart,andalsoforaudiences,whomayfindtheartworktransformativeintheirhealingandtotheirworldview.Inthiscontext,theroleoftheartististocorralideasandhonourhumanrelationships,makingtangible,healingexperienceoutofsharedtrauma.Inrecentweeksthisconcernhasbeenbroughtintosharpworldwidefocuswiththerevitalizedandnewlyvisible#BlackLivesMattermovement,inresponsetogrowingrecognitionofpolicebrutalityandanti-Blackandanti-Indigenousracism.ProtestsinHalifaxhonouredGeorgeFloydwhenthousandskneltsilentlyinSpringGardenRoadandthendancedwithdefiant,joyfulabandon,claimingacentraldowntownintersectionasaspaceforcommunionandcommemoration.Inourconversations,wecontrastedtheeaseofcomingtogetherinthecity’scentrewiththedifficultyofvisitingtheAfricvilleMuseum,whichislocatedonthesiteofavillagedestroyedtomakewayforindustrialdevelopmentinthe1960s.Themuseumoffersapowerfulandmovingcommemorationofthecommunitythatwasdevastated,yetitishiddenawayfromthecitythatbenefitedfromAfricville’sdestruction,difficulttoaccessbypublictransit,nearlyimpossibletoreachonfootandeasilymissedbydriverspassingby.Weacknowledgethepowerful‘SpeakTruthtoPower’seminarseriessponsoredbyDalhousie,particularlyAaronProsper’scontribution;hespokeinsightfullyaboutthechallengesofsharingculturalspacefromaFirstNationsperspective.Inwhatwayscanweaddresstheissueofseparationbyremotelocation?ActorNathanSimmonsmentionedtheyearlyAfricvillefestivalthatcommemoratesthelossofcommunityand,perhapsparadoxically,buildscommunityaroundthatsharedsenseofloss.Thispresentsanopportunityforgreaterpresenceatthecityscale,particularlyforengagementwiththeperformingarts,aswellasforUniversitysupport.

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Ofallartforms,Architecturehasperhapsthelongesthistoryofwrestlingwiththecommemorationoftragiceventsandforfindingthepropertranslationofasociety’sgriefintopermanentculturalmarkers,suchastheobelisk-shapedwarmemorialscommoninCanadiantowns.OurdiscussionsofmemorialsreturnedoftentoMayaLin’sparadigm-shiftingVietNammemorialinWashington,DC(1982).Lin’sworkwassite-responsive,engagingthelandscape,thephysicalexperienceofprocessionandtheotherworldlyeffectofmaterialreflection,anditbrokethemouldofimposingcolonialobeliskandstatues.

AnaerialviewofMayaLin'sV-shapeddesignoftheVietnamVeteransMemorial.(Photo:©MayaLinStudio/ThePaceGallery/PhotobyTerryAdams/NationalParkService)Statuesofthissorthavebeentoppledorcorralledwithachangeofregime,asoccurredintheformercommunistbloc.WearenowseeingthishappeninthesouthernUnitedStateswithstatuesandimagerycelebratingtheConfederacy,andwithmonumentstoslavetraderssuchasEdwardColston(Bristol)andCecilRhodes(CapeTown).InHalifaxtherehasbeencontroversyoverthestatueofCornwallisbeingremovedfromCornwallisPark,ashispoliciestowardtheMi’kmaqpeoplehavebeenincreasinglyrecognizedasinhumane.ArecentarticleinTheCoastmagazinesuggestsnewpublicstatueshonouringleadingfiguresfromBlackandFirstNations

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communities,includingNoraBernard,ChiefMembertouandRoseFortune.3Thisopensupdeeperculturalissuesfordebate,andnewterritoryforartisticexpression.Ourgroupstronglyadvocatesforasharedsenseofsafety,inclusionandmeaningfulengagementinthepublicrealm.InHalifax,theexplosionof1917hasbeencommemoratedregularlythroughoutthelastcentury,andthesecommemorationshavetakenmanyforms.IntheHalifaxRegionalMunicipality,therearenumerousphysicalmonumentstotheexplosion,includingartifactswheretheyfell(cannonsandanchors),buildings(theGottingenStreetLibrary),theHydrostonedistrictand,ofcourse,theBellTowermonumentinFortNeedhamPark.PerformingartistshavealsoofferedresponsestothetragedyaswhenXara:ChoralTheatremarkedthecentenaryoftheeventwithastageproduction,TheHoursTurntoNothing,aboutthelittle-consideredworkofnursesandmidwivesintheimmediateaftermath.Ourgroupdiscussedthe2017exhibitionTheDebrisFieldattheDalhousieArtGallery,curatedbyPeterDykhuis.Oneaspectoftheworkconsideredtheanti-monumentasalocalmarkerofresistanceandcommemoration.4TheNarrativesinSpaceandTimeSocietyinMulgraveParkandShannonParkalsoaddressesthisideawithayearlyfestivalandtheinstallationofspray-artonthewallsofhousingunitsinMulgravePark.Finally,thereisthecircleceremonyandsmudgingledbyDr.CathyMartin(Dalhousie)andElderJoeMichaelatTurtleGroveontheDartmouthShore,heldyearlyatthesitewhereanentireFirstNationscommunitywaswipedout,erasedbythetidalsurgeofthe1917Halifaxexplosion.

3 https://www.thecoast.ca/halifax/thirteen-people-more-deserving-of-a-statue-in-halifax-than-cornwallis/Content?oid=24214644 4 http://www.narrativesinspaceandtime.ca/projects/walking-the-debris-field/

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AseriesofseminarsandeventsorganizedbytheNarrativesinSpaceandTimeSocietyincollaborationwiththeDalhousieArtsGallery,commemoratingthecentenaryoftheHalifaxExplosionin2017.

Inourmeetings,wecontemplatedNovaScotia’sresiliencethroughlongpatternsoftragedyandhealingandcommemorationthroughvariousartforms.WeacknowledgedsuchfamousexamplesasSeeger&MacColl’s1959song“BalladofSpringhill”andtheSwissairMemorialSiteaswellasthereconstructed2010AfricvilleMuseum,butwealsonotedthelackofpermanentcommemorationatthesiteofTurtleGrove.AsthefederalgovernmenthasrecentlyreturnedthislandtotheFirstNations,weseeanopportunityforcollaborationwiththeproposedtrailsystem.Anyworkcreatedhere,ortocommemoratePortapique,musthonourthelandandmustcreatespaceforsocialinteractionandengagement.Space,AccessibilityandEngagementThisdiscussiontopictookonalifeofitsown,partlybecauseitissharedgroundthatallperformers,artistsandarchitectsdealwithbynecessity.Theconversationconsideredtherosterofperformancespacesavailableonanofficialbasis,andthepossibilitiesofuncoveringperformancespaceindailylife.Thisapproach,similartoenvironmentaltheatre,isseenlocallyintheworkofZuppaTheatreandtheprogrammingoftheNocturne:ArtatNightfestival.Our

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groupmembersreportedonthesuccessfulstrategiesofartsorganizationsthathavebuiltreciprocalrelationshipswithvenuesandsitesthatanchorfestivalslikeNocturneandRESPONSIVE:InternationalLightArtProjectHalifaxtoengageourcommunitiesandtransformcityspacesintoartevents.Wemusedalsoonthesignificantdistinctionbetween“publicart,”oftencorporate-sponsoredandanodyneinstallationsincontrolledspaces,andthenotionof“artinpublicspace,”whichcanbespontaneousandradicalreimaginingsofcommunityspace.Curator/visualartistPeterDykhuisofferedadelightfulexampleofhisown,describinghowheencouragedneighbourhoodchildrentopaintrocksanddisplaytheminhisgarden,ultimatelycuratingacollectionofartworksthatengagedfamiliesandneighbourswithspontaneousinteractions.Wediscussedthegrowingandrapidlyevolvinguseofdigitalpublicspaceasaforumforbuildingcommunity.Currently,socialmediatoolssuchasTwitter,InstagramandFacebookprovideplatformstoshoutandposeratherthanspacestoplay,experimentandbevulnerable.HowcanDalhousieresearchexpertisecontributetobuildinghealthierdigitalspaceforartiststotellstories?WeimagineaseriesofpodcastsinwhichartistsdiscusstheirworkandphilosophiesinconversationwithHalifax’scurrentandformerPoetLaureates.Thisapproachwouldalsoallowforaclosefocusontheroleoflanguageinstorytellingandmemory.Inourdiscussions,wecritiquedtheterms“diversityandinclusion,”acknowledgingthatthesetermsareusedbywell-intentionedwhitealliesyetarelesscommonlyembracedbyBIPOCcommunities.Theconceptof“diversity”isoftenmanifestedintokenisticattemptstoinclude“oneof”everymarginalizedcommunity,flatteningthediversityofnon-dominantgroupsassimply“other.”Artistsfromequity-seekinggroupsneedidentity-specificspacesthatbelongtothem,inadditiontoonesinwhichtheyfeelmerelywelcome.GroupmemberNathanSimmons,aBlackactorwhoworkslocallyinfilmandstagecontexts,notesthat

Artistsneedtofeelcomfortablebeingvulnerable.Vulnerabilityisanimportantfactorwhentryingtodevelopasanartist.Beingsurroundedbythoseyoucanidentifywithhelpsonefeelacceptedand/orcomfortable.Inanidealworldyouhaveagroupoflike-mindedpeople,orthoseyoucanempathizewith,onceortwiceaweek—thiswouldtrulyaidinthegrowthofunderrepresentedartists.

Simmonsadvocatessupportingcommunitiesofartistsofsimilarbackgroundandexperience,tocreateworkwithouttheinterferenceofwhitemembers,nomatterhowwell-meaning.HisargumentisechoedbyRaeesaLalani,artisticdirectorofthePrismaticArtsFestival:“tocreateasafespaceyouhavetowelcomeeveryoneandthereneedstoberepresentationintheroomofallpeople(forex.ifaBlackartistwalksintoaroomfullofwhiteartiststherewillbean

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immediatesenseofdiscomfort).”ThislineofthinkingunderscorestheimmensevalueoftheAfricvilleMuseumandcommunity,whocelebrateandcommemoratethespecificcommunityofBlackNovaScotianspushedoutoftheirvillageforthesakeofindustrialprogressinthe1960s,throughthereconstructionofthevillagechurchandthroughannualreunionevents.Asnoted,ourteamjoinsLalaniandSimmonsinadvocatingforequity,notmereequality,ofrepresentationandinvestmentofresources,urgingthatestablishedartsvenuesneedtocreatesafespacesforallartistsandcommunities,makingparticularefforttoholdspacemarginalizedandunderrepresentedcommunitiestobridgethegaps.WenotedthatDalhousie’sArtsCentrebuilding,nowundergoingrenovationandexpansion,includesanopen-airamphitheatreonitsroof:thisspacehasbeenclosedfordecadesbecauseitsinaccessibilityandlackofbarriersmakeitunsafebycurrentstandards.WeurgetheUniversitytoinstallbarriersandelevatoraccesssothatthiscentral,openspacecanbenefitourstudentsandthebroadercommunity.Thissitecouldbeparticularlyvaluableasaperformancevenuenowthatinadequateventilationisamajorbarriertousingtheatresandconcerthalls.Rigidspaceandacousticrequirementshavelonggovernedmusic-makingandtheatre-makingintheclassicalEuropeantradition.Currentrequirementsforincreasedventilationnegatetheacousticbenefitsofasealedconcerthall,andsocialdistancingnormsunderminetheauthorityofaconductor.HollyMathieson,incomingconductorandmusicaldirectorofSymphonyNovaScotia,explainsthat:

Traditionalperformancespacesaredesignedandbuilt,sympathetically,aroundaparticulariterationofperformance—theconcerthallwithitsfocusonacoustics,thetheatrewithprosceniumtoallowtheaudiencetopeerthroughthefourthwall,etc.But,intime,thosespacestakeonanotherfunction,whichistoentrain,andpotentiallyconstrain,performance.Theperformancetraditionbecomesreiterative,inordertoremainsomethingtowhichtheperformancespaceisideallysuited.Thingslikeartisticvalues,programmingtrends,fundingstructures,trainingmethods,marketinglanguage,andaudienceandperformeridentitiesgrowthroughthatenvironment-ledsystem,areinterwovenandinterdependent,andhaveatendencytoossify.Sowhen—asisthecasewithCOVID-19—weloseaccesstosomethingasinherentlystructuralasthosehabitualperformancespaces,itislikethelegofatablebeingremoved.Thetablewobbles,andtheotherlegs(valuesystems,behaviours,identities)alsobecomeunstable.

Ourdiscussionsidentifiedaneedforsynergizingarchitecturewithsocialinteraction,acknowledgingthatstandalone,single-purposebuildingsareanoutdatedidea.Mathieson

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suggeststhatnewperformanceconditionsinthepost-pandemicworld,unnervinganddestabilizingthoughtheyare,mayleadtoadecisiveendtothehierarchicalandreactionaryclimateofclassicalmusicculture:

Ifweremovecontroloversomethinglikeacoustics,andthereforelowerourexpectationsofsoundquality,perhapsweallowthegrowthofanalternativevaluesysteminwhich“good”performanceismeasuredbyhowmanypeoplehadaccess,orhowmuchthemusiciansenjoyedthemselves,ortheextenttowhichthebarrierbetweenorchestraandaudiencewasblurredtocreatespaceforsharedmusic-making,ratherthandoersononesideandobserversontheother(initselfarelativelyrecentandcontrivedactivity).

Weglimpse,then,avisionofmusic-makingthatcelebratesconnectionandcommunityoverprecisionandvirtuosity.InherworkwiththeNevisEnsembleinScotland,Mathiesonisalreadyengagedwithbringingmusiciansintounexpectedperformancevenues,andperformingforlistenersnottrainedintheprotocolsofclassicalmusicaudiences,andherworkherepresentsanexcitingmodelformusic-makinginNovaScotia.Movement&MigrationWeexploredmanythemesaboutpatternsofmovementandmigrationastheyrelatetoculturalmemory.Inconsideringtheartfulnessofmaps,weacknowledgedthebiasesconstructedinMercatormaps,whichdistortthesizeoflandmassessothatEuropeanandNorthAmericancountriesappearlargerthantheyareinreality,whilethecontinentsofAfricaandSouthAmericaareappearsmaller.Whataretheconsequencesofthesemisrepresentations?WeagreedthatMi’kma’ki/NovaScotiais,geographicallyandmetaphorically,attheedgeofeverywhere,andthatourlocationlendsitselftotellingstoriesofdiasporiccommunitiesandcolonialsprawl;thelandandthewateraretheconnectivetissuesofstoriesofdisplacement,expulsionandadventurealike.Wereturnedagainandagaintothepowerfulmetaphorofwater,aforcethatcannotbeboundyetconnectsandshapesallittouches.Wewonderedhowaworldvieworganizedaroundoceansinsteadoflandmightmetaphoricallyshiftourprovince’splaceintheworld.Buildingonthismetaphor,weconsideredthatexistingontheedge,orthefringes,emancipatesourartistsfromconventionandpositionsthematthecuttingedgeoffutureartforms.Knowingthatartistsareaccustomedtofrequenttravelforworkopportunities,weacknowledgedthatHalifaxisactuallyatthecentreofvibrantnetworksbetweenarts

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communitiesinAtlanticCanada,Greenland,Iceland,IrelandandtheUnitedKingdom,Europe,NorthAfrica,theCaribbeanandtheEasternseaboardoftheU.S.Asanexploration,dancer/choreographerVéroniqueMacKenziedrewlinesrepresentingrecentwork-relatedtraveloverMercatorandAuthaGraphmaps,reflectingonherpreviouslytaken-for-grantedprivilegeofmobilityinpursuitofcreativeopportunities.Weponderedtherealitiesoflimitedtravelinapost-pandemicworld,andwhattheserestrictionswillmeanforart,creativityandinnovation.Wehypothesizedthat,inthenearfuture,NovaScotianartwillbeinward-lookingandresponsivetoourimmediateterrain,andwehopethatthisworkwilldrawontherichandvibranthistoryofallwhohavesharedtheland.Wehopetoencouragecreativeworkthattellsthestoriesofthisregionininnovativewaysthatcanbemeaningfulinothercommunitiesaswell.Forexample,NeptuneTheatre’searly2020productionofControlledDamagewasaninnovativetellingofthestoryofViolaDesmond’scivildisobedience,andthisoriginalstageplaycanilluminateacrucialchapterinthehistoryofCivilRightsactivism,andinspireaudiencesacrossCanadaandtheU.S.RecommendationsandProposalsAsourgroupspeculatedonthepossibilitiesforamorepermanentmarkerfortherecentmassmurderincentralNovaScotia,weagreedthatitshouldembodysomeideaofcommunalendeavourandbeopentoallartforms.Thehardlessonsof2020willrequireconcertedeffortstohelpcommunitiesprocessandrecover,andourapproachmustinvolvecooperation,multi-facetedandmulti-disciplinaryapproaches,andawillingnesstohaveartpermeateallcornersofourregion.Dalhousiecanplayaroleinprovidingandsupportingtransformative,healingexperiencesonandoffourcampuses,andcanbealeaderinforgingnewformsofcommunityinthepost-pandemicworld.Anumberofproposalshavearisenfromourconversations,whichtouchonmultiplepointsofoursharedconcernsandseektomovefromlisteningandanalysistoproposalsforaction.

1. Artisttalksthatdeliverinsightsintotheidentifiedissuesandhowtheyplayoutthroughaparticularartformandculture:FineArts,Architecture,Theatre,Film,MusicOrchestra,Dance,Curation.CurrentandformerPoetLaureatesofHalifaxcouldserveasmoderators/hostsofconversationsthatwouldbebroadcast(podcast)intodigitalspace.Eachinterviewcouldperformatively“locate”inanundiscovered,underusedorliminalspaceandrespondtothesiteselection(whyandhowitcontributestotheartform,creationofsafespace).

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2. Dalhousie’sArtsCentrebuilding,nowundergoingrenovationandexpansion,includesan

open-airamphitheatreonitsroof:thisspacehasbeenclosedfordecadesbecauseitsinaccessibilityandlackofbarriersmakeitunsafebycurrentstandards.WeurgetheUniversitytoinstallbarriersandelevatoraccesssothatthiscentral,openspacecanbenefitourstudentsandthebroadercommunity.Thissitecouldbeparticularlyvaluableasaperformancevenuenowthatinadequateventilationisamajorbarriertousingtheatresandconcerthalls.

3. Alectureseries(modelledonTheMasseyLectures)andseminarsthatexploreand

developapproachestohealingonapersonalandculturallevel.Theseriesandseminarscouldengagethebroadercommunityonparticularthemes:forexample,theCornwallisstatueandpossibilitiesforitsreplacement.Thesewouldchartapathforward,exploringthecreationofsafe,inclusivespacethatcanbesharedrespectfullybyvariouscommunities,andfosteringhybridapproachestostorytellingandsharingofresources.

4. Mobileperformanceandembeddedresidenciesthatexplorethereciprocalbenefitsoflocatingartists'studiosandperformancesinthecommunity,forexample,inelderhomessuchasNorthwoodorParkland.BuildingonthemodeloftheNevisEnsembleinScotland,mobileperformanceswouldbecommunity-buildingevents,collaboratinginthedevelopmentofcommunityandpublicvenuestoaccommodateboththespatialandtemporalartsandeverypossiblehybridversionthereof.Theseperformancesandresidenciescouldoverlapwithlocalfestivals.

5. Theproposalwiththelargestscopeistheideaofaretreatseries,modelledonexpandingthePugwashConferenceintotherealmofthearts.TheNobelPrize–winningPugwashConferencerepresentsoneofCanada’sshiningmomentsontheworldstage.Foundedin1957byJosephRotblatandBertrandRussellinPugwash,NovaScotia,theconferencetook“dialogueacrossdivides”asitscentraltenet.Thismottoappliesverywelltoourconcernsforhealingthecommunityandlookingforwardtoamindful,equitablefuture,sotheconferenceisanexcellentmodelforaretreatseriesatDalhousie.

Themodelofa14-dayretreatisparticularlyaptduringthepandemicasitneatlytransformsthestandardself-isolationperiodintoanactive,creativeperiodforreflectionanddialogue.Dalhousiealreadyhostsretreatsandthink-tanksforvariousgroupsonaregularbasis;expandingtoincluderetreatsforhybridculturalgroupsintheArtsandArchitecturewould

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requireavenuethataccommodatesdiverseartisticactivity.Flexiblespatialarrangementsthatcouldaccommodate,forexample,anorchestraoradancegroup(orboth)wouldallowfordevelopmentalandintersectionalwork.Aremotelocationwouldfacilitatethepositiveadvantagesof(temporary)migration,aswellasreinforcingDalhousie’sroleasaregionalnetwork.Askingretreatparticipantstoleaveatraceoftheiractivitieswouldbuildarich,commemorativecollectionovertime,givingcharactertoastrongculturallandmark.Webelievethatsuchwindowsofopportunityareimportantincreatingatime,spaceandunencumberedatmosphereforcollegialworkontheseriousissuesthatpresentlyconfrontourUniversityandsocietyatlarge.

AnexampleofaRetreatinUpperNewYork,focusingonlandscape,healthandwell-being;Architects:Gluck+5http://www.narrativesinspaceandtime.ca/projects/walking-the-debris-field/

5 https://www.archdaily.com/942775/artist-retreat-gluck-plus?utm_medium=email&utm_source=ArchDaily%20List&kth=5,193,248