2017 Master of Fine Arts Projects

Permanent URI for this collectionhttps://hdl.handle.net/10294/7580

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    Nora's Transformative Journey: From A Doll's House and The Little Mermaid to The Way Home
    (Faculty of Media, Art, and Performance, University of Regina, 2017-04) Al-Harthi, Rania (Hart)
    This critical engagement paper employs the practical work and research conducted for my MFA graduating installation performance The Way Home. For decades, domestic violence researchers analyzed abused women coping with abuse based on their psyche, which portrayed them as having certain needs that abuse fulfils. The assumption that there is something about abused women that makes them want to be abused overlooked major stress and obstacles that occur when choosing to leave an abusive relationship. While the pursuit of breaking the cycle of violence remains an important issue, I argue for giving more value to women's thoughts and feelings as they undergo the transition to living life on their own. Human pain and social suffering, past and present, can be rendered through art in such a way that its representation nurtures and illuminates life. Art can contribute to blocking the repetition compulsion of gendered violence; in particular, as I have found, it can make its mark through visual re-cognition, textual re-telling and physical re-enactment. As an artist, I found myself equipped with the will for self-preservation and the drive to find a sense of being in contextualizing home through the act of art. In Chapter One, I use women's intercultural performance, feminist nomadism, and postmodern fairy tales and myth portrayal to outline the aesthetic, critical and cultural context of this project. In Chapter Two, I discuss current theoretical constructions of the social and cultural discourse that informs gender violence, as well as the interdisciplinary nature of my work. In Chapter Three, I discuss the conceptual and practical methodology of the project, and conclude, in chapter four, with the possible outcomes.
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    Relativity: Synchresis in Art and Applied Science
    (Faculty of Media, Art, and Performance, University of Regina, 2017-11) Wasyliw, Garry
    This critical engagement paper outlines the technical details and theoretical support for my Masters of Fine Arts final project titled Relativity. This project explores philosophies of perception through associations between art and science within an interdisciplinary study of sound art and expanded cinema. These theories are developed through an interpretation of quantized, binary systems in their relationship to natural, continuous forms. The study of relativity is seen a method to reconcile binary positions in thinking, to cross boundaries between art and science, and to serve as a metaphor for hidden knowledges and a movement from polarities to spectrum states of knowing.
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    Responses to Canada’s Colonial Past (and Present): What You Carry and Surrender No. 40
    (Faculty of Media, Art, and Performance, University of Regina, 2017-05-01) Wilson, Kenneth Clayton
    This critical engagement paper is intended to accompany the play What You Carry and the solo performance text Surrender No. 40. Part one, the introduction, argues that both texts are intended to contribute to the process of reconciliation between descendants of settlers and Indigenous peoples in Canada, by telling the truth about this country’s colonialist history and by making gestures towards reconciliation. Part two outlines the six methodologies employed while writing these two texts: writing and narrative inquiry, autobiography and/or autoethnography, new play development, historical research, walking-as-performance, and solo or autobiographical performance. Part three discusses two theoretical contexts of the two performance texts: trauma theory and truth and reconciliation. Trauma theory has helped me to understand how Joseph, one of the characters in What You Carry, has responded to the abuse he survived in residential school; it has also been useful in thinking about the family violence Gary and Walter experienced as well. While truth and reconciliation is not a recognized theoretical perspective, it was in my mind while I wrote both texts and during the Muscle and Bone performance. My hope is that, in some small way, these two texts can be part of the truth and reconciliation process in this country—that they might help other settler descendants understand something about Canada’s ongoing colonialist history, as writing these texts has helped me to understand that history.