Dr. Seika Boye is a dance scholar, artist, writer and educator. She is a Lecturer at the Centre for Drama, Theatre and Performance Studies/Director of the Institute for Dance Studies, University of the Toronto. Her current scholarship explores blackness and dancing in Canada and confronts historical omissions of Canada’s Black population. Seika is also an advocate for dance studies within Canadian Universities. Recent projects include curating It’s About Time: Dancing Black in Canada 1900-1970 (Dance Collection Danse Gallery 2018); outside eye, adelheid Dance Projects’ re:research emerging artist intensive (2018) ; and dramaturg, Deanna Bowen’s The Long Doorway (Mercer Union 2017). Publications credits include The Dance Current, Dance Collection Danse Magazine, alt.theatre, Routledge Encyclopedia of Modernism, Performance Matters and forthcoming in Intersections: Canadian Journal of Music and Canadian Theatre Review. Seika was a SSHRC Doctoral Fellow and completed her dissertation Looking for Social Dance in Toronto's Black Population at Mid-century: A Historiography in 2016 (University of Toronto).
Heather Fitzsimmons Frey is a scholar, director and dramaturge, interested in performance for, by and with young people. She is currently conducting research for her Banting Post-Doctoral Fellowship at the York University, Toronto (supported by Marlis Schweitzer) entitled “Rehearsing Revolutions: Girls, Amateur Theatre, and Encounters Between 19th and 21st Century Girls.” Her research is published in Canadian Theatre Review, Girlhood Studies, and Youth Theatre Journal, as chapters in Nationalism and Youth in Theatre and Performance (2014) and Reflections on Critical Multiculturalism and Dance in Canada (forthcoming) and in her two edited collections Theatre and Learning (Cambridge Scholars Press 2015) and Ignite: Illuminating Theatre for Young People (Playwrights Canada Press 2016). Her dissertation "Victorian Girls and At-Home Theatricals: Performing and Playing with Possible Futures," (2015, supervised by Kathleen Gallagher, OISE) explores nineteenth-century published and unpublished playscripts, juvenile newspapers, "how-to" guides, letters, diaries. She uses these to learn about ways girls could use amateur theatrical activities as powerful thinking tools to challenge the status quo and think about alternate and unconventional identities and futures for themselves. The dissertation was awarded the Clifford Leech Prize for best PhD dissertation relating to drama or theatre studies at the University of Toronto, and the AATE Distinguished Dissertation Award. Expanding on her research by experimenting with ideas “up on their” feet earned her the CATR Outstanding Submission for a Workshop award in 2016, and influences how she is developing her girl-centred approach to her post-doctoral research.
Martin Julien is an actor, singer, writer, and educator with over three decades of experience in Canadian theatre. He made his stage debut at age ten for the Factory Theatre Lab in Toronto, and has been nominated for three Dora Mavor Moore Awards as best performer. Martin was listed as “#1” in The Top Ten Toronto theatre artists in 1995 Theatre Artist by NOW Magazine. Martin was Playwright-in-Residence through the Ontario Arts Council with Nightswimming Theatre in 2012/13, and his subsequent work with the company has been produced in Toronto, Berlin, Calgary, and Victoria. He recently played Sir John A. Macdonald in Sir John A .: Acts of a Gentrified Ojibway Rebellion to open the National Arts Centre’s 50th anniversary season in Ottawa.
Currently, he is a PhD candidate completing his dissertation on subjectivity and acting methodologies at the Centre for Drama, Theatre and Performance Studies in the University of Toronto, where he held a SSHRC Doctoral Fellowship for 2015-2017. He has been an instructor of acting, theories of acting, acting through song, theatre history, and modern play study at such institutions as the University of Toronto, York University, Humber College, Sheridan College, Randolph Academy, and Soulpepper Academy. His work has been published by Routledge, TDR, Stanislavski Studies Journal, Cambridge Scholars Publishing, Intermission, Playwrights Canada Press and Canadian Theatre Review.
Sasha Kovacs is a researcher, artist, curator, and educator. She holds a PhD from the University of Toronto and currently is a SSHRC postdoctoral research fellow at York University. In July 2018 she will begin a position as Assistant Professor at the University of Victoria. Her research focuses on Canadian theatre history. A specialist in late nineteenth century theatre culture, Kovacs’ work has been published in Performance Research, Canadian Theatre Review (where she co-edited the 2015 issue focused on Performance and Human Rights in the Americas), and Playwrights Canada Press's collection on Canadian Performance Histories and Historiographies. Kovacs develops her own artistic projects with the international and interdisciplinary performance collective Ars Mechanica.
Jimena Ortuzar is a PhD candidate at the University of Toronto’s Centre for Drama, Theatre and Performance Studies, investigating new citizenship imaginaries that emerge from the global division of labour, migration, and gender. She has contributed essays to TDR, CTR, Latina/o Canadian Theatre and Performance (Playwrights Canada Press),alt.theatre, and the Journal of Curatorial Studies, and has recently coedited a CTR issue on performance and human rights in the Americas.
Mark David Turner
Mark David Turner is the Manager of Audiovisual Archives and Media Literacy for the Tradition & Transition Among the Labrador Inuit Research Partnership and an Adjunct Professor of Music and Memorial University of Newfoundland. His work lays at the intersection of media, performing arts and archival practice in Newfoundland and Labrador. Writings on aspects of this research have appeared in popular and scholarly journals in Canada and the United States.
Jessica is a PhD Student at the Centre for Drama, Theatre, and Performance Studies at the University of Toronto with a focus on practise-based research approaching performance creation and process for people who have disabilities. Her Masters thesis explored non-visual practicalities of performing, performance accommodations, and the productive capabilities of invisibility. In 2018 Jessica will be co-curating the Centre for Drama's Festival of Original Theatre about Disability and Performance called "Supporting Bodies/Changing Minds" and would love to see every and all participants of the Republic of Inclusion there.