10 Panelists: June 10/21


J. Martin Daughtry is an associate professor of music and sound studies at New York University. He teaches and writes on acoustic violence, human and nonhuman vocality, listening, jazz, Russian-language sung poetry, sound studies, the auditory imagination, and air. His monograph Listening to War:  Sound, Music, Trauma, and Survival in Wartime Iraq (Oxford, 2015) received a PROSE Award from the Association of American Publishers, and the Alan Merriam Prize from the Society for Ethnomusicology. He is currently writing a book about vocality and environment in the Anthropocene.

Leah Decter is an inter-media artist and scholar based in Winnipeg; Treaty 1 territory. Her artwork, research and writing focus on contested spaces, largely contending with histories and contemporary conditions of settler colonialism and systems of white dominance from a critical white-settler perspective. Her current artistic/research-creation projects address social-spatial dynamics of settler colonial contexts and consider the ethics of being-in-relation in spaces of Indigenous sovereignty. Her current research and writing focus on arts-based critical white settler methodologies that aim to contribute to the goals of decolonial, non-colonial and anti-racist movements. Decter holds a Ph.D. in Cultural Studies from Queens University and an M.F.A. in New Media from Transart Institute. In 2017, She was a Visiting Research Fellow at University of New South Wales’ National Institute for Experimental Arts in Sydney, Australia. From 2019-2020, she was a SSHRC Postdoctoral Fellow in Theatre and Performance Studies at York University’s Sensorium Centre for Digital Arts and Technology. She currently holds a Canada Research Chair in Creative Technologies in the Media Arts Division at NSCAD University.

Ric Knowles is a dramaturge, director, scholar, editor, and University Professor Emeritus at the University of Guelph. As a dramaturge and director, Ric has worked for 30 years at theatres ranging from Mulgrave Road to the Stratford Festival, in recent years concentrating his work on culturally specific, Indigenous, and intercultural projects and companies. As a scholar, Ric is former editor of Theatre JournalModern Drama and Canadian Theatre Review, and the award-winning author of nine and editor of thirteen books and two book series on theatre and performance. Among many honours, he has received career achievement awards from the Association for Canadian Theatre Research, the American Society for Theatre Research, and the Association for Theatre in Higher Education. He is also a former board member and President of the Guelph Jazz Festival.

Natalie Loveless is Associate Professor, Contemporary Art and Theory, in the History of Art, Design, and Visual Culture division of the Department of Art and Design at the University of Alberta, located in ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ (Amiskwacîwâskahikan) on Treaty Six territory, where she also directs the Research-Creation and Social Justice CoLABoratory, and co-leads the Faculty of Arts’ Signature Area in Research-Creation. Loveless is author of How to Make Art at the End of the World:  A Manifesto for Research-Creation (Duke UP 2019), editor of Knowings and Knots:  Methodologies and Ecologies in Research-Creation (University of Alberta Press 2019), and co-editor of Responding to Site:  The Performance Work of Marilyn Arsem (Intellect Press 2020). Loveless has held fellowships and visiting positions in the Centre for Interdisciplinary Studies in Society and Culture (CISSC) at Concordia University in Montreal, the Centre for the Humanities at the University of Utrecht, and Western University. In 2017, she was awarded the Faculty of Arts Undergraduate Teaching Award (Early Achievement), and in 2020 was elected to the Royal Society of Canada (College of New Scholars, Artists, and Scientists) for her scholarship at the intersection of research-creation and social and ecological justice.

jake moore is an artist who works at the intersections of material, text, and vocality, a Ph.D. candidate in Art History and Communication Studies at McGill and Assistant Professor/Director of University Art Galleries and Collection at the University of Saskatchewan. moore considers her primary medium to be space; this idea expands the understanding of her artistic practice to include administrative projects, academic engagement, writing, and other acts of building capacity as a sculptural method – one that changes the form and volume of public spaces in active endeavour towards resonance. Her large-scale and materially loaded site exhibitions are sensorially driven architectures, often using scent and sound or its absence as primary materials. She has exhibited throughout the lands presently known as Canada. Born on Treaty One Territory, moore currently lives and works between Tiohtiá:ke/Mooniyang/Montréal located on the unceded territory of the Kanien’kehá:ka and Saskatoon, Saskatchewan on Treaty 6.

Patrick Nickleson is a postdoctoral researcher in Cultural Studies at Queen’s University in Kingston, Ontario. His work examines the modalities of and disputes over claims of property in sound. Patrick’s writing has appeared in Twentieth Century Music, Intersections and the University of Toronto Quarterly; he is co-editor of Rancière and Music and has published a translation of Jacques Rancière’s writing in Perspectives of New Music. His monograph, The Names of Minimalism:  Authorship and the Historiography of Dispute, is forthcoming, and he is editor of Tony Conrad’s unfinished monograph What Music Did. As a settler scholar working at Queen’s, Patrick holds a grant with Dylan Robinson on creative practices of caring for Indigenous song life incarcerated in museums and archives.

Carolyn Ramzy is Associate Professor of Ethnomusicology at Carleton University. Her research focuses on Egyptian Christian popular music in Egypt and a quickly growing diaspora community in the U.S. and Canada. Her current projects investigate the role of Coptic women in today’s religious revivals and how popular religious songs shape, contest, or reinscribe Coptic women’s subjectivities in popular and religious movements. She also examines how the song’s gendered motifs reconfigure commentary about Coptic national belonging within Egypt’s changing political topography following the Arab Spring, and in transnational contexts as Copts increasingly migrate abroad.

Dylan Robinson is a xwélméxw (Stó:lō) writer, Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. He is co-editor of Arts of Engagement:  Taking Aesthetic Action in and beyond the Truth and Reconciliation Commission of Canada and co-curator of Soundings, an internationally touring exhibition of Indigenous art scores. His monograph, Hungry Listening, was published in 2020 by the University of Minnesota Press, and his 2019 co-edited volume (with Victoria Lindsay Levine), Music and Modernity Among the First Peoples of North America, received both the Society for Ethnomusicology’s Ellen Koskoff Award and the American Musicological Society’s Ruth Solie Award.

Theatre-maker, observer, experimenter and conversationalist, Sarah Garton Stanley is the Associate Artistic Director National Arts Centre English Theatre. Recent directing projects:  Unsafe (Canadian Stage); We Keep Coming Back (Factory Theatre, English Theatre, Berlin, Nowy Teatr, Warsaw, Winnipeg Jewish Theatre etc.,); Out the Window (Luminato/Theatre Centre); Bunny (Tarragon/Stratford Festival); Awkward and Embarrassing Conversations (Neworld + PuSH Festival); Kill Me Now (RMTC/NAC); Helen Lawrence (Canadian Stage/Arts Club/BAM/Kammerspiele etc.,). Co-creator and Creative Catalyst SpiderWebShow and co-curator and creator of foldA. Sarah developed The Cycle at NAC English Theatre with previous co-curators Yvette Nolan, Corey Payette, Alex Bulmer and Syrus Marcus Ware. These two-year projects focus on questions of social import viewed through a dramaturgical lens. The third installment is Climate Change: Reimagining the footprint of Canadian Theatre. 

Christopher Willes (he/him) is a multidisciplinary artist, composer, dramaturge and facilitator based in both Tkaronto / Toronto and Tio’tia:ke / Montréal. Moving across music/sound, performance, and visual art forms, his work focuses on the subject and practice of listening. He makes performances, music, exhibitions, recordings, print works and publications, creates software, organizes community events and facilitates workshops. Christopher is currently part of a team that runs Public Recordings, a Toronto-based organization focused on interdisciplinary performance, publication, and learning. He also regularly teaches workshops, with a particular focus on sound and listening, as well as collaborative processes in interdisciplinary performance practices. He studied music at the University of Toronto, and received an M.F.A. from the Milton Avery Graduate School of the Arts at Bard College (NY, USA). www.christopherwilles.com/