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Voice Your Celebration was a public computing installation at Canada's National Music Center, which offered a re-staging of computer code as a heterotopic form of participatory theatre. In the same way that the stage and the script can stand in between the audience on one hand, and actors and creators of a play on the other, in performances involving live digital art, pre-written code can also separate the coder and creators from the interacting audience. In this paper, we illustrate how Voice Your Celebration sought to address this divide by creating opportunities for the audience to become participants in the code itself by incorporating their voices and stories as integral parts of a widely used computational algorithm (Reynolds's algorithm) for simulating flocking behaviour. [ABSTRACT FROM AUTHOR]

In this article, theatre artist/researcher Sonia Norris delves into the complicated question, "what is Canadian clowning?" Canadian clowns provide a diverse array of possibilities in answer to this question depending on their location, training, and linguistic and cultural background. However, the international clowning community often associates the term 'Canadian clowning' uniquely with the style of clown training and performance developed by Richard Pochinko in the seventies and eighties. Furthermore, their perception is that this style of clowning is a form of Indigenous or 'Amerindian' clowning. Norris scrutinizes this perception with Indigenous theatre artists Monique Mojica, Jani Lauzon, Rose Stella, and Gloria Miguel. Lauzon and Mojica worked with Richard Pochinko and his longtime collaborator Ian A. Wallace, Stella worked with Pochinko-trained teachers as part of her clown training, and Miguel's work with Spiderwoman Theater incorporates clown and Trickster. This discussion presents a re-contextualization of the term 'Canadian clown' and investigates the differences and connections between Pochinko's approach to clowning and Indigenous clowning and Trickster traditions in Canada. [ABSTRACT FROM AUTHOR]

The article discusses the highlights of a panel discussion titled "The Academy According to Dickeson: How Can Theatre and Performance Studies Thrive in the Corporatized University?" where participants shared insights on how to navigate the "program prioritization" process happening across many universities in Canada. Each of the panellists' position papers provided persuasive storylines faced by those tasked of making the case of the indispensability of the programs to upper administration.