Julie Burelle

Category: academia

UC Riverside Indigenous Choreographers Project 2015

Last May, I had the tremendous privilege of taking part in the University of California Riverside Indigenous Choreographers Project with a group of immensely talented and thought-provoking artists/scholars.

The project is organized by Professor Jacqueline Shea Murphy from UCR whose generosity really set the tone for this encounter. The line up was incredible and if you do not know these artists, let me help you correct this situation!

Sam Mitchell (who has recently started the PhD program in Theatre at UCSD!) and I presented on our work together. There were some amazing discussions about decolonizing academia, the necessity to create supportive communities for Indigenous scholars…

If you missed it, don’t fret: you will be able to read some of the works presented there in a special edition of Dance Research Journal edited by Jacqueline Shea Murphy on Indigenous Dance Today. It will be out in the winter of 2016 and I could not be prouder to be part of this amazing group of Indigenous and non-Indigenous thinkers/movers!

 

Mapping Digital Futures

Come see me discuss a project for an interactive memory walk that I hope to develop at UCSD.

http://humctr.ucsd.edu/blog/post_events/mapping-digital-futures/

Staged Reading at UCSD

The students of my TDHT101 Native American Performance class spent the quarter studying plays and performances by First Nations artists from Canada and the US like Marie Clements, Tomson Highway, Shirley Cheechoo, Spiderwoman Theatre, Monique Mojica, Yvette Nolan, and Randy Reinholz. They also examined the work of visual artist Nadia Myre, of hip hop artists Samian and Shauit, of the DJs A Tribe Called Red. They watched short films by the Wapikoni Mobile, met with Jennifer Bobiwash to talk about her youtube channel called Welcome to the Tipi, had the chance to chat with Randi Reinholz… It was a full quarter! The class culminated with a staged reading of Preston Arrow-weed’s play Provocation: A Deadly Game.  In his play, Mr. Arrow-weed creates an encounter outside of time, held in a mystical courtroom, between Joe Homer, a Quechan leader, and the perpetrators of what has been recorded in the archives as the Glanton Massacre. That Horsehair, the Quechan leader, killed John J. Glanton and his gang is undisputed in Mr. Arrow-weed’s play. Instead, the play meditates on the reasons that pushed Horsehair to end Glanton’s reign of terror on the Colorado River. The play seeks to provide another version of the events that took place in 1850 near what is now Fort Yuma.

Is there a Doctor in the house?

I have recently finished my PhD in Theatre and Dance at the University of California San Diego.

There are countless wonderful people who have made this journey possible and I will take a moment to name them here. It is a long list so if you just want to see the photos (courtesy of David Baillot), stop here!

I would like to thank the scholars, artists, mentors, and friends I have met on this journey that started in Montreal and led me to San Diego via Vancouver, Boston, and Toronto. I owe to Christine Heitzmann and to our students in Boston my rekindled love for theatre’s power to speak. In Toronto, Antje Budde ignited my interest in theory, and inspired me to become a scholar.

I have had the utmost privilege of working with outstanding committee members in San Diego, Irvine, and Montreal. Emily Roxworthy has been an inspiring mentor, and her generosity and intellectual rigor have been instrumental in bringing this project to fruition and in shaping who I am as an academic. Thank you to Patrick Anderson, Ross Frank, Ketu Katrak, and Frank Wilderson for taking me under their respective wings and for teaching life-altering seminars. Finally, thank you to Simon Harel who kindly came on board my dissertation committee despite the distance.

I want to thank the wonderful professors and staff at UCSD for their outstanding and caring professionalism. My colleagues in the department have played a large part in bringing this project to life, and I thank in particular Matt Chapman, Jason Dorwart, Janet Hayatshahi, Sonia Fernandez, Raimondo Genna, Lily Kelting, Melissa Minnifee, Sam Mitchell, Naysan Mojgani, Jade Power Sotomayor, and Heather Ramey.

Erin Hurley, Yumi Pak, Pierrot Ross-Tremblay, and Selamawit Terrefe have all helped me find my way out of what seemed like insurmountable writing impasses: I have learned so much from their guidance and generosity. Thank you also to Mélanie Carrier, Olivier Higgins, José Mailhot, Alexi Marchel, Ghislain Picard, and to Eddy Malenfant, Philippe McKenzie, Anne-Marie St-Onge André, Évelyne St-Onge, and Fernande St-Onge for the hospitality and conversations in Mani-Utenam.

Thank you to my family in Montréal for their love and encouragement: my father André, my two brothers Yan and Mathieu and their respective families, my sister Pascale Boyer and her family, and my aunt Marie-Thérèse, and the entire Proulx clan. Thank you also to Lorraine Barner and the Barner family, to Ivano Caponigro, Daniel Kane, Nancy Baird, and David Baillot.

I am truly blessed to have David Barner in my life and I am grateful for the supportive and loving space we give each other to pursue our dreams. The incessant questions and avid curiosity of our daughter Anouk who was born as I began this PhD, have been a source of inspiration for me these last 5 years, and I owe her the courage to question even what is uncomfortable.

My mother Nicole Proulx passed away as I was starting my PhD. She was a luminous soul, a wonderful parent and friend, and a profoundly just being. She is present in my work.

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