SiMON FRASER
MEMORANDUM
UNIVERSITY
S.
'illi
To ..... .SENATE
?
.
From.
CO
?
ON AGENDA AND RULES
Subject CENTRE FOR THE ARTS - PROPOSAL FOR
?
Date JUNE 30, 1981
FURTHER DEVELOPMENT
FOR INFORMATION
The attached proposal was considered by the Senate Committee on
Academic Planning at its meeting of June 24, 1981, when the following
motion passed:
"That the Senate Committee on Academic Planning approve the
directions for program development described in the proposal."
The proposal has also been circulated to the Senate Committee on
Undergraduate Studies for information.
This proposal is now provided for the information of Senate and
for general discussion.
S
0
SIMON FRASER UNIVERSITY
-5c
I
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MEMORANDUM
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Faculty of
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I)EVELOPMENT PLANS
?
I
The attached "Proposal for the Further Development of the
Centre for the Arts" was approved by the Faculty of Inter-
disciplinary Studies Undergraduate Curriculum Committee at
a meeting held on 25 May 1981. Will you please place this
on the Agenda of the next meeting of the Senate Committee
on Academic Planning.
The Faculty Curriculum Committee discussed the Proposal at
some length during two meetings. Since a number of the topics
will certainly recur, I have set out below the salient points
of the discussion:
1.
This is, in essence, a second "fiveycar plan"
for the development of academic programs in the
fine and performing arts at Simon Fraser. The
first "five year plan" which proposed the develop-
ment of the Centre was approved by Senate on
2 February 19Th. At the request of the Curriculum
Committee a two page summary of the first plan
was prepared by Professor Strate and this is
included as attachment 1. It was noted that the
initial development plan was followed fairly
closely; the program development proposed is
now complete-except that majors in Film and
Theatre hav&hotheen-developd.--:: In addition,-------
an interdisciplinary major
-
in Fine and Performi-ng
Arts has been instituted.
2.
Questions were raised concerning the relationship
of the proposed developments to programs at the
other two B.Q- unjvc1'sitjes ?
•1twasnotcdthat
these univcrsitics.offcr, the following programs:
University of British:Columbia
(a) TheThcpartmcnt-of . Fine Arts offers MA, MFA,
13A,'BA(Ilons.), and RPA degrees and a Diploma
in Art History. The RA emphasis is on art
history and the- BFA emphasis- is .-1n. thctra-
dit ional disciplinaryarcas'::.
0
Dr. J. Chase
June 4,. 1981
Page .2
?
- -
(b)
The Department of Music offers PhD, DMA,
MMus, MA, BMus, BA, and BA(Hons,) degrees.
This can be characterized as a conservatory
style program in that private instrumental
and ensemble work
is required -
the areas
of specialization are: Orchestral instrument,
Piano, Organ, Sacred Music, Voice, Opera,
Music History and Literature. Composition and
the major in General Music.
(c) The Department of Theatre offers MFA, BA,
BFA, and BA(iions) degrees in Theatre.
In
Film, which is within the Theatre department,
an MA in Film/TV History, an MFA in Film/TV
Production and a BA and Diploma in Film/
Television Studies are offered. The under-
graduate programs can-be characterized as
1.
BA Theatre (General)
2. BA Theatre (Film)
3.
BFA (Acting)
4.
BFA (i)csign/Tcchno1ogy)
(d) The Faculty of Education offers undergraduate
concentrations and majors in Art Education and
Music Education, as well as Ilonours in Art
Education. Graduate programs are MA, MEd,
and EJD.
University of Victoria
(a)
The Department of Theatre offers M' MFA:and
tWA
degrees. The undcrgraduatccmphascs..arc:
on Acting, Theatre
in
Educ.at-ion,Dirccting,
Design and Theatre History (General and lionours).
(b)
The Department of Visual Arts offers tWA and
BFA degrees. The undergraduate BFA programs
arc offered (major and- gencral)withcmphasis___.
on fine arts rather than applied or craft
training. The media emphasized are painting,
sculpture andprint making.
(c)
The Department of History in Art offers the
MA and BA degrees.
(ti)
The School of Music offers Phi), MA, MMus and
BMus dcgrees ?
hi.isa_vonscrvatory.-sty.lc
of program withopportunities for-speciai iza
t ion in composJ.t ion iin-dthcory.
.1
us it ?
ofl-- -
and literature,
(instrumental or choral)
?
All BMus students
take a common4 r-t
instrumental study, and
-
four yearsf ensemble
work. ?
-.
Dr.
?
J.
Chase
'.Junc ?
4,
1981
Page 3
3.
The Curriculum Committee discussed whether an external
review of the Proposal would he appropriate.
?
It was
out that the development of the fine and
_pointed
performing arts
at B.C.
universities has been reviewed
by two
Universities Council
Consultants:
?
Dean Pinsky
of Concordia University in 1977 and Dean J. Green
of York University
in
1980. ?
(Copies of these reviews'
are provided as attachment 2.).
?
The Committee felt
that additional external review was not necessary
at this time; it was noted that the proposed develop-
ment represents a relatively modest and cautious
extension of programs and themes which already exist.
4.
It was recognized that the recommendations on page 4
involve
'
a number of matters which are outside the
terms of reference of the Curriculum Committee (e.g.
(space, ?
graduate programs). ?
however,
?
since all
recommendations bear on the general context for
curriculum development it was felt to he appropriate
to consider them.
?
The ?
following comments apply to
specific recommendations:
I ?
The proposed majors
?
in Ulim, Theatre and Visual
Art have been envisaged since the
?
inception of
S
the Centre.
11 ?
The proposed graduate programsarc modest and
in appropriate areas.
Ill The administrative structure proposed appears
quite appropriate but must he reviewcd.in the
context of other changes in Faculty-,structure.,
IV ?
The design and construction of a building is
a highly desirable goal. However the other
developments do not depend on the time of
implementation. of this recommendation.
V
?
The appointmentbfaVlflC Arts Librarian should
be discussed.-with the LInivcrsity Librarian and
the Vice President Academic.
VI ?
The proposed SummerStudies development makes
sense.
!)h
. ?
.....
?
7
Dr. J. Lflase
June 4, 1981
Page 4
S. It was noted
that the curriculum
development
proposed
will come forward in the form of a series of specific
proposals. The projected needs for faculty, stuff
-
and other
resources are considered to be only advisory
at this time.
ATTACHMENTS
TWC/pgm
C.C. ?
C. Strate
J.M. Munro
H.M. Evans
,q
//?C///IE,v T /
SUMMARY
. ?
"Proposition toward the Development of an Arts Program"
Submitted June 30, 1975
In his introductory statement Evan Alderson stressed "We believe that It is possible
to develop a distinctive approach to the arts at Simon Fraser, one which is in.
accord with our institutional identity and which builds on our Current strengths."
PROPOSITIONS:
1) Early stages of planning should emphasize breadth - historical and
practical aspects of the arts.
2) Program should develop 5 possibilities for concentration: Dance, Film,
Theatre, Music, and Visual Art with opportunities to study video and
photography.
3) In Film, Dance and Theatre at least there should be a partially separate
"performance stream".
4) In upper division there should be "studio/production" courses and
"theory/criticism" courses.
?
5) Three emphases for theoretical/critical work:
?
-
a)
attention to-interaction between creator/performer/audience
b)
frequent attention to the artist in society
C)
should frequently move toward the contemporary in art.
6) In upper division the -introduction of a :large
.
.numbe.r-of history -of art
courses should be avoided as this would duplicate program at U.B.C.
7) There must be room
in
the program for relatively unskilled but
interested students.
8) In Film and Theatre there shou1d_be5_year_aF5 pror-ams-----4n-Oancea- -
4 year BFA program. There should be non-performance major concentrations
in Music, Theatre
-
Arts and Visual
.
Art.
9) Admission to performance streams must be by audition-or equivalent.
10) Some courses may serve more than one stream but.each art must be free
?
to develop according to its own imperatives.
? .. ?
-. .
11) A cons ervatpry-performaflCe.:S.treaJfl in :.Mus1c1s=impracUca.l nd.undes1rableH±:
12) A performance :t ean lirVisuaL-Art 11 havè.oNa4t-försohie time
13) A substantial .amountnL.p.ra.ctica]._work ....
shOuld -be
S
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separate ?
:. ?
••. . ?
. ?
.:
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'
/2
14)
Performance streams should develop from the workshop Idea.
15)
Each performance stream should involve the student
in
more than one
sttbstantial production.
16)
Integration of the program should be maximized
.
by careful planning
between course work and campus productions.
?
.
?
.
17)
The
'
.
resid2n€ artist/teacher concept
'
should be continued.
• ?
18)
Music, Theatre Arts and Visual Art should have at the centre Of its
combined faculty 3 regular faculty with academic, traditional background
and a
?
sympathy for cobtemporary art.
?
• ?
.•
?
..••. ?
•• • •
?
.
19)
Prior to major programs students should be given creditfor what
existed as non-credit advanced workshops in addition to lower,
• ?
. ?
•
division ?
work. ?
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g7-Mc,c'4Z-4,r Z1
THE FINE ARTS
and
THE UNIVERSITIES OF BRITISH COLUMBIA
a report to the
S
?
UNIVERSITIES COUNCIL OF BRITISH COLUMBIA
by
S
JOSEPH G. GREEN
24 July 1980
Toronto, Ontario
E P 1 . 0 1980
.1
-1-
L ?
INTRODUCTION
The state of the fine arts
in
the three universities of the
Province of British Columbia Is fundamentally very healthy.
Given the diversity of programmes amongst the universities, and
given the historical development, of those universities and of
the fine arts within them, an examination of
programme status reveals a basically viable and, In most cases,
vital situation for students seeking meaningful and fulfilling
post-secondary experiences in the visual and performing arts
In
British Columbia.
The place of the fine arts in the contemporary university
is not, as we know, as secure as their
more tradlonal
and elder sister academic disciplines.
?
Introduced to the
?
-
university setting relatively recently, the
fine arts also
suffer frequently from conventional Western wisdom which tends
to see them, especially in time of fiscal- constraint, as
IfrlllSN
andas first-level expendables.
Despite such vulnerability, however, -the. plastic and the
?
-
performing arts at the University of British Columbia, the
University of Victoria, and Simon Fraser University are
collectively flourishing and ready for their next stage of
development. ?
.-. -
?
..
This report will, first, -comment broadiyoñ the progr.ams=-
at each university;
?
r.:: eneraJ._,r.ec_ommenda_tio.ns
c . - ?
- — L - ?
Jcz
Vo
w s-
-'---------- ?
- - - -
I.
-2-
I.
about
future planning for
the fine arts In the universities of
Brftlsh
Columbia; and third, make specific recommendations on
the new nrograms currently before the Universi ties Council.
One caveat, however, must be entered before commencing.
An examination of eight departmental structures with programmes
ranging from the BA to the PhD levels including four very
specificproposals at three universities in a period of five
days is well nigh impossible for one consultant. Because of
the intensity of the visit and also-because of the scarcity of
colleagues at that time of year, much of the examination had,
perforce, to be based on calendar material. The overall
?
-
evaluat-ion was further hampered by the absence of fully -descriptive
material beyond the Calendars. Detailed submissions were offered,
naturally, for the four program proposals currently before Council.
Resumes were supplied only for colleagues associated with those.
proposals.
MMI
r
1
MM
S.
THE PROGRAMMES
Organizationally, the programmes in fine arts at the three
British Columbia universities offer a fascinating variety to
the administrative observer. It would be most Interesting.to
determine which structure, 11 any, serves best the student and
the faculty. At the University of. British Columbia, the-
Departments of Creative Writing, Fine Arts, Music, and Theatre
are housed in the Faculty of Arts along with sixteen other
departments in the humanities and the social sciences. These
four departments appear to have no more formal--or even informal--
relationship to one another than to the other sixteen
)
. Pity.
At Simon Fraser University, the Centre for the
Arts Is
a single
division of the Faculty of Interdisciplinary Studies, along with
a mixturo. of other
d
e p
artments and proqrammes (Communication,
Computing Science, Criminology, Kineslology, African/Middle
East Studies, Canadian Studies, Latin American Studies,--and
Women's Studies). At the University of'.Victorta, the Departments
of History in Art, Theatre, and Visual Arts and the School of
Music comprise the Tatulty of Fine Arts
2 .
?
..
I.
?
It is ironic that several colleagues, at
.
the luncheon for the
consultant at the IJBC Faculty Club, had
never
before met:
2. In 1979/80, the Department of Creative Writing moved Srm__-..------
a
BA
In
Art and
Scjence.tj.BF
AjnFjne
I ?
•t
•
?
:
more or less harmoniously with inusicoloqy and composition.
The yisual arts
,
at these two elder Institutions appear to have
had similar growth patterns, with formal studio curricula
developing later than and having at best a delicate relationship
to the more
fully
seasoned offerings in the history of art;
indeed, at the University of Victoria there are two discrete
departments. Theatre, arelative latecomer to the Canadian
academic community, appears to have begun at both the University
of British Columbia and the University of Victoria as amateur
social activity and has only relatively recently offered fully
developed academic programmes at the undergraduate and graduate
levels. The PhD programme in theatre at the British Columbia
is not yet fully operational while the lilA programmes in
-
Acting and in Design/Technical Theatre are just now being
S
considered for approval.
Au interesting feature of the fine artsatVlctoria and
British Columbia is the relationship of teacher training to
the formal discipline departments. While the University of
Victoria is making serious-attempts to integrate music-education
and art education with their respective fine arts departments,
the University .6
-
f British Columbia maintains distinct music and
art education programmes. There are even rumors, unconfirmed
of course, that the stUdiOart:course'offerings'
t
tn Art Education
-- ?
.gronsme in
at that institution ha
y
béeimoie-effective
.
than-thOSe-. in .the_.Ti.
Depatment of—tne-=Arts .-
:T
?
ricen.tly._i.n tr.oduted:MFA
• ?
:-.,. ? -. ?
•
studio art
.
appears to iave r.tdressed,that
alie g e
d
problem.
$
-6-.
Thea treat the
b
se two uni ver,i ties, perhaps
hav
ing observed the
tensions within its elder sister disciplines ardaiso being 'a
less well develond teaching subject in many school systems,.
seem; to have avo,dicJ the pi oblems apparent in music and art
teacher education and, perhaps not Cohcidenta1ly:, also the
/
traditional tensions between theory and practice.
The fine arts at Simon Fraser University have, for a variety
of reasons, taken a. different path.
?
Its Centre for the Arts
began as an extra-. or
quas
i-curricular program with an almost
exclusive interest in the
co
ntemporary. More recently. the
Centre and its faculty have articulated a set of mini-departmental
curricular structures, with an interesting core of interdisciplinary
cross-cultural historical courses. With its rather remarkably
consistent focus on contemporary media, technologies, and
p
methodologies (where mere trendiness could 1ave become the order
of the.day and where
.
some'believe ti atit did),.:and with its
equally consistent focus on the. relationship between and amongst
art forms and art theories, the Centre for the Arts at Simon
Fraser offers
?
setfl r"du
more classically developed curricula at Bri
'
tish' -
Columbia and
Victoria. ?
--
?
.
A substantial evaluation of physical facilities, support
staff, and faculty 's tréng'tII
?
xcjt1the'föj
?
iëi'flc ?
....
proposaiscurrently under
review
1
or
"1m p
lCmenfatión-
L was
-
preclUded
b Y
.
-h ?
cen.tradi-siL.ö
/
• ?
'I
1f•
/
A really comprehensive review of the status of the fine arts
in the provincial universities would have required an extensive
examination of pla
.
nt, equiptneht, staff and faculty complement,
and budget.
?
However, a cursory look at facilities yields the
following impressions.
At the University of British Columbia, Theatre and Music
appear to be more or less adequately served, although additional
studio space will have to be found for the proposed BFIt progranmes
in Theatre. ?
The studio activities in the visual arts are in
real need of purpose-built or purpose-renovated facilties to
integrate the currently diverse and divisive housing situation,
particularly in light of the recent MFA in studio art. At the
University of Victoria,Music appearsto be adequately housed,
Theatre has let tenders for a handsome new facility, and planning
is soon to commence for a new Visual Arts building.. At Simon
Fraser University, the Centre for-the Arts.. is housed, in quasi-
temporary quarters which has the single advantage of bringing
the arts into rather
,
close proximity to each otlier,,thereby
supporting
?
..•
of its curriculum.
?
.
-7-.
4
- a -
I
PLANNING FOR THE FUTURE
The clearest impression arising from the brief but Intensive
visit to the fine arts programs at the three universities of
British Columbia is that too much concern is raised by the
province's Universities Council about programme development on
the undergraduate level and too little attention Is paid by
Council to the assessment of new graduate programmes, to the
periodic 'review of emerging and developed graduate_prramrnes,
and to the potential for inter-institutional faculty cooperatIon
on the graduate level.
Clearly, current fiscal constraints as well as foreseeable
)
?
?
manpower requirements argue for careful planning for and coordinat1
of programme development in fine arts graduate studies In the
province. Such close programme coordinatIon however, at the
undergraduate level in particular-(and even at the-Master's
level, it might be argued), can be counterproductive to the
study of the fine arts. at university. Since there appears to
be no softening of fine arts enrolments at the undergraduate
level, and since forecasts from such agencies as the International
Conference of Fine Arts Deans and the Canadian Association of
Fine Arts Deans indicate-at least maintenance of current
enrolments and even modest growth, each university 'should* be
encouraged to
-
.develop
-
any of.thef1natT3t-the.iA/BFA/BMus:
level.
I)
The absence of programmes in Creative Writing at
?
Simon Fraser,
in
Film at Victoria', and in Dance at British
• Columb-ia and Victoria should in no way preclude the future
development of such programmes, should the, institutions
wish to engage in such development. ?
Surely, no one would argue
that an institution which purports. to call itself a. university
could exist without a
'
Department of ithi,losophy or a Department
of Chemistry; justas surely, then, no contemporary university
should be prohibited from starting work in any of the plastic
and perfbrming arts.
• ?
Therefore, regarding Uni
y ersities Council planning for
undergraduate development in the fine arts, a hands-off policy
is strongly recommended. Allowing each of the three universities-
to develop its own set of fine arts programmes will surely
provide an interesting mix and a handsome diversity for
prospective stidents. Assessment and review of.undergraduate
offerings, in-place and proposed, are properly the responsibility
of the university offering or proposing to offer those programmes.
External examination, if wanted, might best be achieved by the
utilization of established accrediting agencies--although Canadian
university programmes in the visual and performing arts do not
appear to have suffered from their refusal, conscious or other-
wise, to
.
engage in the formal external review process offered
by such agencies—as the National Association
Music, the UationalAssociation of Schools of Art, and the
•
?
*•
• ?
'
National Association of Schools.of Theatre in the United States.
The urjiverslties should be encouraged by Counci l
,•
tçp
aclose
watching brief on .their respective undergraduate offerings.
Because the three p
'
rovincial universities are in relatively
: close geographic
p
roximity, Council should' éonslder an immediate
freeze on new graduate programmes In the fine arts, 'seeking
inter-institutional planning advice for programme development.
Such a move would result 'In a rather impressive current fine
arts graduate offerings Inventory: one active PhD, programme
in art history (UBC), one 'DMA program (usc).
two
PhD programmes
MA
in
programmes
music, one
in
potential
art history,
PhD programme
two tiFA programmesIn
Theatre
?
(USC),
.
two
?
•
in studio art, two MA and two MA programmes In theatre, two
MA and two M 'Mus programmes in music, 'and a currently proposed
MA/MFA programme in Filsn.(IJI3C).
• ?
All
.
?
.
that remains
•y.;a:prfer.
for
?
the future,.
.
for the inventory tobe complete regarding offerings in all
fine arts disciplines, is an MA and a.pnssible
'
PhD or DFA'p.rogramme
in dance and a PhD/DIA programme
in film, a..DFA prpgramm 'in_creative
writing might also be considered.
Current programme status at any of the universities should
not preclude future graduate development at any particular campus.
While historical
suggest the place. of.
would merely place the University of.Brltlsh,.Columbja'.fjrst
and the
Unlversj
t
y-yj
ctor1a
sicond on the PhD level and delimit
I.
-
11 -
/
Simon Fraser University from any work on the graduate level.
And becàuseSirnon Fraser was "last in" and has chosen, quite
properly, to develop 1ts fine arts programmes along alternate
paths and to do so in a measured and temperate manner, the
youngest of
the three sisters might well fail to enjoy the
warmth of the fine arts graduate hearth.
Should such be the case, after close inter-institutional
planning, so be it . . . so long as colleagues in the fine arts
at Simon Fraser are given equal opportunity, after due consider-,
ation of individual qualifications, towork
.
with graduate students
at either or both of the other universities. The current Simon
Ov
Fraser faculty appears quite young, frequently cho'sen from
amongst professionals in alternate career patterns,. and at the
moment almost totally concerned with developing and stabilizing
iheir rather recently introduced formal curricula. But given
a decade, more or less-, -colleagues at Simon Fraser will be-ready.
for the challenge of and the growth offered by graduate level
teachin. At that time, they will be fully prepared to
demonstrate the scholarly
expected from graduate faculty.
Inter-institutional graduate planning could well have an
additional significant benefit to the British
'
Columbia university
system and to the s-tudentsWhtch ?
'
As we well know, the relationship of one art form to its sisters
ry
?
maybe viewe
?
ma-i,umber:-'of -pers
.
pec-ti-vL
i
s .Ai-tbe_-tJiiV?iSttY-:---------
1'
...
of British Columbia, each of the arts is generally quite distinct
from jhe others (even if Music and Theatre do cooperate on occassior
to mount a music-theatre production, and even If Creative
Writing does offer courses in playwriting), to the point of the
film programme being quite distinct from the Department of Theatre
which houses it administratively. At the other extreme lies
Simon Fraser University, where the-arts are brought together by
pedagogical, curriculum, and physical design. At the .University
of Victoria, where the historians of art and the makers of art
are found in two distinct departments, the single Faculty
structure has potential for inter- or multi disciplinary
activities-- activities which many great artists .have embraced
and pursued, today and in the past.
lf,in the graduate planning exercise, each university were
represented by a colleague who is a.t least aware of the broad
range Qf options offered by that institution and of the historical
and potential relationships between and amongst traditional art
forms, a stimulating and productive discourse would likely ensue.
Such a group of colleagues, once in place and working on a
consistent schedule, might well soften if not remove Institutional -
r i v 1 r I es.
A representative planning group, however, cannot and
should not take the place. of rigorous appi.ari
?
-end assessment
of current and propos-ed graduate programmess.e
OdLJ
operational
programmes should be subject
I
-
13 -
.
?
examiners and all p
i
- t iposal s
, for new ruyramirieS , prior to approval
by the_.UniverSLties Council,'should be* subject to
?
r'igqrous
ex'amination by a team of at least two external appraisers, with
suffc j
eflt time for on- site evil luátion.
Beyond the recommendations for undergraduate and graduate
planning by the British Columbia universities, several less
critical but never thel.ess strongly related observa tions appear
to be in order.
First, the Universities Council would be well advised to
urge that colleagues at the University of British Columbia
attempt to accelerate close cooperation, if not inte9_tOy,
,
-
of music education and art education with the Departments of•
Music and Fine Arts, perhaps using the University of Victoria
as a model. ?
Given the state of the job market in elementary
and secondary school teaching, as opposed tothe dominant
self-justifying nature of most finearts undergraduate education,
Council should recommend that Simon Fraser University maintain
close scrutiny of teacher training programmes-
---
in the fine arts-
.(
Second , it is recommended that, the Universities Council
g.ive careful consideration to funding a full study of the
potential relationshiP of the Emily Carr College of Art to the
visual arts programmes atthe 4JniverSitY0f
.
Br
itish
?
-
and at Simon- FraserUniversitY. ':Such_a
?
tudy'rnightwel
l
-reveal
that one or anoth2r.of
-
to merge its visual arts programme with the College, thereby
g
aining what is purportedly a very strong studio programme
while at the same time offering degree status to the College
and its students.
?
The path to such a relationship is tricky
at best. ?
1% study of potential benefits to one of the universities
and to the College might help smooth
•
tha t path as it also
articulates the advantages accruin.g to the Province, to future
students, and to the taxpayer.
Finally, it is sincerely recommended that Council do
everything in its power to alleviate the impression that
proposals coming from the universities will likely receive a
more favourable response from Council officers and members if
the proposals carry little cost implications.
?
Such an impression,
whether true or not is of little concern, can do little to foster
sense of confidence in the workings of Council by faculty
colleagues who, after all, comprise the continuing academic community
of the Province of British Columbia.
•
?
- 19 -
VISITATION SUMMARY
Monday,'
onday 12 May, 1980, University of Victoria
Dean P.L. Smith A Dean-designate D. Morton, Fine Arts
Dean J.M. Dewey, Graduate Studies
Prof. C. Wickey, History in Art
Prof. R. Koniorous, Music
Prof. B. McIntyre (and colleagues), Theatre
Tuesday, 13 May, 1980, Universities Council
Dr. N. Layton
Tuesday, 13 May, 1980, University of British Columbia
Profs. Caswell and Smedley, Fine Arts
Wednesday, 14 May 1980, University of British Columbia
Prof. W. Berry, Music
Prof. J. Brockington, Theatre
Prof. D. Bankson, Creative Writing
Deat R. Will, Arts
President D. Kenny
*
Thursday, 15 May 1980, Simon Fraser University
Dean T.W. Calvert, interdisciplinary Studies
Prof. E. Alderson, Centre for the Arts
President G. Pedersen
Profs. Truax & Maclntyre, Music
Prof. D. Birch, Assoc. V-P. Academic
* met in June, in
-
- Toronto, with Prof. J. Reynertson, Film
\1
4
11
Ej
Recomendatiofl- and cornents on a Minor Programme in Visual Art for Simon Fraser
University •
Recorrimndation - I recommend that a Minor. Programme is Visual Art be established
at Simon Fraser University and that adequate resources be
granted the University to implement it.
Comments - Considering the availability of training in the visual arts at
Emily Carr, U.B.C. and University of Victoria, and the size of B.C.'s
population, the public would seem to be served adequately in this
discipline, and the proposal for a restricted interdisciplinary
programme can only lend a richness to the university offerings
available in B.C., a mission undertaken by Simon Fraser.
It seems to me that students must be fully informed about the nature
of the minor, its advantages and restrictions especially as it
concerns the possibility of entering a graduate programme in visual
arts.
While the "making" of art is stressed in some of the course
descriptions, it is combined with considerable conceptualization
about the nature of art. This combination may produce the stresses
observed in other universities where a conflict develops between
the two. It thus becomes important that faculty members teaching
these courses be very sensitive concerning the needs of students to
major in visual arts at another institution.
Much of the success of this minor will depend upon a style of work
or approach on the part of faculty. Faculty must be imaginatively
equipped to deal with interdisciplinarity among the arts, sciences a
and the humanities, so that a proper environment of interfacing
may be developed.
I would suggest that studio environments contain enough equipment,
perhaps other than electronic equipment which seems adequately
represented, to encourage interdisciplinary approach to the visual
arts media. This may require a small addition of space and
equipment.
June 14, 1979
Alfred Pinsky,
Professor of Fine Arts
and Dean,
Faculty of Fine Arts.
Concordia Universtty -
-
-2-
.
ConnentS - (continued)
I t.tnd the course
descriptions well considered, the aims of the
prograrne clear, awareness of the problems of contemporary dance
recognized fully, and an optimistic creative thrust characteristic
of the proposal.
• ?
• June 7, 1979
Alfred Pinsky,
Professor of Fine Arts
and Dean,
Faculty of Fine Arts
•Concordia University
4
RecomendatiOn- and comments on a Minor rograrrne in Visual Art for Simon Fraser
University
Peccniindation - I recommend that a Minor Programme is Visual Art be established
at Simon Fraser University and that adequate resources be
granted the University to implement it.
Coirnients - Considering the availability of training in the visual arts at
Emily Carr, U.B.C. and University of Victoria, and the size of B.C.'s
population, the public would seem to be served adequately in this
discipline, and the proposal for a restricted interdisciplinary
programme can only lend a richness to the university offerings
available in B.C., a mission undertaken by Simon Fraser.
It seems to me that students must be fully-informed about the nature
of the minor, its advantages and restrictions especially as it
concerns the possibility of entering a graduate programme in visual
arts.
While the "making" of art is stressed in some of the course
descriptions, it is combined with considerable conceptualization
about the nature of art. This combination may produce the stresses
observed in other universities where a conflict develops between
the two. It thus becomes important that faculty members teaching
these courses be very sensitive coticerning the needs of students to
major in visual arts at another institution.
Much of the success of this minor will depend upon a style of work
or approach on the part of faculty. Faculty must be imaginatively
equipped to deal with interdisciplinarity among the arts, sciences a
and the humanities, so that a proper environment of interfacing
may be developed.
I would suggest that studio environments contain enough equipment,
perhaps other than electronic equipment which seems adequately
represented, to encourage interdisciplinary approach to the visual
arts media. This may require a small addition of space and
equipment.
June 14, 1979
Alfred Pinsky,
Professor of Fine Arts
and Dean,
Faculty of F•ineArts..
Concordia Uriiversity---
TABLE OF CONTENTS
Page
Part I.
?
INTRODUCTION
Part II.
?
MAJOR RECOMMENDATIONS
?
4
Part III. BACKGROUND
?
5
Operations
?
6
The S.F.U. Theatre
?
6
The Simon Fraser Gallery
?
6
The Purcell String Quartet
?
7
The Academic Programs
?
7
Space
?
8
Equipment
?
9
Library
?
10••
The Structure and Relationship to the University
?
10
Programs
?
1.0
Dance
Film
?
11
Music
?
12
S
?
Theatre
?
13
Visual Art
?
14
Interdisciplinary Studies in FPA
?
15
Summer Studies
?
16
Relations with Continuing Studies
?
16
Part IV. ?
ACADEMIC GROWTH PLAN
Summary
?
17
Programs
Dance
?
20
Film
?
22
Music
?
24
Theatre
?
27
Vjsual Art
?
29
Interdisciplinary Studies in FPA
?
32
Summer Studies
?
35
Part V. ?
IMPLICATIONS OF THE GROWTH PLAN
Implications for the Budget
?
36
Implications for Staff
?
36
Implications for Space
?
37
TABLE OF-CONIENTS (continued)
Implications for Enrolment
jyjp_j
lications for Public Events
Implications for Library and Audio Visual Resources
Part VI.
?
ADMINISTRATIVE AND PROCEDURAL CHANGES
Administrative Changes
Procedural Changes
Part VII. CENTRE FOR THE ARTS BUILDING
Part VIII. CONCLUDING REMARKS
APPENDIX A
?
Support Staff - Centre for the Arts
APPENDIX B
?
Centre for the Arts Course Offerings Spring l81
APPENDIX C
?
Spring 1981 Teaching Personnel
APPENDIX 0
?
Space Study - Centre for the Arts
APPENDIX E
?
Equipment Inventory
APPENDIX F
?
Library Resources
38
?
.
40
41
54
55
56
57
S
0
4
?
4
S
Part I.
?
INTRODUCTION
The fine and performing arts are an established and integral part of
Simon Fraser University, contributing substantially to the cultural life of
the campus and the surrounding community.
?
A variety of public presentations,?
ranging from engagements of professional performing artists to exhibitions of
paintings, add vitality to the pulse of Simon Fraser.
?
An extensive curriculum
accommodates a. large student population interested in the arts for career
reasons as well as for enrichment of the total educational experience.
?
The
Centre for the Arts is moving steadily in the direction of preprofessional
arts education and in so doing follows the general trend in North American
universities towards providing the theoretical and practical basis for working
artists. ?
Curriculum development within the Centre for the Arts is proceeding
?
in a cohesively integrated way, with educational objectives unique from other
post-secondary institutions in the Province or, indeed, in all of Canada. No
other Canadian university offers disciplinary excellence within the framework
of 'interdisciplinary discourse to the extent already offered by the Centre
for the Arts.
The Centre for the Arts is irreversibly cpmmjt4p_flYYat)PP
production and promotion of contemporary art.
?
The pursuit of new directions,?
innovative concepts and the creative potential of the arts is its goal. The
emphasis is on contemporary art without dismissing the great cultural heritage
of our Western civilization. The Centre is further committed to cross- and
interdisciplinary activity between art disciplines as the best way to ensure
within the broader educational resources of the University the intelligent
and, meaningful evolution of
I
.he arts. ?
Only at a university is there that
educational fabric wherein one can perceive excellence in an art form
interwoven with an interdisciplinary perspective (with its social
and psychological significance).
The mandate of universities to provide education to artists is well
recognized in this Country.
?
Most of our cultural assets are sustained by
people who have learned their skills as artists or administrators in univer-
sities. ?
Fine and performing arts departments are no longer regarded as frills
or citadels of escape. Graduates of dance, film, music, theatre and visual arts
programs are a strongforce in our contemporary theatres, concert halls and
galleries. Many have sought new arenas and new audiences.
Students of talent will
?
continue to emerge from the Centre to enter the
art professions. ?
But the Centre for the Arts has no intention of becoming a
vocational ?
school, even if this were possible. ?
Universities should not attempt
to usurp the functions of conservatories and academies better equipped to give
hiqhly specialized training to artists. ?
There will
?
no doubt continue to be a
number
of students who regard the University as a vocational
?
supermarket, who
will ?
pick and choose only those courses which lead directly to the job market;
these students are seeking a conservatory experience within the University.
While some part of the curriculum can be described as conservatoire, the
Centre embraces a more comprehensive philosophy, the development of the whole
person, mind and body.
Scholarship remains the highest pursuit of university activity.
?
The close
ties which have developed between the university and the fine and performing
arts in this century reflect the need within the arts for educated writers,
critics and aestheticians whose concern it isto scrutinize art processes with
this scholarly precision. ?
Our understanding of music, the theatre and the
plastic arts is furthered by a body of scholars who put words to characteristics
ureviously thoug't of as ephemeral
?
and spontaneous. ?
Creativity has become a
real ?
and definable quality rather than a mysterious process.
The Centre for the Arts seeks to graduate students who weigh, assess,
criticize and even blaspheme the arts. ?
It also encourages these same
students to create art. ?
But, whatever the objective of the student, the Centre
bases all
?
its educational ?
purposes on the rock of real
?
art experience. ?
The
studio is as much a scholarly forum as the classroom.
?
The doing and the
thinkin g ,
?
the practice and the theory are not separable.
?
This principle is
in line with a major premise of the Centre's relationship with the University:
the acknowledgment that a painting, a piece of choreography, a composition, a
play or any other work of art can be the full ?
equivalent of a published scholarly
work. ?
The making of art is ?
legitimate research and is, recognized as such
by Simon Fraser University. ?
In accordance with this philosophy, faculty of
the Centre are frequently appointed on the strength of professional
?
rather than
academic credentials. ?
In accepting art as a scholastic subject and in
devisinq criteria for its evaluation, the University has made an important
commitment to art. ?
By enabling the Centre for the Arts to attain its present
curricular sophistication and public stature, the University has further
signified ?
its commitment to the arts.
3.
The structure is now at the half-way point, a point where any erosion of
curricular advantages gained might very well be fatal and where a freezing of
• curricular growth would be foolish. A growth plan is rationalized throughout
this report in what we believe to be a clear and logical way. The University
has parented the Centre to its present adolescence; it is imperative that it
now come of age under an enlightened supervision.
?
To this end the faculty?
and staff of the Centre have spent much time devising the master plan to be
outlined in this proposal, a proposal which reflects both artistic and educa-
tional ideals and current fiscal and spatial constraints. It is an ambitious
plan, far more ambitious in terms of human dedication than in the money,
bricks and mortar required for investment over the next five years.
We trust that we present a practical growth plan within clearly defined
educational objectives.
?
It is a statement of those elements we believe to
?
be
essential if the Centre for the Arts is to realize its potential to set a
standard of excellence for institutions of its kind.
?
We do not believe in?
ad hoc development, nor do we expect support for any part of this plan which
cannot withstand fair scrutiny.
.
0
4.
Pd't
H ?
MAIN RECOMMENDATION.
This proposal considers it essential that the following recommendations
be implemented in equal priority:
RECOMMENDATION I
that Major programs in Film-,Theatre and Visual Art be established to join
those major programs already approved in Dance and Fine and Performing
Arts (Interdisciplinary);
RECOMMENDATION II
that graduate programs in Contemporary Music and the Fine and
Performing Arts (Interdisciplinary) be established;
RECOMMENDATION III
that the Centre for the Arts be restructured as a School of Contemporary Arts;
RECOMMENDATION IV
that a building oi campus be constructed to house all of the programs and
projects of the School as they relate to curriculum and the needs of the
University;
RECOMMENDATION V
that a
Fine
and Performing Arts Librarian be appointed to the Library staff,
responsible
for the acquisition, maintenance and distribution of all library
resources pertinent to the Centre for the Arts; and
RECOMMENDATION VI
that Summer Studies become, in effect, a third semester of the Centre for the
Arts,
primarily to introduce a new curriculum but also to accommodate normal
degree requirements of the Centre.
5.
Part III. ?
BACKGROUND
•
?
The early history of the arts at Simon Fraser University presents a
record of changing artistic and educational perspectives.
?
The Centre for?
Communications and the Arts was founded in 1965 in a climate of uncertainty
as to the direction and potential of arts education in this University.
?
With ?
the best will in the world the arts Were put on display and the University
became the show case.
?
There was little or no curricular planning to ensure
academic evolution. ?
Artists appointed to the faculty followed their own?
creative purposes and were available to students through workshops, seminars
and special events outside the rigidity of University accreditation.
?
Thus
organized, the arts were especiallyvulnerable to the more academic elements
of social unrest which found a home in the University in the sixties and early
seventies. ?
Some unpleasant incidents at the Centre received nation-wide?
publicity, undoubtedly confirming the suspicions of many academics that the
arts have no valid place within an academic framework. However, all evidence
confirms that the mistakes that were made in the past were
?
gf_an
vint rf An
artistic
character."(U
Valuable work was done in the arts during the early period of the Centre's
•
?
history; unfortunately, little of it merged with the mainstream activity of
the University. In a real sense the academic history of the arts at Simon
Fraser began With the separation of the Centre for
?
from the centre
for Communications and the Arts in 1975 and the appointment of Dr. Evan Alderson
as its first Director. During the next five years Dr. Alderson worked with
considerable success to establish degree programs of integrity in dance, music,
film, theatre, visual art and, perhaps most importantly, interdisciplinary
studies in the Fine and Performing Arts.
Much credit should be given to Dr. Alderson for his prudent, unselfish
service to the Centre. He introduced the educational principles to the
Department which have underpinned all developments since the commencement of
his directorship. ?
Perhaps the single most important principle has been that
?
of the need for interdisciplinary studies in the arts; a principle to which
university-associated fine and performing arts programs in this Country have
too often pledged support without providing the structure necessary for the
realization and protection of the principle. In designing and implementing
. ?
D. Paul Schafer, Frank T. Pasquill. A Report on the Arts at Simon Fraser
University. October 1974.
13
the FPA major program, Dr. Alderson firmly established the central
educational philosophy of the Centre for the Arts.
?
0
PI?
.
eia ti
-
op
S
Before proceeding with an academic inventory, it would be wise to look at
those parts of the Centre's operation which are inherited from its pre-academic
era. ?
The Centre for the Arts is responsible for the management and programming
of t.e S.F.U. Theatre and the Simon Fraser Gallery.
?
In addition, the Centre is?
contracted to the Purcell String Quartet to provide booking and management
services in connection with presentations on campus and in schools and
communities in B.C.
?
The relationship of the Centre to the Purcell String
Quartet and, to a lesser extent, the Simon Fraser Gallery have become difficult
to rationalize given the Centre's principal concern with the investigation of
contemporary art.
From its inception the Centre for the Arts has been involved in art
production as well as art education.
?
While a position has recently been taken
that all activities must relate directly to educational objectives, much
energy and budget still go towards the maintenance of services for special
programs for the University and the surrounding community. A relatively
large staff is req ired to manage the Theatre, Gallery and Quartet effectively.
By comparison, the staff for the academic program is small, in fact too small
for effective administration (see Appendix A).
The S.F.U. Theatre
The S.F.U. Theatre fits well within the Centre's educational needs.
Through it the Centre is able to present performing arts events to both the
campus and the population of the Greater Vancouver area while providing
students of the fine arts with an important exposure to the finest in
professional activity. ?
The Theatre provides a necessary vehicle for faculty
research in choreography, direction, design, and composition as well as a
forum for practical student experience in the performing arts. It is
generally accepted that the S.F.U. Theatre is a great asset to present and
future planning. The high reputation it enjoys on and off campus is a credit
to Simon Fraser University.
The Simon Fraser Gallery
The Simon Fraser Gallery has grown with the Centre for the Arts. It has
a distinguished record of presentation, a valuable permanent collection and
(jives advice to the University in all matters of art acquisitions. From the
7.
beginning the Gallery has maintained high standards and provided excellent
service to both the campus and the Greater Vancouver community through its
exhibitions. It has also presented important exhibitions off campus, sponsored
by Simon Fraser University and funded largely by outside agencies. The exposure
of University interests to local, provincial and national attention is
commendable and fits comfortably within the mandate of the Centre.
The Centre has no desire to change its relationship with the Simon Fraser
Gallery, but it is concerned that a present anomaly be adjusted. Like all the
academic areas of the Centre, the Visual Art program has a contemporary focus.
While it can be argued that the Gallery is representative of the latest develop-
ments in contemporary art, it is clear that few exhibitions have been
co-ordinated with the curricular content of the Centre. Without diminishing
the Gallery's larger responsibility to the University itself, the Centre
encourages closer communication between the Gallery and members of the
Visual Art faculty and recommends that the responsibilities of Curator of the
Gallery be broadened to include a teaching component.
The Purcell String Quartet
The Purcell String Quartet is a legacy from an early phase of the Centre's
evolution. The Quartet has carried the name of Simon Fraser to far flung
communities in British Columbia and has been successful in promoting good
public relations for the University. ?
However, the benefits to the University
must now be reviewed in light of economic reality and the stated academic
interests of the Centre.
The Purcell String Quartet best represents 18th and 19th century music.
Notwithstanding presentations of some contemporary music, it is felt that the
Quartet does not assist the contemporary focus of the Centre's newly approved
minor program in Music. This divergence cannot be accommodated within the
Centre's long range plans. Consequently a decision was recently made, in
consultation with the Office of the President of the University, that the
present contractual arrangement with the Purcell String Quartet will end
August 31, 1982. Until that time the Centre will continue to provide booking
and managerial services as before and will do everything possible to help this
fine performing group become autonomous and remain viable..
The Academic Program
The academic program areas of the Centre for the Arts are in various stages
of development: major degrees are offered in Dance and Interdisciplinary Studies;
8.
all other areas offer a minor degree.
?
At a quick estimate, it can be said
that the development of the Centre's academic structure is at approximately
the half-way mark. To accomplish program objectives some modifications to the
present curriculum will be required but very few substantial changes are
necessary. Most parts of the curriculum fit well within long range projections.
In brief, the academic program of the Centre during the Spring semester
1981 is as follows:
The Centre for the Arts offered 41 courses taught in 50 course sections,
with a total student enrolment of 735 (see Appendix B for a breakdown by
program area); one workshop, Arts and the Computer, was also offered in
2 sections.
The Centre offers minor and major degree programs in Dance, a major degree
in Interdisciplinary studies, minor degree programs in Film, Theatre and
Visual Art and courses in Music. The minor degree program in Contemporary
Music is approved for commencement in September 1981.
There are 14
3/
4
authorized full-time faculty, a figure which includes
the Director of the Centre for the Arts. In addition, the 1981-1 semester
utilized 2 Visiting Professors, 9 Sessional Instructors, 3 Sessional
Lecturers, 8 Teaching Assistants, and 1 Laboratory Instructor (see
Appendix C).
?
is
Less than half of the instruction in the course sections is given by full-time,
permanent faculty.
?
The rest is taught by Visiting Professors, Sessional
Instructors, Sessional Lecturers and Teaching Assistants; one course is
directed by a Laboratory Instructor. It is not suggested that courses are
offered in a substandard way. On the contrary, the range and quality of
teaching personnel is high. The weakness created by the use of such a large
group of part-time, jointly appointed and/or contractually limited personnel
exists not so much in the standard of teaching as in the absence of senior
people with academic weight and a continuing commitment to the Department.
Such individuals are needed to give leadership to curricular planning, establish
academic standards of excellence, advise students, and attend to committee work
and the myriad of important details generated by a vital department within a
growing university.
The Centre is experiencing enormous space pressures. No one program area
of the Department is properly accommodated. Up to five faculty share each
office. Seven offices are merely screened-off areas in an open classroom.
The Department's student enrolment is increasing substantially (a 31.7% increase
in FTC's from 79-3 to 80-3), causing further strain on limited space resources.
9.
(For a space utilization study for the Spring semester 1981 see Appendix D.)
Interim solutions to this pressure are being sought in every possible direction.
Particulars are well recorded in memos from Dean Calvert and from the Director
of the Centre to the Space Committee of the University. Of course any interim
solution will be a "band-aid" solution at best and will continue to be so until
the Centre for the Arts is housed
in
its own building. A building fo
for the Arts is a major recommendation of this report.
Two points should be made regarding space requirements for the Centre.
The first is that the space limitations of the University as a whole are well
understood. Several departments share the same agony of space restriction as
does the Centre, although certainly no department is in a worse position.
Discussions are continuingwith planning committees to solve the most urgent
space problems by extraordinary means; this may require a partial move off
campus. The second point is that any interim space plan under consideration
should be one that will accommodate the Centre as it grows. In this regard,
reference should be made to the-projected five year growth estimates given
below. Acceptance of the need for a building to facilitate curricular plans
should not be a substitute for immediate action.
•Equipment
The contemporary direction of the Centre's studies in fineand performing arts
requires that a large supply of equipment, ranging from slide projectors to
highly sophisticated computers, be constantly accessible to students and faculty.
Problems of space and inadequate supervision make conditions for storage and
distribution unsatisfactory. The Centre is attempting to bring all equipment
under central control but expects incomplete success during the next 5 years
because of the geographical and logistical problems involved. Interim space
plans and the design for a permanent building for the Centre should give high
priority to the central storage of equipment accessible to all programs of the
Department with two people responsible for its distribution, repair and
maintenance. (For an inventory of equipment see Appendix E.)
Library
With the approval of the Vice President, Academic, the Centre and the
Simon Fraser Library have begun a study of the Centre's library needs with
particular reference to monographs, serials, audio tapes, audio records, films
and slides. To date all monographs and serials are catalogued and housed
within the Library and are acquired by the Librarian for the division of
10.
Humanities at the request of the Centrc's faculty. Some audio visual material
is in the control of the Instructional Media Centre. Much material floats
within the Centre itself, improperly supervised and in danger of loss or damage.
(For an estimate of Library and Audio Visual Resources see Appendix F.)
The Centre is in favour of centralizing its library and audio visual
resources within the Library and the Instructional Medial Centre, with these
departments to become responsible for distribution, maintenance and new
acquisitions in close consultation with the Centre. A major recommendation of
this report is the appointment of a Fine and Performing Arts Librarian with
sufficient expertise and judgment to acquire the materials necessary for a
first class academic proqram.
Structure and Relationship to the University
The Centre for the Arts exists as a Department in the Faculty of
Interdisciplinary Studies.
?
This administrative structure has provided
sympathetic protection to an emerging Department beset by internal and
external tensions, many the product of a difficult beginning. It is evident,
however, that future academic growth for the Centre demands a different
administrative relationship with the University. The arbitrary connection
with the Faculty ot Interdisciplinary Studies does not fit in any academic
sense. It is only justifiable as a device for surrogate parenthood until
the Centre reaches maturity. While there is no feeling of discomfort in
this relationship, it is agreed by all concerned that a more natural framework
for pursuit of academic and artistic excellence within the University must be
devised.
Several structures have been considered. D. Paul Schafer and Frank Pasquill
recommended a particular type of Institute for the Arts in the "Report on the
Arts at Simon Fraser University", which was released in October 1974. It has
also been suggested that the Centre become a Faculty with 5 or 6 departments.
This report, for the reasons that are set out b'elow (see Administrative Changes,
page
41),
makes the major recommendation instead that a School for the
Contemporary Arts, comprised of six subject areas, be created.
(For course and faculty listings for Spring 1981 refer to Appendices B and
C.) The academic program areas of the Centre have grown under the guidance of
Dr. Evan Alderson. Under his careful supervision educational purposes were
introduced to fields of study notorious for their volatility. Since 1975
curricular content has been added and new faculty employed like so many new
pieces, each fitting within a carefully planned mosaic. The following is a
brief summary of the present position of each program.
DANCE
The major program in Dance, which began in September 1980, was the
Centre's first. Building upon the original minor program, Dance as a major
program has a modern dance and dance composition focus. With the introduction
of-the major, studio offerings were broadened to include ballet studies and
greater compositional experience.
At this point, instruction is provided by 1 Associate Professor (currently
on sabbatical leave until January 1982), 1 Assistant Professor, the Director
of the Centre (teaching one course section), 1 Visiting Assistant Professor,
1 Visiting Assistant Professor (spring semester only), 1 Lecturer, 2 Sessional
Instructors and 1 Teaching Assistant. 11 courses with a total of 15 course
sections offer 55 credit hours. There are 208 course enrolments which include
8 minor program and 18 major program students. One additional course has
been approved by Senate for commencement during the next academic year.
FPA.326 has been dropped and replaced by FPA.327 and FPA.328, History of Dance I
and II.
The program continues to mount two teaching productions each year. The
?
student choreographic concert "New Faces - New Feet" was presented in November
1980. ?
A faculty in-studio production of new choreography was presented in
March 1981.
?
In addition various faculty and students of the Dance program?
participated in the major interdisciplinary production "Refrains - an opera",
which was seen in the S.F.U. Theatre at the end of March 1981. Several small
productions were choreographed and danced by students as Directed Studies
projects.
Dance has access to a studio in the basementof the Theatre, use of
AQ 2001 and one workable studio in the Centre for the Arts temporary structure.
In addition there is one other studio - too small for scheduled classes but
useful for rehearsals by students and faculty. The program also has occasional
use of the S.F.U. Theatre stage for rehearsals.
?
The studio space is inadequate?
in view of the program's heavy compositional focus.
FILM
The study emphasis of the film program is the production of experimental
. ?
dramatic and documentary art films.
?
It gives some attention to film studies and?
criticism, and is proposing curricular changes and additions which will give
r
.
I
IL.
')
equal attention to these areas. Thc minor degree program in film production
is well established and has received considerable recognition both locally
and nationally.
For the 1981-1 semester 1 Associate Professor, 1 Visiting Assistant
Professor, 1 Laboratory Instructor, 1 Sessional Lecturer, 1 Sessional Instructor,
and 2 Teaching Assistants provided instruction for 4 courses representing
5 course sections which total 17 credit hours per week. It must be pointed
out that 17 credit hours are not a fair indication of the teaching load
involved as students of film require individual tutoring and production work
is time consuming. This imbalance is under investigation by the Departmental
Curriculum Committee. There are 85 course enrolments. There are J minor
program students.
Approximately 10-14 films are created by students each year. Many of
these have received awards.
?
In the Fall of 1980, 10 films were produced -
one in 3-D. The Simon Fraser Film Workshop is recognized as an uniquely
productive and demanding program.
?
It already proceeds as if it were a major
program requiring time and energy commitment from students appropriate to a
program at that level.
Unfortunate]_, film production studies are confined to an available space
that is far too restricted to allow course work to be pursued effectively.
Faculty and students work at very close quarters in two temporary trailers
and a south wing of the Centre's offices.
?
Recently a 1,100 sq. ft. space
in the TLX building has been allocated by the University Space Committee.
This additional area may alleviate but it will not solve space problems.
MUSIC
At this point there is no degree program in Music, although a minor program
in Contemporary Music has been approved.
?
Music now exists as three courses
in history and fundamentals with a total of 5 course sections which are taught
by 1 Lecturer and 1 Sessional Instructor (teaching 2 sections) for a total
of 15 teaching hours per week. There are 98 course enrolments.
?
These courses?
accommodate the needs of students in other major and minor programs at the
Centre and are open to all students at the University as well. However, the
Music activities officially offered by the Centre are only part of the picture.
The senior faculty member in the Music program is jointly appointed by the
Centre and the Department of Communication.
?
All of his teaching occurs within?
the Communication Department, which provides a well-equipped sound studio
13.
suitable for several courses in acoustics.
?
Students from the Centre with
specialized interests in music and acoustic education have always had access
to these courses.
?
The Centre regards these music and acoustic courses as part?
of its curricular design, and they should be included in any assessment of the
Music study currently taking place.
The new Contemporary Music minor degree program has been approved with
emergent funding for commencement in September 1981.
?
The word 'contemporary' ?
is included in the program title to clarify the program's dedication to the
study and composition of new music.
?
It is anticipated that this program will?
evolve in a manner different from others in the Centre so as to avoid redundant
programming within the B.C. university system, while at the same time encouraging
activity in new music.
?
Though Music is the last program at the Centre to
reach degree program status, it has been a vital presence for some time. Colla-
borations of student composers and choreographers and compositional work for
film production and interdisciplinary projects all present opportunity for
creative musical work.
?
The Music faculty took the lead in planning and
directing "Refrains", the major interdisciplinary student concern performed
in the S.F.U. Theater in March 1981.
Music classes are taught in the Centre's Studio I and in classrooms both
on campus and downtown. As mentioned above, music is also taught in the
sound studio of the Department of Communication.
?
There is a need for better?
space for the exclusive use of the program. In the interim, a temporary trailer
has been allocated to accommodate some of the needs of the new minor program.
THEATRE
The several changes of faculty in the Theatre program during the past five
year period have prevented a clear articulation of artisitc and educational
directions. ?
Even so, the program has had high visibility on campus and in the
?
Greater Vancouver community and some excellent teaching productions have been
mounted. ?
The Centre is presently giving priority to the creation of an unique
and innovative Theatre program by emphasizing new directions in theatre within
an interdisciplinary context.
Courses offered in Spring 1981 focus on education for actors and those
interested in theatre production.
?
1 Associate Professor, 1 Assistant Professor,
1 Visiting Assistant Professor (for the Spring semester only), 2 Sessional
0
?
Instructors and 3 Guest Professionals are responsible for the teaching of 11
courses including 12 course sections and totalling 46 teaching hours per week.
14.
There are 143 course enrolments and 7 declared minor students.
The program usually mounts 3 major teaching productions a year, directed
by faculty; "Artaud at Rodez" was presented in the Fall. Some of the energy
of the Spring semester's major production "The Water Engine" was applied to
the interdisciplinary production "Refrains" mentioned above.
?
A second studio
production will be staged in April.
?
In addition, there are a number of
student-directed projects in progress.
Classes take place in a studio in the Centre used exclusively by the
Theatre program and in Studio II next to the Theatre.
?
Some University
classroom space is scheduled for theory courses. The S.F.U. Theatre stage is
frequently used as a teaching and rehearsal facility.
?
There is a shortage
of space for student use, particularly for scene studies and small rehearsals.
VISUAL ART
The Visual Art program provides a practical involvement with the media
and concepts of contemporary art. Current faculty bring differing backgrounds
and viewpoints, ranging from painting to performance art, to this curriculum.
The Visual Art program has given much thought to the problems inherent in
university studie in contemporary art and the philosophical, psychological
and sociological motives for creating art.
?
The next priority is to provide?
sufficient skill training to assist students in the production of art of high
craft and concept.
An Art History survey course, required in the minor program, is scheduled
to be offered for the first time in Fall 1981.
?
This is conceived as a
necessary prerequisite for the academic, critical work involved in the minor,
particularly in the upper division.
?
Six courses, including 7 course sections
?
and totalling 23 teaching hours per week, are taught by 2 Assistant Professors
and 2 Sessional Instructors.
?
There are 94 course enrolments and 4 declared?
minor students.
At present the Visual Art program has the exclusive use of one large studio
within the Centre. Because the nature of studio work requires that inter alia
each class have space where work commenced cannot be dismantled or stored away,
more room is required. Accordingly part of a building at 112 W. Hastings St.
has been obtained; two floors are used by Visual Arts alone, while one is
shared with Dance. It is already evident that all space rented in this building
should be allocated to the Visual Art program.
The anomaly between the activities of the Simon Fraser Gallery and the
15.
educational objectives of the Centre has been noted above.
?
During the Fall
semester a showing of senior student work was displayed at the Gallery: This
is regarded as a move toward the sort of reconciliation of purposes that should
be sought whenever feasible.. Such cooperation does not, however, eliminate the
need for a less conventional exhibition space for the display of innovative
art work. ?
Studio classes took to the grounds of the University this Spring
and displayed works across the campus.
?
This proved to be a very satisfying?
exercise, giving valuable exposure to student art.
INTERDISCIPLINARY
STUDIES IN THE FINE AND PERFORMING ARTS
At the heart of Interdisciplinary Studies in FPA are the four Arts in Context
courses designed by Dr. Evan Alderson as a general approach to the arts.
Three of the courses (The Aesthetics of Performance, Photography as an Art Form,
and Introduction to Technical Theatre) are considered to be common to several
of the separate disciplines.
Senate approval was obtained for a major degree program in the Fine and
Performing Arts to commence January 1981 . The Interdisciplinary degree in EPA
will be based upon the above courses and combinations of disciplinary courses.
Easy access to, and the study of, several of the disciplines is fundamental to
•
?
?
the philosophy of the Department. An extended Interdisciplinary curriculum
in EPA will be introduced later in this report.
Dr. ,Alderson, the architect of the EPA major, is currently on sabbatical
leave. ?
At this time, five courses totalling 20 credit hours are taught by?
1 Lecturer, 1 Sessional Instructor, 2 Sessional Lecturers, and 5 Teaching
Assistants. ?
There are 107 course enrolments and, in the first semester of?
the FPA major, there are 12 declared majors.
The 3 credits allowed for Int"oduction to Technical Theatre do not reflect
the actual work load involved for students and faculty.
?
The introduction of?
a second Technical Theatre course on the 300 level, approved for commencement
in September 1981, and two proposed technical production courses will help to
correct this situation.
The Arts in Context lectures and tutorial sessions are given in various
classrooms on campus. The Aesthetics of Performance uses one classroom,
Photography is taught in the photography studio of the Department of Communication,
Introduction to Technical Theatre convenes in the Centre's Studio II and
Theatre Sceneshop.
?
Interdisciplinary Projects in FPA occur wherever space can be
. ?
found. ?
Teaching productions use all the facilities of the S.F.U. theatre,
which operates year round as both an academic and a production facility.
16.
Summer Studies
In the past, the Summer Session (Semester, Intersession and Session) has
not been given an important place in the Departmental curricular plan. This
appears to have been a result of insufficient personnel and budgetary resources.
As a matter of policy, all faculty of professorial ranks have been expected
to use summer as their research semester. Most study areas have therefore
offered practically all of their courses in the Fall and Spring semesters.
There have been some important exceptions.
?
The two regular Summer offerings?
have been very successful: the Intensive Dance Workshop (which may also be
taken as part of FPA.424-5) and the Intensive Theatre Workshop (which may also
be taken as part of FPA.458-5 or FPA.459-5). Most of the fourth year
Directed Studies courses are now also offered during the Summer Semester.
Recently, pressures of burgeoning enrolment, and first year limited-entry
program courses which restrict the base entry into mainstream programs, have
encouraged the offering of FPA.132/133 (Film) and FPA.104 (Music).
For the Summer of 1981 an effort has been made to have each art area
represented by at least one course and/or workshop.
?
For the first time?
Dance, Film, Music Theatre, Visual Arts and Interdisciplinary Studies are all
contributing to summer studies.
Relations with Continuing Studies
Continuing Studies has been oneof the fastest growth areas on campus since
its establishment in 1974.
?
From the outset, every attempt was made by
Continuing Studies to foster its relationship with the Centre.
?
Significant?
support has been given to presenting fine and performing arts curriculum on
and off campus.
?
A number of courses mounted by the Centre are financed by
Continuing Studies for evening and downtown availability.
?
But the Centre has?
been so concerned with the formation of its on campus core of credit courses
that little actual creative co-programming has been attempted. There was a
brief investigation of a certificate program in Arts Administration.
Continuing Studies is presently involved in co-sponsoring a major Conference
on Federal Arts Policy and a Dance Critics Conference, both to occur in the
1981/82 academic year.
?
It is also co-operating with the Centre in presenting?
the Purcell String Quartet in performances of the entire Beethoven Cycle in
the downtown area in May, 1981.
?
Discussions are underway for planning a
joint Cinema Criticism Conference as well.
S ?
I
.
r
17.
Part IV.
?
ACADEMIC GROWTH PLAN
SUMMARY
1980/81 ?
MAJOR DEGREE PROGRAMS
Dance
Fine and Performing Arts (commenced January 1981)
MINOR DEGREE PROGRAMS
Dance, Film, Theatre, Visual Arts
FULL-TIME FACULTY
Dance - 1 Associate Professor
2 Assistant Professors
1 Lecturer
(NOTE: The Director (Professor) not included
Film - 1 Associate Professor
1 Visiting Assistant Professor
1 Laboratory Instructor
Music - 1 Assistant Professor (jointly appointed with
1 Lecturer ?
Department of Communication)
Theatre - 1 Associate Professor
1 Assistant Professor
Visual Art - 2 Assistant Professors
Interdisciplinary - 1 Assistant Professor (jointly appointed with
Studies in FPA
?
i Lecturer
?
Department of English)
*
1 Lecturer (jointly appointed with Computing Science)
1981/82 ?
NEW DEGREE PROGRAMS
Minor Program in Contemporary Music
NEW FULL-TIME FACULTY
Film - 1 Associate Professor (jointly appointed with
Women's Studies)
Music - 1 Assistant Professor (emergent)
1 Laboratory Instructor (emergent)*
Visual Art - 1 Assistant Professor
S
*
The Lab Instructor in Music is financed partly from emergent funds and
partly from the loss of a jointly appointed Lecturer.
I H
I II,;
/ I,
?
Ni t4 ?
1)1 ?
;Ii I
?
I'I)t1II\M.
Major programs in Visual Art
?
.
1983/84
CHANGE OF ADMISSION PROCEDURES
Students required to declare major program entering
the 2nd year of study.
NEW FULL-TIME FACULTY
Music - 1 Assistant Professor (emergent)
Visual Art - 1 Assistant Professor
1 Laboratory Instructor
Film - 1 Assistant Professor
1 Laboratory Instructor
NEW DEGREE PROGRAMS
Major program in Film and Theatre
CHANGE OF ADMISSIONS PROCEDURES
Students permitted to declare major program entering
the 1st year of study.
NLI FULL-TIME FACULTY
Theatre - 1 Assistant Professor?
1 Lecturer
.
Interdisciplinary -1 Assistant or Associate Professor
Studies in EPA
1984/85 ?
NEW DEGREE PROGRAMS
Graduate Program - Fine and Performing Arts
Graduate Program - Music
NEW FULL-TIME FACULTY
Dance
-
- 1 Assistant Professor
Film - 1 Lecturer
Music - 1 Assistant or Associate Professor
Visual Art - 1 Lecturer
?
.
NEW ADMINISTRATIVE STRUCTURE
The Centre for the Arts to become a School of
Contemporary Arts
4 ?
19.
?
• 1985/86 ?
NEW FULL-TIME FACULTY
Theatre - 1 Assistant Professor
.
Interdisciplinary - 1 Lecturer
Studies ih FPA
COMMENCEMENT OF BUILDING
?
PLATEAU ?
DEGREE PROGRAMS
Dance - Major and Minor
Film - Major and Minor
Music - Minor and Graduate
Theatre - Major and Minor
Visual Art - Major and Minor
Interdisciplinar -Major and Graduate
Studies in EPA
FULL-TIME FACULTY
Dance - S
Film - 4 + ½ joint appointment with Women's Studies
2 Laboratory Instructors
Music - 5
1 Laboratory Instructor
Theatre - 5
Visual Art - 5
1 Laboratory Instructor
Interdisciplinary - 4?
Studies in EPA
is
!AiJ
PRO8RAMS
?
S
DANCE
As the first program to reach major status, Dance is at the first plateau
of its curricular development.
?
At this point priorities are being reassessed
in an effort to broaden the study base. The modern dance emphasis remains;
not necessarily modern dance as tradition now defines it, but contemporary
dance in the widest sense. This implies creativity, innovation and the
constant search for new directions. The ability to cross-fertilize with
Film, Music, Theatre, and Visual Art is a decided advantage, and it is this
capacity that makes Simon Fraser Dance unique throughout the Country. It is
well known for its creative, experimental vitality.
To date the curricular base has been directed to dance composition and
dance performance. There are now two courses in Dance History, one in Dance
Analysis and several upper division courses in Directed Studies. All others
relate directly to composition and performance. Within present teaching
resources possibilities there is a desire to strengthen one other study
direction. Specifically, the areas of dance analysis and kinesiology for
dance are under investigation.
?
The direction taken will depend very much on
the talents of
t.io
replacement faculty soon to be appointed.
?
Resource
personnel within the University possibly available for secondment are also
being considered. ?
Anatomy, kinesiology and biomechanics are all subjects?
which relate to the needs of dance.
It is evident that some growth is essential for this still-emerging
program. Because of the heavy compositional emphasis, more studio space is
needed. There have been new dance technique courses added, which put great
strain on the present facilities. Three sections of ballet studies began in
Fall 1980. By September 1981, there will be a total of 2 ballet courses
comprising 4 sections and 25 hours of studio time. It can therefore be appre-
ciated that scheduling and space needs will become even more problematic in the
future. One consideration which was not anticipated at the planning level is
that ballet and modern technique classes require different floor textures. It
is essential that oneof the present studios be allocated primarily for ballet studies.
A dance accompanist for the studio classes is an essential element for
teaching. The accompanist provides much more than a musical framework for
the movement. ?
There should be at least one accompanist who is a full-time?
staff member and who can be called on for services throughout the year. He or
she is pdrt of the teaching process and as such should be hired in consultation
21
with the Music program. One accompanist can be employed in this way in the
• ?
near future by using funds already committed to accompanists from temporary
staff funds.
The Dance Faculty is in favour of a Dance Company in Residence, made up
of fourth year and special students. Such a company would provide a steady
outlet for performance. The Company would make presentations on campus, in
the Greater Vancouver community, and in schools throughout B.C. Outside
funding would be sought in proportion to the amount of community service the
Company would provide. ?
The Company in Residence will require a downtown
space exclusively for its use.
With the present number of full-time faculty, the Dance area can continue
until the beginning of the FPA graduate program in 1984/85 only if there is
no reduction in sessional allocations from those already estimated to be
necessary for the emerging program. One Assistant Professor in Dance will
be added for the 1984/85 academic year.
SUMMARY OF EXPANSION NEEDS FOR DANCE
(1)
CURRICULAR ADDITIONS AND CHANGES
is
2 more courses and/or arrangements for courses within other departments
Possible utilization of present courses in different ways
(2)
FACULTY ADDITIONS
1984/85 - 1 Assistant Professor
(3)
STAFF ADDITIONS
1981/82 - resident accompanist
(4)
SPACE ADDITIONS
- one more studio on campus or the enlargment of the 2nd CA studio
to be usable as class, rehearsal and possibly as alternate
performance space
- access to a downtown studio
- studio for Dance Company in Residence in 1984/85, preferably downtown
(6) OTHER ADDITIONS
1984/85 - Dance Company in Residence
. ?
(7) ENROLMENT EXPECTATIONS
90 major and minor students at plateau
110 course opportunities for non-major and non-minor students
1 #
r1jJi
All
?
curricular changes and additions now under review relate directly to
plans for a Film major degree program, projected to begin in the 1983/84
academic year.
?
A number of changes are submitted for Senate approval which
will ?
enable students to focus either on film studies or film production at the
upper division in a way that encourages cross disciplinary involvement within
the Centre and the University.
?
A recommendation has been approved for a faculty
member jointly appointed with Women's Studies who will contribute greatly to
the integrity of film studies.
Film production is necessarily costly, particularly as to equipment needs.
It is clear that expansion possibilities are limited in production.
?
The
reality of our space constraints is also a factor in designing a program which
balances film production and film studies.
?
But there are educational advantages
to the plan.
?
A stronger theoretical component encourages a better perspective
for filmmaking as well
?
as for
?
film analysis and criticism.
As the major program develops we expect a student enrolment of 20 produc-
tion majors and 40 film studies majors. ?
These estimates are very approximate
but reflect the necessity of keeping the numbers of students involved in
film production to a minimum.
Space needs are chronic and areso recognized by the University.
?
The tenancy
of 1100 square feet in the new TLX building, to commence this summer, will
relieve much of the pressure until
?
space is available in Building #1
?
of the
CA complex, now occupied by Education, and Building #5, now occupied by
CA offices.
The commencement of the major program in 1983/84 will
?
require the
appointment of one full-time faculty of Assistant Professor status and one
more Laboratory Instructor.
?
An additional faculty member, probably a
Lecturer, must be appointed for 1984/85 to free up others to work with graduate
students ?
involved in the FPA Master's
?
degree program.
SUMMARY OFEXPANSION NEEDS FOR FILM
(1) ?
CURRICULUM ADDITIONS AND CHANGES
1981/82 - 3 new courses:
FPA.234 Introduction to Film Studies
FPA.436 Selected Topics in Film Studies I
FPA.331 ?
The Crafts of Film III
1983/84 - 2 new courses for Film major:
FPA.337 Critique of Theory
FPA.437 Selected Topics in Film Studies II
23.
(2) FACULTY ADDITIONS
1982/83 - 1 Assistant Professor
1 Laboratory Instructor
1984/85 - 1 Lecturer
(3).SPACE ADDITIONS
For summer 1981,1100 sq. ft. of TLX Building until the move into
Building #1 of the CA complex
(4) EQUIPMENT NEEDS
approximately $75,000 for new equipment (in 81/82 dollars)
(5)
ENROLMENT EXPECTATIONS
50 film production major and minor students and
40 film studies major and minor students at plateau
40 course opportunities for non-major and non-minor students
.
0
24.
Mw;JC
The direction of the new minor program in Contemporary Music is already
well articulated by its architects. The program is pledged to three
principles of art and education:
(1)
Faculty members will be primarily composers and the emphasis will be
on the creation of contemporary acoustic and electro-acoustic music.
(2)
The program is committed to interdisciplinary action between music and
the arts, technology and society.
(3)
The creative work in contemporary music should be placed within an
historical perspective.
New curriculum proposed and approved is as follows:
FPA.140-3 Introduction to Contemporary Music
FPA.240-3 Contemporary Music Performance
FPA.244-3 Contemporary Music Composition and Composers
FPA.245-3 Music Composition and Performance I
FPA.340-3 Music Composition and Performance II
FPA.341-3 Music Composition and Performance III
FPA.347-3 Introduction to Electronic Music Composition
FPA.348-3 Introduction to Computer Music Composition
FPA.448-5 Directed Study in Music Composition
FPA.449-5 Directed Study in Electroacoustjc Music Composition
Emergent funding allows for 2½ new faculty appointments (the other ½
appointment is coming from present resources). These are:
for Sept. 81 - Appointment of 1 Assistant Professor in Acoustic Music,
specializing in instrumental and vocal composition;
- Appointment of one Laboratory Instructor for the Studios,
to supervise and instruct on the use of laboratory
facilities. Funding for this appointment is ½ funded by
emergent funding and ½ from a Lecturer joint appointment
to be terminated.
for Sept. 82 - Appointment of a second faculty member, specializing in
electro-acoustic music as well as instrumental performance
and composition.
Arrangements are proceeding for equipping of the new Electronic and
Computer Sound Studio located in the S.F.U. Theatre. The program will continue
to have access to the Sonic Research Studio in the Department of Communication.
The Electronic and Computer Studio will be a complete production facility that
25.
will act as a resource for all of the Centre's compositional needs (i.e.
. ?
Dance, Film) as well as for Contemporary Music.
There is a need for more classroom and rehearsal space for lower
division courses. It is indicated that 2 trailers near Studio I will be
available for those classes by the commencement of the program.
A medium sized recital hall will become an essential facility for the
program, particularly after the graduate program is established in 1984/85.
Additional research laboratories and studios will also be necessary for
the graduate program; all of which make the construction of such facilities
within the new Centre for the Arts Building imperative.
Equipment is to be installed according to specifications already approved
for the emergent program. More equipment will be required to furnish research
labs and studios.
A Performance Series is a part of the new program. The series is being
arranged for with the assistance of the Centre's Public Programming staff.
Local and visiting contemporary musicians will make public presentations for
the benefit of students of Music and the University community.
It is hoped that an informal relationship with the Purcell String Quartet
will continue to be a resource to students but, as the present contractual
arrangements with the Quartet will terminate August 31, 1982, the Contemporary
Music program looks to contemporary musicians for possible residency sometime
in the future.
In order to provide professional performance services for the 200 and 300
level courses, overtures are being made to the local group Days Months and
Years to Come. This activity may lead to a residency by the group by 1983/84.
Music has some special concerns about library resources, particularly
about problems of access and storage of recordings and music tapes. These
concerns are being addressed to the Library through the newly appointed
consultant now working on campus to inventory and evaluate problems existent
between library materials, the Library, and the Centre.
Music is the only program which does not plan a major degree program,
recognizing that all of the adjunct areas (musicology, performance, ethno-
musiciology and ensemble work) would require too great a capital outlay,
and would needlessly duplicate existing programs at other institutions. The
program therefore chooses to bypass a major undergraduate program in Favour of
a Master's degree program. The Graduate Program would be consistent with the
26.
current minor program in its specializations, but at a level where professional
composers can be educated. S.F.U. will offer an unique Graduate Program,
and students successfully completing it will be well qualified to teach in
colleges and universities. In the past, students have had to go outside
Canada to pursue such graduate programs.
SUMMARY OF EXPANSION NEEDSFOR MUSIC
(1)
CURRICULUM ADDITIONS
10 new courses in the minor program
1984/85 -
the commencement of the Master's degree program
(2)
FACULTY ADDITIONS
1981/82 - Assistant Professor (emergent)
Laboratory Instructor
(½
emergent)
1982/83 - Assistant Professor (emergent)
1984/85 - Assistant or Associate Professor
(3)
SPACE ADDITIONS
1981/82 ?
temporary trailers for classes and rehearsal space
- Electronic and Computer Studio in S.F.U. Theatre Building
1984/85 - additional rehearsal space, labs and studios
1985/86 - medium sized Concert Hall
(4)
EQUIPMENT ADDITIONS
1981/82 - as approved for the setting up of Electronic and Computer
Studio and classroom spaces
1984/85 - Equipment for research labs and studios
(5)
OTHER ADDITIONS
1983/84 - Residency of contemporary music performing group such as Days
Months and Years to Come
(6)
ENROLMENT EXPECTATIONS
50 minor students and
10 Graduate Students at plateau
120 course opportunities for non-minor students
27.
THEATRE
•
The major ?
program ?
is ?
scheduled ?
for ?
commencement
?
in
?
1983/84.
It ?
will ?
logically ?
follow
?
the
?
focus ?
of ?
the ?
minor ?
program.
The ?
fundamental
?
premise ?
of ?
the
?
program ?
is
?
that, ?
in ?
addition
to the acquisition of performance skills, theatrical activity in a University
environment should be motivated as a mode of exploration into the world and
our places in it. ?
In its future development therefore the program will
continue to emphasize investigative productions, formal
?
experiment, and a
contemporary orientation, and will
?
encourage a critical
?
awareness among its
students as this arises from the performance process.
?
A production-centred
•
curriculum of this kind will
?
be based upon a •series of studio courses providing
a fairly rigorous exposure to acting techniques without attempting complete
professional
?
training. ?
Interdisciplinary work will
?
continue to be encouraged.
In particular, the availability of technical
?
theatre courses having an
interdisciplinary orientation can provide a second area of focus for some
students in the program.
The present curriculum is being revised
?
to
?
allow ?
students ?
to
?
be
involved in studio classes throughout each semester of the four year program
and a series of revisions will
?
be
?
brought forward during 1981/82 which pertain
to the minor program and will, by the addition of approximately six more
courses, become the framework for a major program.
At the moment, most courses for the minor program are offered within three
years. ?
There is only one course offering in Theatre in the 4th year apart
from Directed Studies opportunities. ?
Partly to offset this the Theatre faculty
wish to introduce a Theatre Group comprised of 4th year and graduate students.
It would necessarily be based on campus but much of its performance exposure
would be off campus. ?
It is recommended that a Writer-in-Residence provide
•
original material
?
for the Group.
?
The Theatre Group would be a meaningful
device to help bridge the gap between the University and the theatre profession.
The Theatre program plans a system whereby students heavily involved in
main teaching productions can obtain some academic credit in relation to this
activity. ?
These credits would become a legitimate part of the major degree
requirements for students pursuing a performance interest.
Between the use of Building #3 in the CA complex, Studio II and some use
of the S.F.U. Theatre, most needs ?
will be accommodated until
?
the new Centre
•
for the Arts Building is completed. ?
There is a need, however, for some
renovations to Building #3 to provide more adaptability and compatability with
28.
performance.
Two more full-time faculty must be added for 1983/84, the year of the?
commencement of the major. Another faculty addition is projected for 1985/86.
SUMMARY 01 EXPANSION NEEDS FOR THEATRE
(1) CURRICULUM ADDITIONS
by 1983/84 - approximately 6 new courses in history, acting,
directing
(2)
FACULTY ADDITIONS
1983/84 - 1 Assistant Professor?
1 Lecturer
1985/86 - 1 Assistant Professor
(3)
ENROLMENT EXPECTATIONS
65
major
and minor students
at plateau
75
course
opportunities for
non-major and non-minor students
0
29.
ITIIAt ADT
•
??
The major degree program in Visual Art is projected to begin in the?
1982/83 academic year. It is planned on the foundations of the existing
minor prgram with the present studio courses becoming what can be called the
11
core"studio progression: the central experiential, practical and critical
framewrok through which all students move
Added to the core program will be various studio option courses which
should be referred to as "area" courses in drawing, painting, sculpture,
video and photography (photography is presently classified as an interdisci-
plinary course FPA.176). ?
The exact organization and schedule of these?
courses is still being worked out. For the moment the general description of
the function and concept of the courses is submitted.
The area studio courses constitute a two semester opportunity for
students to concentrate on a favourite field of work; they do not, however,
represent a separate stream or division of the program. Entry into area
courses is based on full involvement in the core system courses. Core
courses will retain their present characteristics, demanding of students an
intensive and investigative engagement with important artistic problems,
. ?
approaches and issues which are realized in a variety of media.
?
These ?
courses broaden the technical and experiential base of student work and thus
strengthen the interdisciplinary, experimental core system.
By adding these area courses, students will enter 2nd, 3rd and 4th year
studies better equipped to work confidently in innovative directions with the
knowledge of at least one major field of artistic practice.
Major students will be required to take 3 area courses with a maximum of
2 within any 1 area during the first two years of study.
?
Except for the 4th?
year, the core studio progression as it now exists in the minor program is
unchanged. Major students will be required to do two semesters of 6 credits
(1 studio course, 1 seminar) each in their 4th year. This replaces the
existing 5-credit FPA.469. Minor students will be required to do one semester
of this 4th year.
?
Upper division requirements allow students to participate ?
in important elective courses at the Centre and in the University. It is
during these years that a second Arts in Context course, Aesthetics of
Performance, or a Humanities course will be most valuable. Fourth year studio
courses lead to Graduation Exhibition of the students' work. The details of
this curricular plan have been developed in detail and will soon go before
the various committees which must investigate the plan's integrity.
Visual Art space allocations have been limited to full use of the CA
studio and two floors of a building at 112 W. Hastings Street. Another
floor of the Hastings Street studio has been shared with Dance. It also had
the use of AO 3131. A recent decision was made to give up AQ 3131 to
Psycholoqy, so that it is necessary to give Visual Art full use of the third
Hastings Street studio for the next academic year. With the introduction of
the major program, the following spaces will be required over and above the
the present situation:
(1)
an open space for the Painting area courses
(2)
an open space for the Sculpture area courses
(3)
a workshop facility
(4)
student exhibition and performance spaces.
It is estimated that all first year studio activities, as well as the Drawing
area courses, will be scheduled in the CA studio. Because of the, extreme
space limitations on the campus, it will undoubtedly be necessary to obtain
downtown space for all other studio activities by adding to spaces already
available at 112 W. Hastings or finding adjacent additional spaces or by
consolidating all studio spaces within some other downtown building.
Studios must be properly equipped with work furniture and sinks. Lighting
must be adequate for the work process. Within the downtown studios, 2 offices
will be required, one for faculty and one for the Laboratory Instructor who
will be responsible for the monitoring of all downtown studios.
The workshop facility must be properly equipped with fixed power and
hand power tools. Materials must be available for student works, including
lumber, sheet metal and plastics. A support structure for student exhibition
in the planned gallery space will be worked out.
A search is currently being conducted foran Assistant Professor to
begin September 1981.
?
With the advent of the major program in 1982/83, 1
more faculty appointment must be made, probably at the level of Assistant
Professor. At the same time a Laboratory Instructor position must be
established. A final appointment of a Lecturer is projected for 1984/85 and
this roster of full-time teaching personnel is expected to be sufficient for
the undergraduate and graduate needs at this point.
?
-
The position of studies in Photography vis'a vis Visual Art and Film
requires more consideration. It is obvious that both of the latter areas have
pressing needs for photography.
?
It is intended, however, that Photography,
31
• like Technical Theatre, remain a part of Interdisciplinary Studies with
sufficient resources in space and equipment to accommodate all of the Centre
, s
. ?
needs. ?
Interdisciplianary Studies may be a base for video teaching as well.
The Slide Library, now. housed in the CA studio, is a constant problem. It
is hoped that, as a result of the study now being made by a special consultant,
the Library will take this under its wing and be responsible for acquisition,
maintenance and distribution.
Serious development of all library resources in the visual arts is
considered to be a basic aspect of the growth of the major program. Art
history is an important component of the program, from the introductory
survey course through the Arts in Context courses, to the upper-division
theoretical seminars. Visual Art retains a significant measureof academic
study of artistic problems in the make-up of its program. The position' of
Lecturer in Art History, in addition to the five teaching positions in studio,
is a necessary part of the planning at this stage.
SUMMARY OF EXPANSION NEEDS FOR VISUAL ART
(1) CURRICULUM ADDITIONS
- Drawing, painting, sculpture and possibly. 4 video "area" subjects
.
?
on the 1st and 2nd year levels. (Photography to he offered under
Interdisciplinary Studies.)
- 3 courses in 4th year, an extension of 3rd year studio seminar courses
(2) SPACE ADDITIONS
- 2 more open studio areas
- 1 workshop facility
- 1 exhibition/performance space
- 2 offices
(3) EQUIPMENT ADDITIONS
- studio furniture
- ?
- hardware for workshop facility and exhibition space
(4) FACULTY ADDITIONS
1981/82 - 1 Visiting Professor
1982/83 - 1 Visiting Professor
1 Laboratory Instructor
1984/85 - 1 Lecturer
(5) ENROLMENT EXPECTATIONS
65 major and minor students at plateau
60 course opportunities for non-major and non-minor .students
32.
INTERDISCIPLINARY STUDIES IN THE FINE 4ND PERFORMING ARTS
There has been much mention of Interdisciplinary Studies in FPA throughout
this proposal. One would think it to be the largest and most active area
of the Centre and it is, considering that Interdisciplinary also means cross-
disciplinary in the context of the Centre's most basic philosophy. ?
It is
not necessary, therefore, to provide within the 6th area all the elements
toward undergraduate or graduate Interdisciplinary degrees in FPA, although
mechanisms must be designed for the protection of students who wish to move
across disciplinary boundaries.
Courses which do not specifically attach to any one arts discipline, but
to several or all of them, are designated as follows:
Arts in Context Courses (4)
Aesthetics of Performance
Criticism of Performance
Introduction to Technical Theatre
Technical Theatre (to begin Fall 1981)
Technical Production I (to begin Fall 1981)
Technical Production II (to begin Spring 1982)
Introduction to'Photography as an Art Form
Interdisciplinary Project in Fine and Performing Arts
Arts and Computer Workshop (non-credit)
The sequence of courses in technical theatre provides essential support
for the Dance and Theatre programs as well as providing an important focus
of study for some students.
?
Although it is not intended that this sequence
,
.Jill
evolve toward a separate program of study, under the recently expanded
course structure it should increasingly create opportunities for work integrating
Film, Music and Visual Art as well as Dance and Theatre.
A second level course in photography is needed immediately to bring the
level of training in photography up to the standard required for students of
Film and Visual Art.
?
There is a great student demand for photography from
all parts of the University. Eventually more courses will be required or
photography will have to become a part of the Film and Visual Art curricula.
As a first addition, it is intended to mount:
Photography as an Art Form
as a sequel to the introductory course.
33.
Five more courses will be added to the above roster by the time the
FPA graduate program begins in 1984/85. These courses are:
Arts and Technology
Arts and Institutions
Design for Performance
Aesthetic Radicalism
The Arts in Context: Selected Topics
The proposed graduate program in Fine and Performing Arts is conceived
as an efficient way to permit
.
a limited graduate presence in the Centre in
the areas of Dance, Film, Theatre and Visual Art.
?
It will be a small program,
designed to secure the advantages a graduate program can provide. It should
enable a few highly qualified students to continue study within one of the
disciplines under a supervisory structure more appropriate than is presently
Available under "Special Arrangements". Like the current EPA major, it may
also require that students place their work within a perspective transcending
a single discipline.
By the nature of some of the Interdisciplinary courses, it is expected
that several will continue to be taught through secondment from other
departments of the University or by Sessional Lecturers. A total of '4 full-time
faculty will be mainly responsible for the area, which means the addition of
new faculty as follows:
1983/84 - 1 Assistant or Associate Professor
1985/86 - 1 Lecturer
It should be noted that a joint appointment with Computing Science will
be terminated at the end of tLis year.
?
The half position represented has
gone toward the new Laboratory Instructor in Contemporary Music.
SUMMARY OF EXPANSION NEEDS FOR INTERDISCIPLINARY STUDIES
(1)
CURRICULUM ADDITIONS
- 4 more Interdisciplinary courses
- at least 1 more course in photography
- formalization of Interdisciplinary Project in EPA as a course
(2)
FACULTY ADDITIONS
1983/84 - 1 Assistant or Associate Professor
1985/86 - 1 Lecturer
34
(3)
SPACE ADDITIONS
?
S
classrooms
- more use of the Theatre facilities for Technical Theatre
- more use of photography studio in the Department of Communication
(4)
ENROLMENT EXPECTATIONS
45 majors and
10 graduate students at plateau
120 course opportunities for non-major students
r
S
35.
As stated earlier, Summer Studies in the past has offered repeats of a
few courses offered in Fall and/or Spring, such as Film FPA.132 and 133.
There have also been a number of workshops offered, mostly for non-credit
but in some instances workshops have been given on.a credit and non-credit
basis simultaneously. ?
Most effective have been special workshops organized
by Dance. All areas, including Interdisciplinary Studies, are represented
in Summer 1981. The increase of course offerings for 1981 is a conscious
move toward a fuller, more vital Summer Program.
The potential for Summer Studies is very great. The attraction of the
campus plus a soon to be proposed comprehensive curriculum will appeal widely
to a local, national and international constituency of students. The lack of
adequate residence accommodation does limit out of town enrolment to some
extent, but the experience of previous Dance Workshops gives confidence that
an imaginative program will draw a healthy enrolment.
Apart from considerations of the quantity and quality of enrolment, the
Centre wishes to establish a three semester system for the educational benefits
that will result. The efficient use of equipment and facilities in the summer
will make for a areater and more varied curriculum. The third semester
should be unique from the other two. New course offerings, selected topics
courses, open studio courses offered for credit and non-credit, special work-
shops and seminars for professional artists, are only a few of the possibilities
for a Summer Program.
With a tn-semester system, faculty members of the Centre, so many of
whom are working professionals, will have the option of taking Fall or Spring
as their research semester.
?
This will increase our capacity for recruiting
high quality new faculty.
It is estimated at this point that Summer Studies will triple its
offerings by 1984/85.
SUMMER STUDIES
S
S
:36.
Part V. ?
IMPLICATIONS OF THE GROWTH PLAN
?
S
I MPI. t CAT IONS FOR THE BUDGET
Over the five year growth period the Centre for the Arts will experience
a steady increase in expenses which, at the plateau, will amount to an
estimated increase of $130,000 (in 1980/81 dollars). This total can be
broken down as follows:
General Operating ?
40,000
Public Programing ?
30,000
Space Rental
? 20,000
Office Expenses ?
5,000
Secretarial/Technical ?
35,000
$130,000
In addition, over the same period at least $150,000 will be required for
the purchase of new equipment, not including replacements.
?
S
IMPLICATIONS FOR STAFF
The growth plan implies additional staffing for the Centre for the
Arts,
to include:
1 Departmental Assistant
1 Secretary
1 Film Production Assistant
1 Theatre Technician
While a substantial portion of the above costs will be covered by funds now
expended on temporary staffing, some additional funding will be required
(see Implications for Budget, Secretarial/Technical).
V ?
I
IMPLICATIONS FOR SPACE
37.
is ?
Acquisitions
- 1100 sq.
teaching
- 6 office
free the
in the Immediate Future
ft. of the TLX Building to be outfitted for Film
and screening area
spaces in the southeast corner of the A.Q. This will
present offices in the on campus Visual Art space
- 2 trailers currently used as Kinesiology/Anatomy teaching and
laboratory space to be modified for the use of Contemporary Music
- 3rd studio space at 112 W. Hastings Street to be used exclusively
by Visual Art
- use of a downtown Dance studio
Interim Future Needs
- Upon completion of all the MPX Extension (expected in 1983),
Buildings #1 and 6 near the Centre will by occupied by the Centre.
Building 6 will be used for offices, board room and space for the
EPA Student Union. A reassessment of spaces available in Buildings
#1 and 5 will then be made to accommodate the expanding needs of
Contemporary Music, Film and Visual Art
- expansion of 3 floors of downtown space to '5 floors for Visual Art
- retain title to film trailers
Ultimate Future Solutions
A building for the Centre for the Arts, attached to or embracing the
present S.F.U. Theatre must be erected. All activities of the
Centre will be centralized in this building in a way that facilitates
all disciplinary and project needs, preserving and enhancing the
interdisciplinary focus of the Centre.
0
3
iMPLICATIONS FOR ENROLMENT
Stu1tnt. response supports the view that minor programs of the Centre
have been successful even with the heavy time commitment required in comparison
with many other University minor programs.
?
However, the changes outlined in
this report, namely the introduction of major programs for Film, Theatre
and Visual ?
Art and the graduate programs for Music and Interdisciplinary Studies
in
EPA,
in conjunction with the Dance and FPA majors already in place, will
proviue not only an alternate course structure for some who have already made
up their minds to come to Simon Fraser for other reasons but will also encourage
gifted students to attend the University because of the specific focus of the
programs offered by the Centre.
Some procedural ?
changes recommended in this proposal will seriously
affect committed students.
?
The requirement (to be implemented in 1982/83)
to declare a program of study at the time one is given permission to enter
the second year and the option to declare a program
in
the first year of
study (to become policy in 1983/84) will necessitate new procedures for
selection of students
?
(for further details see page
?
55).
The following estimates for student enrolment at the growth plan plateau
are educated guesses at best.
?
Even so we feel ?
it is a fair representation
of the total ?
potenLa1 ?
for student participation.
DANCE - by 1982/83 - 65 declared major and minor students
Plateau - 90 declared major and minor students
110 course enrolments available as electives or prerequisites
for other programs (Health and Fitness Certificate,
Physical Education minor, etc.)
FILM - Plateau - 90 declared minors and majors in film production and
film studies
40 elective course enrolments available
MUSIC - Plateau - 50 declared minors
10 graduate students
90 elective course enrolments available
THEATRE - Plateau - 65 declared major and minor students
75 elective course enrolments available
VISUAL ART - Plateau - 65 declared major and minor students
60 elective course enrolments available
I ? I
39.
.
INTERDISCIPLINARY - Plateau - 45 declared major students
STUDIES IN FPA
?
10 graduate students
120+ elective course enrolments available
NOTE: There are problems in estimating enrolments as students will
be competing for positions within the disciplinary programs of
the Centre as each EPA major student must specify a minor program
from within these programs.
We expect approximately 400 students will declare major or minor programs
by 1985/86. It is equally important to stress at this point that the Centre
expects to serve the University community by offering over 450 elective course
enrolments and further that, with the introduction of all the major programs,
students of the Centre will be required to attend courses outside the Depart
ment. ?
We conservatively estimate that Centre students will log a total of
more than 1000 credit hours per semester in other Departments' curricula
by 1985/86.
S
40.
IMPLICATIONS FOR PUBLIC EVENTS
?
.
With the development of academic programs, we expect the public events
ictivities to increase by approximately a third. Students of Dance; Music,
Film, Theatre and Visual Art require models of excellence to build perspective
in their own work.
?
It is essential that art directions within the Centre not
be isolated from the mainstream of world art if Simon Fraser is to assume a
leadership position in the arts.
The cohesive maturation of all academic programs within an interdisciplinary
framework will give a specific image to the campus. As much as possible events
brought to the campus should extend and enhance this contemporary image. In
this way public programming will not duplicate presentations occurring in
Greater Vancouver but will draw a consistent, somewhat specialized audience
tp the campus for quality and innovative events.
While we are concerned that public programming reflect the educational
mission of the Centre, we are also concerned with balanced programing.
A reputation for elitist intellectualism, or indulgent avant gardism would
not be good for the Centre or the University. We are aware of an overall
responsibility to provide a varied but challenging program of events that
serves the interests of the University and our educational objectives
equally.
Through increased collaboration with KCTS public programming, we expect
to be better able to bring high calibre performing groups to be presented on
campus.
0
41
IMPLICATIONS FOR LIBRARY AND AUDIO VISUAL RESOURCES
Step 2 of the Fine and Performing Arts library survey, just concluded
by consultant Helen Moore, is submitted as recommendations for library
support. ?
As the Centre has just received this document it is included here
before discussions have commenced between the Library and key faculty members
of the Centre.
?
At this point these should not be regarded as recommendations
from the Centre for the Arts, although it is reasonable to assume that the
Centre supports these well-articulated goals.
It is noted, however, that very little is said about Dance, Theatre and
Film resources. ?
Ms Moore
states in
a covering letter "Film storage is not
discussed because departmental policy at the time of survey, regarding film
• ?
rental versus film purchase, was unformed. The Instructional Media Centre
provides an excellent service now in obtaining films."
It is assumed that goal 5) on page 43 includes theatre and dance books
"in a physical location where the Fine Arts and Music Librarian can give
• ?
direct service to students and faculty".
0
S
?
42.
FPA SURVEY
?
S
STEP TWO of Terms of Reference
"To prepare a statement of detailed, operational recommend-
ations aimed at expeditious improvement of this Library's
support of the Centre for the Arts."
Ex p
editious improvement of the Library's support of the Centre for
the Arts Infers that the Support Is not now what It could be.
That the improvement also be expeditious means that the University
would like something achievable, soon.
Models for a FINE & PERFORMING ARTS LIBRARY are few. Subject Col-
lections, N.Y. Bowker, 1967, 3rd ed. comp. by Lee Ash and Denis Lorenz
listed only three: at Princeton University, North Carolina School of the
Arts and Toronto Public Library. The Directory of Art Libraries and Visual
Resource Collections In North America, compiled for the Art Libraries
Society of North America (ARLIS/NA) by Judith A.. Hoffberg and Stanley W.
Hess,
libraries:
N.Y.,
Georgetown
Neal Schuman
University,
Publishers
N.Y.
Inc.,
Public
1978
Library
list three
and
differentthe
University
?
5
of California, Davis.
The University of British Columbia which has both F. &P.A. courses,
Opted years ago for the separate subject approach: fine art books an
periodicals are housed in the main library, the 35 mm slides are under
the Fine Arts Department's jurisdiction and housed in the Lasserre
Building; the Music Library (a division of the main library) Is presently
in the Music Building, and the Theatre collections are In the main library.
U.B.C. uses reading rooms to greater or lesser advantage depending on
the clerical in charge and these are under the jurisdiction of the
Library for the most part. The Architecture Reading Room In the Base-
ment of the Lasserre Building Is a model in operation and in student/
faculty-librarian rapport. It is supervised by a Library Assistant III
of some ten years experience. How the. U.S.C. will house its collections
In
the new library being planned Is yet to be decided.
As to what is a
pp
ropriate for Simon Fraser University it seems to
me that this must arise from Simon Fraser's own situation. This Is
partly described In Step I of this F. & P.A. Survey.
FPA SURVEY
I
?
shall begin by listing the goals which in
?
ny '
opinion should be
adopted by the University and then discuss each in detail.
1)
Recruit a Fine Arts and Music Subject specialist librarian
immediately, no later than 1982.
2)
Recruit a Clerical assistant for the F.
?
& P.A. slide collection.
3)
Create a slide library room to hold slides, viewing space and
clerical work space.
4)
'Convert to phonotapes the recordings now held In Faculty
Members' offices through a special blitz with the INC Audio
Technician, Kurtis Vanell.
5)
House the F.
?
& P.A. Books (M,N,TT,TR,GV) in a physical
?
location
where the Fine Arts and Music Librarian can give direct service
to students and faculty.
6)
Create an office adjacent to monographs for librarian and
clerical ?
typlst'when latter not employed processing slides.
7)
Create a record shelving area together with appropriate number
of listening stations and turntables and group listening rooms.
8)
House the F. & P.A. periodicals with the monographs.
THREE TO FIVE YEARS GUARANTEED FUNDING FOR
THE F. & P.A. MATERIALS COLLECTION IS A
PARALLEL NEED TO THE ABOVE GOALS AND WITH-
OUT WHICH ALL THIS PLANNING IS WITHOUT A
RATIONAL BASIS.
43.
LI
S
44.
FPA SURVEY
FINE ARTS LIBRARIAN
Everything points to the time being right for the recruitment of a
.F. & P.A. subject specialist in the Library at S.F.U. now.
a)
?
Students
Student enrollment in the F. & i..A. Department has increased by
37.61% in the Spring of 1981 over the previous Spring. Further, In a
University we might assume, each year that 25% of the users at a minimum,
are new to the library and its holdingS. The remarks of Jay E. Daily,
are therefore all the more relevant to the appointing of a Fine Arts
Librarian. (Organizing Nonprint Materials; .a guide for librarians, N.Y.,
Marcel Dekker, 1972.)
The public catalog has never been self-explanatory, and
instruction In the use of catalogs, b1biographies and
guides to materials is necessar1fthe library is to
serve its function In the community."
It is worth quoting Nancy Allénat length (Film Study Collections;
a guide to their development and use, N.Y. Ungar, 1979,
p .
10) where she
is,really arguing for better collections, but her argument holds for ha y-
ing a librarian because that is how the collections get selected in the.
first place. Her statistics come from-the American Film Institute.
National Survey of Film and Té1eisionHlgherEducat1on. Report of Find-
ings. Washington, B.C. The American Film Institute, 1976.
When asked what resources faculty could do without. 22%
said library books and periodicals. These statistics
show a sad lack of understanding of the importance of
library resources. This lack of understanding is probably
based on the fact that libraries supporting most film
study programs are inadequate.... It naturally follows
that when the only contact teachers have with library
holdings brings frustration and dissatisfaction, those
teachers will place libraries and-printed resources low
on a priority list. Academic libraries must improve
collections, and they must consider both print and non-
print materials vital to students-and faculty. Libraries
are the only readily accessible source of film Informa-
tion for the student and scholar. If the library does
not have a wide range of books, periodicals, and visual
material, many students and teachers will not know such
materials exist, and will not appreciate the value of
these materials, both for classroom instruction and for
personal research . . . ?
Very few libraries have, up
0
?
S
FPA SURVEY
to now, invested in large collections of
book material,
scripts, or nonprint items. Those teaching film study
need such material, and If they do not express that need,
it is the responsibility of the progressive librarian
con,nitted toeicellehce in teaching and library support
of research to "sell" the need for library collections,
and to work toward building better library resources ......
b)
Faculty
Facultye,petat1onS of the library's holdings will increase with
the individual ' .
s background, education and bibliographic sophistication.
Allen has som
'
poièted comments regarding those who teach film.
"At this early point in the history of film study, most
people who teach film have no special training in the
area or in its documents."
Indeed the backgrounds may be as varied as language, comparative
literature, speech conrunications, etc., thus the specific literature
of the cinema is not necessarily the specialty of the teachers and it
would be the LIBRARIAN'S task to educate both faculty and students.
c)
Librarian
John C. Larsen writing on "Education of Fine Arts/Music Librarians"
(Library Trends, January 1975,
p .
533ff.) says
"No ótherbroad suhJèct.'area Inthe general collection
.requires familiar1ty.dth material In such diverse forms
asmusical scores, slide and photographic reproductions,
and phonograph recordings and tapes, as well as the mech-
anical devices fr reproducing the musical sounds or pro-
jecting the image of the.-work of art."
While I do not believe S.F.U. has an liiinediate need for a librarian
with all the training virtues that Larsen envisages nevertheless, a
librarian with a background different to the general humanities librarian
will be seen to be important.
Additional comments on how a Fine Art Librarian Is trained come
from Guy A Marco and Wolfgang M. Freitag in "Training the Librarian for
Rapport with the Collection." (Library Trends, January 1975,
p .
541 ff).
• ?
They list three demands made on the librarian by the material itself:
subject demands, bibliothecal demands and ancillary demands. Subject
45.
46.
I
FPA SURVEY
c)
Librarian (Continued)
demands they write, "Include a willingness to become familiar with con-
temporary trends and personalities and o:keep informed on developments."
BthlIothecal demands they suggest will be met by
the library school
curriculum. Ancillary demands would include foreign language knowledge,
ability to distinguish between literary and aesthetic movements and schools
of criticism and so on. Subject knowledge'for visual arts librarianship
will include methodology and hlstoriography and the literary history of
the fine arts. Importantly Marco and Freltag write, and I can verify
this from my own experience:
As a rule work with images requires much greater subject
by
knowledge
aids
the
which
visual
than
already
librarian.
work
exist
with
prinfor
?
tedbpktbecause the,many
created
Finally, and importantly, if S.F.0
?
p
o1nts:a generalist-in the-
art--librarian, "much of what has to be learned` write Marco and Freitag,
can be absorbed after formal education, has been completed, In the so-
called lifelong university, i.e. on the job'.'
d)
Coursework
The Academic library has a responslbl!tty to Its special community
and must be responsive to changes In coursework. The 1981 report 'by Gene
Strate, Director of the'F. & P.A. Oepartmentwlll shøw just how vital
and burgeoning the arts are on the Campus. Keepingabreastif,not ahead
of this growth is now vital for the LIBRARY.
It is noted that S.F.U. Is establishing a'Certlficáte in Public
History programme through Its Conmiunity Edücat$on arm. Three art-related
courses are listed. This will also make demands onthe fine art holdings
and reference service thereto.
is
0
0
?
FPA SURVEY
e) ?
Rapport
The appointment of a librarian trained In the subject field
will
?
do
much to enhance library-faculty rapport.
?
The appointment of a
?
librarian
who will
?
seek out faculty and encourage
?
Interchange of ideis, cIucdte
and inform, and who will empathize with the users will pay handsome
dividends for the salary expended. ?
You do not buy expensive materials
to have them sit on the shelf. ?
The librarian is the catalyst between the
Information In those materials and the community he/she serves.
?
There is
one other benefit which will come through the Fine art and music librar-
ian's professional. connections.
?
I refer to membership in the Art Research
Libraries Association and the liaison between members of the profession
In the other Universities and Colleges In the lower mainland plus the
important Vancouver Public Library Fine Arts Division. ?
Such a liaison
offers at the least knowledge of these collections with the opportunity
to correlate buying of expensive titles.
2. ?
Recruitment ?
of a clerical assistant ?
for ?
the F. ?
& P.A. ?
Slide Collec-
tion is necessary for all ?
the reasons set forth in Part I of my report.
i)
?
present physical condition of room debilitating for this
fragile material; no expansion possible.
11) slides presently unattributed, mislabelled, misfiled, unmounted,
unmasked and so on. Generally not conducive to use by faculty
and leading to "office collections."
iii) room shared by faculty and part-time slide help at least during
summer when summer student programmes are in existence.
iv) collection building has suffered the vagaries of a succession
-
?
of teachers and no acquisition programme.
This expensive important area must be put on a planned, orderly, pro-
gramme just as soon as possible. The replacement cost alone of the
present collection of 10,000 slides would be in the neighbourhood of
$15,000.
Betty
J0
Irvine Is the acknowledge authority In this area. She says
in her book Slide Libraries Colorado, Libraries Unlimited, 1979, 2nd ed.
47.
S
48.
FPA SURVEY
2. (Continued)
Slide collections are highly sophisticated instructional
resource libraries that need to be managed and organized
for maximum retrieval and utilization."
For some fifteen years now staffing of slide libraries has been
uoving toward more qualified staff. This is well documented In Irvine's
huok. Certainly at the clerical level there are basic requirements: art
history courses, typing ability, manual dexterity for processing, good
visual memory. . It may be desired that
In
five years time the clerical
also do photography copying slides, but at present this would best be
performed by the Instruction Media Centre on campus.
If slide acquisition were to become a library rather than a depart-
mental (F. & P.A. Centre) responsibility, then a librarian with an Art
History degree would be the appropriate person to select slides.
• While the slide collection remains under 25,000 clerical support
stdff with the appropriate background will suffice. When the collection
goes beyond 25,000 other staffing may be necessary.
3.
Slide Library
Presently some 10,000 slides are housed In a room approximately
12 1
-0" x 10'-0" (120 sq. ft.)
Itis recommended that a minimum
of
12'-0" x 15'-0" be devoted to a
slide storage cue, processing space at once, or that at the very least,
some alternate office be found for the present faculty member in Room
203 of the Centre.
Idedily
the slides would be housed In a room say 20-0" x 15-0"
300 s. ft.) thus allowing the collection to double and also provide
for processing area and for faculty light tables for assembling slide
lectures.
Student use of these strictly teaching slides should not be a
consideration.
[I
S
p
?
p
. ?
FPA SURVEY
3.
Slide Library (Continued)
Local models for slide libraries are to be found at U.B.C. Fine Arts
Dept., Lasserre Building, and the Emily Carr College of Art, Granville
Island.
Obviously design and execution of a slide library could ONLY BE DONE
IN CONSULTATION WITH THE ART FACULTY AND A BUDGET SOUGHT. The actual
details of a slide library are to be found in Betty Jo Irvine's Slide
Libraries which, is the most complete, well-illustrated and up-to-date
source to use.
4.
Taping of records In FACULTY MEMBERS' OFFICES
The music faculty are understandably reluctant to release valuable
teaching materials only to have them delayed in the Instructional Media
Centre because of pressure of other jobs with higher priority in the INC.
It would be necessary to work with the IMC Director in order to schedule
the taping of 600 to 1000 teaching recordings so that they could be
available for the September 1981 Fall Semester when the full progranime
in contemporary music begins with courses in contemporary composition.
performance, electronic music, acoustic conrunicatlon, and tape music
studio.
It would be necessary to release additional funds to pay INC the
equivalent of 4 to 5 weeks salary for the Audio Technician's time.
The Library's own Technical Processing Departunt (MONOGRAPHS) will
need to be alerted to this unusual bulk processing and some method found
to enable students to consult, if not the MICROCATALOGUE, then some
temporary "new recordings list."
5.
House the Fine and Performing Arts Books (N, N, TT, TR. GV) in a
location where the Fine Arts and Music Librarian can give direct service
to students and faculty.
Here I wish to record the minority opinion of the present Head of
. ?
Humanities, Eugene Bridwell, regarding a separate art and music library.
This was not in his opinion a vital need, based on the present reference
question load.
49.
V ?
4
I
FPA SURVEY
It is my belief that a separate location for ;hese materials will
answer several needs. The association of the librarian with the materials
will enhance their use. The librarian will get to know the materials in
depth (and they are many) and will pass that knowledge on to the students.
The students in turn will better Identify with "their' subject division.
That the library should be a mirror to the courses taught was an expression
put forward by one teacher. Such an Isolation of the music and art books
should not be seen as an elitist or separtist thing at all, but should
allow the F.
&
P.A.
students to wander among the related areas in this
field and benefit by the "cross-fertilization" possible by such a location
of materials. You have to break eggs to make an omelette:
Security must be mentioned. The art and music books are among the
most expen5ive monographs published. They are highly susceptible to loss,
to mutilation and are very expensive to replace. Photography books are at
prescut vulnerable because of the popularity of the subject as a hobby
and as a University course, and library after library, both public and
academic, Is putting its photography collections behind closed gates, to
be consulted on the premises. It is a mystery to most librarians why
hobbyists who can afford thousand dol;lar cameras refuse to buy their own
books ?
A
separate room with a librarian in place together with a black
and white photocopier would do much to reduce the enormous vulnerability
of the art and music books. The trend of art publishing toward micro-
formats will, do much to alleviate the
?
and mutilation of art books.
Together with the separate location to house the various fine and
performing arts materials, the Library will want to address itself to
the long range project of microformat for art books. I refer specif
-
ically to microfiche called "text-fiches" produced by The Chicago Visual
Library (CVL), a publishing programme of the University of Chicago Press.
It Is designed primarily for the reproduction of visual materials for
reference and study. Text-fiche combine printed text with colour
pictorial microfiches and are original contributions to scholarship.
The implication for the
LIBRARY Is
the purchase of a microfiche reader
to be housed with the text-fiche in the
ART & MUSIC LIBRARY.
50.
S
FPA SURVEY
5.
(Continued)
The visual art teachers will be aware of new major source for art
exhibition catalogues so Important to the Study of contemporary art.
refer to the EXHIBITION CATALOG PROGRAMME of Chadwyck-Healey, Ltd..
Cambridge, England.
He reported In "The reproduction of visual material on microform:
our first five years and the future."
p.
180 of Microform Review vol. 8,
No. 3, Sumner 1979 that he,(Chadwyck-Healey)
"found that It was relatively simple to produce high quality
monochrome reproduction on microfiche of both color and mono-
chrome originals.
?
It became clear that Art Exhibition Cat-
alogs lend themselves to reproduction on microfiche. ?
Why?
Because original exhibition catalogs are difficult for
libraries to handle and store, they are flimsy, fall to
pieces quickly, and are of widely varying formats -- here
was a case where librarians and perhaps readers would actually
prefer the uniform, easily stored microfiche format to that
of the original. ?
There were other reasons. ?
A microfiche
can contain up to 98 pages.
?
Most exhibition catalogs are
less than 98 pages and would fit on to a single microfiche
conveniently enabling each microfiche to reproduce a separ-
ate title... .One catalog on one microfiche can be ordered
•
for $3.20."
This firm has over4000 titles thus far.
CANADIAN ART was an area characterized by one Simon Fraser teacher
as being weak. There is an excellent remedy available In fiche from
Canada's own National Gallery of Canada. Over 100 fiche are now avail-
able from this source - "one of the richest clipping files in Canada the
actual clippings are filme l wheneverpossible' writes (Melva J. Dwyer,
"Fine Arts Microforms: A Canadian Experience" Microform Review Vol. 8,
No. 3, Summer 1979,
p.
177.
6. LIBRARIAN AND CLERICAL/typist's office
Supposing that space were found for a Fine Arts library on the
first floor and if the Fine Arts librarian is not to work at long distance
from the Humanities 4th floor centre, then an off-desk work area would
be required by tie librarian and the support staff, with the usual office
furniture.
51
S
FPA SURVEY
7. ?
Create a record shelving area together with appropriate number of
listening stations and turntables and group listening room(s).
There is mixed opinion on the matter of fair use and copyright of
records. Some Colleges hold record collections (non-circulating) and
?
4
prepare tapes for circulating. Other Universities hold record collec-
tions (non-circulating) and do not tape and provide listening equipment
and are prepared to maintain and or replace recordings as necessary.
The Music Library at the U.B.C. has had some records as long as 10 years.
Their collection is as large as 10,000 records shelved on 12 shelves
in a vertical position. Two music librarians and, a medium sized support
staff serve 300 students including graduates and some 25 full time
faculty and 25 sessional lecturers.
Factors bearing on S.F.U.'s decision making are:
i)
Is the present taping of records Illegal?
ii)
When INC move to new building will lt.be to library's dis-
advantage to have library's recordings move with IMC?
iii)
With F. & P.A. materials centred in the library no matter
whether print or nonprint, will It be to library's advantage
and to faculty's, to have recordings shelved with music mono-
graphs?
iv)
Will It be to library's advantage and to faculty's to have
course-related phonotapes and all other music tapes housed
with the music monographs?
v)
Do INC wish to continue storing the library's recordings?
Is it appropriate for them to do so?
Obviously not all music listened to' by students will originate with
a RECORDING. Some will have been taped by IMC and/or FACULTY. Question.
Is such taping legal?
It would appear to be the case that definitive answers to the copy-
right question lie outside the present survey and Indeed may be years
ahead. In the meantime, if space allows the Library would do well to
plan for a FINE & PERFORMING ARTS LIBRARY with music storage and listening
capability of recordings.
52.
. ?
FPA SURVEY
7.
(Continued)
The plan devised by myself Is a minimal record library cum listening
room and could be housed in some 440 s
q
. ft. In such a "library' tapes
would have to be listened to in the 3rd floor Audio Carrels.
8.
House the F. & P.A. periodicals with, the monographs.
This Is a low priority but should be considered In the long view,
i.e. in any move of the Humanities Dept. or sub-section of Humanities
viz. Fine Arts to other floors of the Library.
Naturally art periodicals are a prime source for contemporary art
movements and the contemporary marks the raison d'etre of the S.F.U.
F. & P.A. Centre. Ideally all forms of the subject collection would be
housed together. Practical considerations of staff, space and finances
may not permit perfection this side of the grave.
• ?
The necessity for continued funding at. a level commensurate with a
professional acquisitions plan underlies any course planning by the F.
& P.A. department. In other words it is not enough to employ the most
brilliant of contemporary performers and teachers if the faculty cannot
do ongoing research
In
the documentation of their fields and If the
students do not find the basic undergraduate collection they need on
their own campus. Sending 3rd and 4th year students regularly to
another University because of its superior holdings Is simply not
recognizing ones ow. responsibilities. The name on the degree must
surely mean that that Institution stands behind Its Degree from all
points of view but above all in the quality of its Library.
53.
0
I
?
I
54.
Part VI.
?
ADMINISTRATIVE AND PROCEDURAL CHANGES
ADMINISTRATIVE CHANGES
It is proposed that the Centre for the Arts become the School of
Contemporary Arts by 1984/85.
?
It is estimated that the Centre will be of
?
a site by that date to justify a different administrative relationship to
the University than now exists.
in the event that the Centre were to become a school, the Director would
become an Associate Deanof the Facultyof Interdisciplinary Studies or some
other Faculty at the discretion of the University. This new relationship
would give the Centre more direct access to upper level decision making bodies.
As program areas of the Centre are to remain relatively small in terms of
faculty, a move toward a separate Faculty of Contemporary Arts is not
preferred. ?
There is no advantage to becoming a Faculty, with all the
extra administrative structuring that would thereby be required. The teaching
faculty will nevertheless be sufficiently large to make some formalization of
relations between the Director and the prog°r,
co-ordinatcs should be elected by each area
All normal day to day communications between
areas would be made through the Co-ordinator.
should be rotational and some off-loading of
service.
m areas necessary. ?
Area
to represent their colleagues.
the Director and the program
The position of Co-ordinator
teaching would compensate for
Internally, the Director will be supported by the Assistant Director, in
charge of all physical and production operations of the Centre, and the
Business Manager, responsible for fiscal matters.
?
There is also a need for
a Departmental Assistant to give the kind of detailed support the Director
must have for maximum efficiency.
o
•)
5.
PROCEDURAL CHANGES
5 ?
(1) By the end of the 1982/83 year, the Centre will require a declared major
commitment from most students entering 2nd year.
?
In 1983/84 students
will be allowed to declare their majors upon entering into the
first
year
of a program. ?
There must always be a place for those students of talent
who have not yet decided in favour of one discipline or another.
?
On the
?
other hand, Interdisciplinary Studies in FPA must not be thought of as a
common ground for those students who have not yet reached a program decision.
Major intentions declared at beginning levels will enhance teaching
efficacy ?
and reduce student attrition.
?
Undoubtedly this will lead to?
stringent selection processes for entering students, but it is believed
that it is far better to select early than to eliminate students from
studios and classrooms in upper years.
The introduction of principles of selection into major streams at the
point of entry into the Centre will of necessity reduce to some degree the
availability of studio courses for the general interest student. It should
be clear, however, that the Centre does not intend to make access to studio
S ?
work in the various disciplines available only to the select few, and
indeed could not encourage cross-disciplinary exploration among its own
students if it were to do so. The particular balance of service courses
and major stream courses will inevitably vary from discipline to discipline,
but the provision of opportunities for exposure to the arts in both
practical and theoretical aspects will remain one part of the Centre's
mission.
(2) For the sake of better efficiency and educational consistency, the
Centre is already moving toward a two semester curricular rhythm. Fall
and Spring semesters are for the most part being regarded as sequential.
Most courses now offered in the Fall have a sequential tie-in with
another course offered in the Spring. For example, FPA.166 (Fall) becomes
FPA.167 (Spring) and FPA.132 (Fall) becomes FPA.133 (Spring). This is not
the case with all courses, but there are enough instances of sequences that
course arrangements for Fall and Spring are being planned in tandem. It
is recommended that this become a policy of the Centre and that at such
S
?
time as Summer studies becomes a third semester that the entire year be
planned, implemented and advertised as one academic unit.
56.
Part
VII. ?
CENTRE FOR THE ARTS BUILDING
The full realization of the Centre's artistic and academic potential
depends on a proper building to facilitate all disciplines and projects.
The Centre for the Arts Building should attach to or surround the present
S.F.U. Theatre. The architecture should enhance the interdisciplinary nature
of the entire program and should include at least the following:
- 5 Dance studios (to include dance studio presently in S.F.U.
- 3 Theatre studios
?
.
? theatre)
- 5 Visual Art studios
- 1
e
xhibition/performance space for Visual Art
- 2 production spaces for Film
- 1 screening room
- 1 art gallery
- 1 photography studio
- 1 videotape studio
- 2 alternate performing spaces
- 2 music sound studios
- 5 music research labs and practice spaces
- 6 classrooms for general use
- office space for faculty and staff
- facility for FPA Student Union.
It is estimated that the Centre will require approximately 64,000 square feet
of gross space, or 40,000 square feet of net assignable space.
Throughout this report mention is made of additional space needs for
each phase of the growth plan. It must here be repeated that at the plateau
of the five year growth plan the Centre for the Arts will be very badly
facilitated, even if all space requests are met. At best, the space at the
plateau will be uncomfortable and only made acceptable by the knowledge that
an adequate building has been approved with a target date for completion
decided. ?
We propose that the building should commence in 1985.
I
57.
Part VIII. ?
CONCLUDING REMARKS
The specific growth plan outlined herein is a reasonable and fair
assessment of personnel and resources required to bring the Centre for
the Arts to its full educational
?
potential. ?
By comparison to fine and
performing arts programs in other Canadian universities the plan
?
is
humble indeed.
?
Yet it is not proposed in a spirit of humility.
?
We
believe the size indicated is optimum for our purposes.
?
Study ?
proqrarns
must continue in close and intimate juxtaposition to retain the interchange
possibilities necessary to our educational
?
philosophy.
This proposal ?
is predicated on the conviction that Simon Fraser University
will continue to recognize the importance of the contemporary arts, will
award them the status of other disciplines and provide a physical framework
in which they can give inspiration and support to each other.
?
The Centre
for the Arts must become a Centre in every sense.
?
Implied throughout
this proposal ?
is the need for a building:
?
a
?
building to house all
?
the
scholarly, reactive and administrative activities of the Centre.
?
The
building should be an adequate workshop in which faculty can teach and
create together. ?
It should not be a monument to the arts or to ourselves.
•
As a final
?
statement it should be emphasized that the Centre for the
Arts has no intention of presenting the contemporary arts as an inaccessible,
elitist process or product.
?
The relevance of art to our society is the
primary reason for the investigat
.
ion, production and promotiOn
?
of ?
contemporary
art. ?
The Centre also assumes an obligation to' educate students to the
practical ?
realities of the art world and encourages qualities of
?
leadership
and resourcefulness. ?
The university experience must relate to the marketplace,
not necessarily in a commercial
?
sense but in terms of vocations, communications
and contributions.
The arts are labour intensive. ?
There continues to be a demand for
educated artists of talent.
?
There has been no reduction of this demand
despite the present economic climate.
?
With increased leisure time forecast
for our society, the arts, like recreation, will
?
become ever more essential
to our lives.
Respecfully submitted, May 1981.
,Gant$'rae
Director, Centre for the Arts
A- I
.
.
?
• APPENDIX A
?
SUPPORT STAFF
Centre for the Arts
ACADEMIC SUPPORT
I. Student Services Assistant
2. Secretary to Director
3. Clerk/Typist 3
4. Clerk/Typist 2 (Temp.)
GENERAL ADMINISTRATION
5. Business Manager
6. Accounts Assistant
FACILITIES AND OPERATIONS.
7. Assistant Director for Operations
A) 8. BuildingSerVICeS Manager
9.
Box Office Clerk
10.
Production Assistant (Temp.)?
?
II.
?
BuildingServices Assistants (4 Temp.)
.12. Ushers (6-10 Temp.)
13.
Resident Stage Manager
14.
Theatre Technicians (6 Temp.)
15.
Film Equipment Manager
16.
Film Production Assistant (Temp.)
B) 17. Public Events Consultant
8. Public Program Assistant
19'. Purcell String Quartet Touring Assistant
GALLERY
20.
Gallery Director
21.
Gallery Assistant
SUPPORT STAFF FUNCTIONS
I. Student Services Assistant - Tony Besant
Provides information to students on Centre program';,
manages registration, keeps course records and onr1 Imont
lists. Handles academic scheduling and other
.;uppni I
;orvi(.-.e5 for the Academic:
area.
2. Secretary 'to the Director - Marqaret Fankboner
Provides secretarial support, handles confidential niters
for Director. Acts as Secretary to -oarch Committee,
assists Director with communication
, .-, wiihin the Depart-
ment. Handles goneral department f ii e;.
3.
Clerk/Typist 3 - Suzie Szekeres
Handles routine enquiries on courses, prepares course out-
lines, keeps grade records, records of Adds/Drops, handles
auditions and placement tests. Does faculty typing and
acts as recorder for Curriculum Committee.
4.
Clerk/Typist 2 - (Temp.)
Greets visitors, answers telephones at front desk. Answers
routine general information enquiries. Assists with typing
and other clerical duties.
. Business Manager - Cy Appleby
Budget conirol, purchasing, systems and procedures, con-
tracts. Supervises office. Handles personnel relations
and records, AUCI5 Union matters and staff appointments,
TSSU appointments and fils. General departmental admini-
stration.
. A':counfs Assistant - Janet Menzies
Keeps financial records, handles details of purchasing
and office supplies. Arranges payment of expenses, han-
cilespetty cash and hourly payroll. Assistant to Business
Manager.
7. Assistant Director for Operations - John Macfarlane
Overall responsibility for departmental facilities and
space requirements, equipment and capital budget applica-
tions. Oversees all teaching productions. Co-ordinates
Public [vents Program. Supervises technical and building
services for all Department activities.
B. Building Services Manager - Marcia Anderson
Day to day management of Theatre Building, including
scheduling, maintenance, Box Office and Front-of-house
services. Provides Production Management services to
teaching productions. Directs Building Services Assis-
tants, general building services for Department.
9. Box Office Clerk - vacant
Handles ticket sales and fee collection. Acts as recep-
tionist for Theatre Building and provides general
clerical support to Building Services Manager.
A-
2
4 ?
.
•
?
10. Production Assistant (Temp.) - vacant
Works under direction of Building Services Manager to
provide production services for teaching productions.
II.
?
Building Services Assistants (4 Temp.)
Assists Building Services Manager on routine clerical,
-technical and custodial duties. Provide access to theatro
facilities in off-hours. Act as Front-of-house as re-
quired.
12.
Ushers - (6-10 Temp. part-time)
Work with Front-of-house manager on public events in
Theatre. Crowd control, public safety, distribution of
programs, etc.
13.
Resident Stage Manager - Ken Didrich
Provides technical operating support for Public F.vnt;
Program. Directs technical crews, provides technical
information. Responsible for technical maintenance in
Theatre.
4. Theatre Technicians - (6 Temp. part-time)
Assist with technical support to public programs arid
technical maintenance and housekeeping in rhea-t-re facili-
ties.
15.
Film Equipment Manager - Ismail Farahani
Provides equipment loan service for Film area -- hindles
stock requirements and equipment maintenance.
16.
Film Production Assistant - John Houtman (Temp.)
Assists Film Laboratory instructor in the planning,
scheduling and production of Film Workshop student Ii Irns.
17.
Public Events Consultant - Murray Farr
Advises on Public Events Program. Works with Program
Assistant in prospecting, booking and contracting icr
public events.
18.
Public Program Assistant - Janis Rutherford
Co-ordinates arrangements for Public Events Program,
Co-ordinates public relai loris and publicity for all do-
pa rtmenta I affairs.
A-4
9. Purcell String Quartet Assistant - Jan Trerise
?
0
Arranges school and community concert tours for the
Purcell String Quartet. Assists with other special
programs a
s
, assigned.
20.
Gallery Director - James Felter
Responsible for the programing and operation of the
Simon Fraser Gallery. Curator of University Art Collec-
t i on.
71. Gallery Assistant - Catherine Johnston
Assists the Gallery Director with the mounting and
security of exhibitions and in the administration and
upkeep of the Gallery.
0
DANCE. DANCE. DANCE. DANCE. DANCE. DANCE. DANCE. DANCE. DANCE. DANCE. DANCE.. DANCE. DANCE. DANCE DANCE. DAUCE DANCE
APPENDIX B ?
p. I
CENTRE FOR THE ARTS COURSE OFFERINGS (Total of 22 )P.IICE cour.$)
I
COURSE NO. - CREDIT VALUE 6 COURSE TITLE
I
LAST OFFERED IN;
I
NUMBER OF SECTIONS
t
.
FPA.120-3
INTRODUCTION TO CONTEMPORARY
Current ?
Spring/81
x ?
I ?
(ev)
DANCE
FPA.I213
CONTEMPORARY DANCE FUNDAMENTALS
Current ?
Spring/81
x 2
FPA.I223
CONTEMPORARY DANCE
?
I
Fall ?
1980
x
?
I
FPA.I23-3
CONTEMPORARY DANCE
?
II
Current
?
Spring/81
x 2
FPA.125-3
STRUCTURAL APPROACH TO BALLET I
Fall ?
1980
x 3
FPA.I26-3
STRUCTURAL APPROACH TO BALLET II
Current
?
Spring/81
x 3
FPA.2203
CONTEMPORARY DANCE ill
Fall ?
1980
x ?
1
FPA.221-3
CONTEMPORARY DANCE IV
Current
?
Spring/81
* ?
I
FPA.225-2
BALLET ?
I
(first
?
offering: ?
Fa
1/81) ?
X ?
2
FPA.226-2
BALLET
?
II
(first ?
offering;
?
Spf
ing/82) * 2
FPA.320-5
CONTEMPORARY DANCE V
Fall ?
1980
x
?
I
?
(with ?
20)
FPA.3215
CONTEMPORARY DANCE VI
Current
?
Spring/81
x ?
I
FPA.324-3
DANCE COMPOSITION
Current ?
Spring/81
x
?
I
(FPA.326-3
HISTORY OF DANCE)
Fat 1/80 ?
(final ?
o
fering)
?
x
?
I
FPA.3273
HISTORY OF DANCE:
?
ORIGINS TO
(first ?
offering:
?
Fa
1/82)
?
* ?
I
20th CENTURY
FPA.328-3
HISTORY OF DANCE;
?
20th CENTURY
(first ?
offering:
?
Sp
ing/82) *
?
I
FPA.205
CONTEMPORARY DANCE VII
Fall
?
1980
x
?
I ?
(with
?
320)
FPA.421-5
CONTEMPORARY DANCE VIII
Current ?
Spring/81
x
?
I
FPA. 1
4235
DIRECTED STUDIES
?
IN CHOREOGRAPHY
Current ?
Spring/BI
(7 students)
FPA.
1 424-5
DIRECTED STUDY IN PERFORMANCE
Current ?
Spring/BI
(I ?
student)
FPA.
1 +25-5
INTENSIVE STUDIES
?
IN DANCE
Suniuer(IS)1980
(IS ?
credit
?
students,
40 nuncredlt ?
stu.
FPAJ26-3
DANCE ANALYSIS
Fall ?
1980
x ?
I
FPA.
1
295
DIRECTED STUDIES
?
IN DANCE
Current ?
Spring/81
(2 ?
students)
RESEARCH
*
*
*
NOTE;
A
denotes a course that has been app oved at all
?
level
4,
but has not?
been offered as yet. Semester of Irst offering Is intIcated.
0
B-2
*
COURSE NO.
- CREDIT VALUE
?
& COURSE TITLE
LAST OFFERED ?
IN: NUMBER
OF SECTIONS
FPA
.I32-3
INTRODUCTION TO FILM-MAKING
Fall
?
1980
x
?
1
(2 ?
labs)
FPA
.133-3
FILM-MAKING FUNDAMENTALS
Current
?
Spring/81
X ?
I
(2 ?
labs)
FP
A.230-3
THE CRAFTS OF FILM
?
I
Fall
?
1980
X
?
I
FPA
.231-3
THE CRAFTS OF FILM
?
II
Current ?
Spring/8I
X ?
I
FPA
.236-3 THE HISTORY AND AESTHETICS OF
Fall ?
1980
x ?
I
CINEMA ?
I
FPA.237-3
THE HISTORY AND AESTHETICS OF
CINEMA ?
II
Current ?
Spring/Si
X
2
(one RS
one EV-DC)
F
PA.334-3 FILM ANALYSIS
Fall
?
1980
X ?
1
FPA.30-5
DIRECTED STUDIES
?
IN FILM
Fall ?
1980
(II
students)
PRODUCTION ?
I
FP
A.31-5
DIRECTED STUDIES
?
IN ?
FILM
Fall ?
1980
(II students)
PRODUCTION
?
II
FP
A.432-5
DIRECTED STUDIES
?
IN FILM
Current Spring/Si
(9 students)
PRODUCTION ?
III
FP
A.433-5
DIRECTED STUDIES
?
IN FILM
(first
?
offering: ?
Sp
ing/82)
X ?
I
PRODUCTION ?
IV
NOTE: ?
' ?
denotes a course that has been approved
been offered as yet.
?
Semester of
at ?
all
?
levels,
first ?
offering ?
Is ?
indicated.
but has not
THE FOLLOWING COURSES ARE AWAITING APPROVA
FROM SENATE -
(Decision: ?
May/81)
FP
A.23e-3 INTRODUCTION TO FILM STUDIES
(first offering: ?
Fa I/SI)
x
?
I
FP
A331-3
THE ?
CRAFTS OF FILM
?
III
(first ?
offering: ?
Fa 1/82)
X ?
I
FP
A.436-5
SELECTED TOPICS
?
IN FILM STUDIES
(first
?
offering: ?
Fa 1/81)
xI
FPA.236 C
237 will ?
change ?
their numbers
?
to FPA. 136 &
?
137
?
respe tively.
FILM.FILM.FILM.FILM.FILM.FILM.FILM.FILMFIL
?
ILM.FILM.FILM.FILM.FILM.FILM.FILM.FILM.FILM.FILM.FILM
?
APPENDIX B- p.2
CENTRE FOR THE ARTS COURSE OFFERINGS (Total of 14 FILM Courses)
.
0
.
APPENDIX B - p.3
CENTRE FOR THE ARTS COURSE OFFERINGS (Total of 13 FRA. MUSIC courses;
Total of 5 CMNS. MUSIC courses)
COURSE NO. - CREDIT VALUE &
. COURSE TITLE
?
LAST OFFERED IN: ?
NUMBER OF SECTIONS
FPA.102-3 MUSIC IN HISTORY I
?
Fall 1980
?
x 2 (one EV-BC L.
one EV-DC)
FPA.
103-3
MUSIC IN HISTORY II
?
Current Spring/81 ?
x 2 (one RS
1.
one EV-()C)
FPA.10-3 MUSIC FUNDAMENTALS ?
Current Spring/81 ?
2
FPA.10-3 INTRODUCTION TO CONTEMPORARY
?
Current Spring/8I ?
x I
MUSIC
FPA.2403 CONTEMPORARY MUSIC PERFORMANCE (first offering: Fa 1/81)
?
x I
FPA.2 1
43 CONTEMPORARY MUSIC COMPOSITION (first offering: Fa I/SI)
?
x I
AND COMPOSERS
FPA.25-3 MUSIC COMPOSITION AND PERFORM- (first offering; Sp ing/82) x I
ANCE I
(CMNS 258-3 INTRODUCTION TO ELECTRO
?
Current Spring/81 ?
x I (3 tut.)
ACOUSTIC COMMUNICATION)
(CMNS 259-3 ACOUSTIC DIMENSIONS OF
?
Fall 1980
?
x 1 (2 tut.)
COMMUNICATION I)
(CMNS 358-3 SOUND TAPE RECORDING: THEORY
?
Fall 1980
?
x I
AND USES)
(CMNS 359-3 ACOUSTIC DIMENSIONS OF
?
Current Spring/81
?
x I
COMMUNICATION II)
*(These 5 CMNS courses are Included In this list of MUSIC COURS OFFERINGS
because they are 'optional requirements w thin the Music Mino which begins
in the Fall/81 semester. The options refe to a choice of Lak rig one of
CMNS 258 and CMNS 259, and one of CMNS 358 and CMNS 359).
F
P A.3
14
03 MUSIC COMPOSITION AND PERFORM-
?
(.first offering: Fa 1/82) ?
x I (7)
ANCE II
FPA.341-3 MUSIC COMPOSITION AND PERFORM-
?
(first offering: Sp Ing/83)
x
I (7)
ANCE III
FPA.37-3 INTRODUCTION TO ELECTRONIC ?
(first offering: Fa 1/81)
?
x I (7)
MUSIC COMPOSITION
FPA.3
1
48-3 INTRODUCTION TO L3MPUTER MUSIC
?
(first offering: Sp ing/82) x I (7)
COMPOSITION
FPA.48-5 DIRECTED STUDIES IN MUSIC
?
(first offering: Sp ing/83) (7 students
COMPOSITION
FPA.49-5 DIRECTED STUDIES IN ELECTRO-
?
(first offering: Sp lng/82) C?
students
ACOUSTIC MUSIC COMPOSITION
(CMNS 83-5 DIRECTED STUDY /ACOUSTIC CMN)) - optional (One of IPA.4I48,I4I49,CMNS 183
NOTE: * denotes a course that has been ap roved at all' eve s, but has not
been offered as yet. Semester of first offering is ii dicated.
*
*
*
*
*
*
4+
r
*
a
*
*
*
a
44.
0
APPENDIX 8 -
CENTRE FOR
THE
ARTS
COURSE
OFFERINGS (Total of 18 THEATRE courses)
B-4
COURSE NO. ?
-_CREDIT VALUE
?
& COURSE TITLE
LAST OFFERED
?
IN:
NUMBER OF SECTIONS
FPA,I50-3
?
BASICS OF THEATRE
Current
?
Spring/81
x
?
I ?
(2 ?
tut.)
FPA.I5I-3
?
INTRODUCTION TO ACTING
Current
?
Spring/81
x 2
FPA.250-3
?
DRAMATIC ?
INTERPRETATION ?
I
Fall ?
1980
x
?
I
FPA.251-3
?
DRAMATIC
?
IN
?
II
Current
?
Spring/8I
x ?
I
I ?
FPA.252-3
?
THEATRE PRODUCTION
?
I
Fall ?
1980
x ?
I
FPA
.253-3 ?
THEATRE PRODUCTION
?
II
Current ?
Spring/81
x ?
I
FP
A.254-3
?
SUPPLEMENTARY STUDIES FOR
Fall ?
19e0
x
?
I
ACTORS ?
I
FPA.255-3
?
SUPPLEMENTARY STUDIES FOR
Current Spring/81
x ?
I
ACTORS ?
II
FP
A.350-3
?
SCENE STUDY FOR ACTORS
?
I
Fall ?
1980
x ?
I
FPA.351-3
?
SCENE STUDY FOR ACTORS
?
II
Current
?
Spring/8I
x
?
I
FPA352-3
?
THEATRE ?
PRODUCTION
?
III
Fall ?
1980
x ?
I
FP
A.353-3
?
THEATRE PRODUCTION ?
IV
Current
?
Spring/81
* ?
I
FPA.354- ) ?
SUPPLEMENTARY STUDIES FOR
Fall ?
1980
x ?
1
ACTORS ?
III
FP
A.355-3
?
SUPPLEMENTARY STUDIES FOR
Current
?
Spring/81
x
?
I
ACTORS ?
IV
FPA.456-3
?
CONCEPTUAL APPROACHES TO DRAMA
Current ?
Spring/8I
x ?
I
FPA.458-5
?
DIRECTED STUDIES
?
IN THEATRE
?
I
Current Spring/81
(3 students)
FP
A.459-5
?
DIRECTED ?
STUDIES ?
IN THEATRE
?
II
Current ?
Spring/8I
(4
?
students)
THE FOLLOWING COURSE
?
IS AWAITING APPROVAL
F
ROM SCUS 6. SENATE
?
(Decision: June/81)
FPA.I52-3
?
INTRODUCTION TO ACTING
?
11
(first
?
offering:
?
Spiing/82)
.
VISUAL ART.VISIJAL ART. VISUAL ART.VISUAL ART.VISUAL ART.VISUAL ART.VISUAL ART.VISUAL ART.VISU;L ARF
APPENDIX B - p.5
CENTRE FOR THE ARTS COURSE OFFERINGS (Total of 12 VISUAL ART cws)
.
COURSE NO. - CREDIT VALUE ?
COURSE TITLE LAST OFFERED ?
IN: NUMBER
OF SECTIONS
(FPA. 107-3
INTRODUCTION TO ART HISTORY -
(final ?
Offering; ?
Fa
1/80) x
?
I ?
(ev)
17th CENTURY)
(FPA.IO8-3
INTRODUCTION TO ART HISTORY - (final ?
offering:
?
Sp
ing/Bl)
x ?
I ?
(ev)
18th CENTURY)
FPA.160-3 INTRODUCTORY STUDIO ?
IN VISUAL
Fall
?
1980
x ?
3
(2 ?
RS
?
L ?
I
ART
FPA.I61-3
INTRODUCTORY STUDIO ?
IN VISUAL
Current ?
SprIAg/81
x 2
ART ?
II
FPA.166-3 INTRODUCTION TO THE HISTORY OF
(first
?
offering:
?
Fa
1/81) x
?
I
ART ?
I
FPA.167-3
INTRODUCTION TO THE HISTORY OF
(first
?
offering; ?
Sp
ing/82)
x ?
I
ART ?
II
FPA.260-3
STUDIO ?
IN VISUAL ART
?
I
Fall
?
1980
x ?
I
FPA.26I-3
STUDIO ?
IN VISUAL ART ?
II
Current
?
Spring/81
x
?
I
FPA.360-3 STUDIO ?
IN VISUAL ART ?
III
Fall ' 1980
x ?
I
FPA.361-3 STUDIO ?
IN VISUAL ART ?
IV
Current ?
Spring/81
x ?
I
FP A.3
66 -3
PROBLEMS ?
IN VISUAL ART
?
I
Fall ?
I980
x ?
I
FPA.367-3 PROBLEMS ?
IN VISUAL ART ?
II
Current ?
Spring/81
x ?
I
FPA.69-5 DIRECTED STUDIES ?
IN VISUAL ART
Current
?
Spring/81
(no
enrollment)
NOTE: ?
* denotes a course that has been app oved at ?
all
?
level
, ?
but ?
has
not
been offered as yet.
?
Semester of irst
?
offerIng
?
is ?
In icated.
THE FOLLOWING COURSE ?
IS AWAITING APPROVAL IROM
SCUS & SENATE
?
(
ecision:
ing/82)
June/81)
FPA.162-2 ?
INTRODUCTORY DRAWING
(first ?
offering:
?
Spi
*
*
!NICIPLINARY.tNTERDISCIPLINARY.INTERDISCI?LINARYINTERDISCIPLINARYINTERDISCIPLIRYINTERDIS(
?
APPENDX B L2.6
CENTRE FOR THE ARTS COURSE OFFERINGS (Total of 16 INTERDISCIPLINARY
courses)
COURSE NO.
CREDIT VALUE
?
& COURSE TITLE
LAST OFFERED ?
IN: NUMBER OF SECTIONS
FPA.1I0-6
THE ARTS
?
IN CONTEXT:
?
THE
Fall ?
1979
X
?
I
(5 ?
tut.)
RENAISSANCE
(with
FPA.310-6)
FPA.
113-6
THE ARTS ?
IN CONTEXT:
Spring ?
1980
X
?
I
(3
?
tut.)
EUROPEAN ROMANTICISM
(with
FPA.3136)
FPA.II4-6
THE ARTS ?
IN CONTEXT: THE
Fall
?
1980
x
I
?
(14 ?
tut.)
MODERNIST ERA
(with
FPA.3114-6)
FPA.1I6-6
THE ARTS ?
IN CONTEXT: NORTH
Current
?
Siring/31
-
1
?
(14 ?
tut.)
AMERICAN STYLES
(with
FPA.316-6)
FPA.170-3
INTRODUCTION TO TECHNICAL
Current
?
Spring/81
*
I ?
(2 ?
labs)
THEATRE
FPA
.176-3
PHOr0GRAPHY AS AN ART FORM
Current ?
Spring/81
x
1
?
(2 ?
labs)
FPA.310-6
THE ARTS
?
IN CONTEXT: THE
(first
?
offering: ?
Fat
1/81)
x ?
1
?
(5 ?
tut.?)
RENAISSANCE
(with
FPA.)I0-6)
F
P
A.313-6
THE ARTS ?
IN CONTEXT:
(first ?
offering: ?
Spring/82)
x
I
?
(3 ?
tot.?)
EUROPEAN ROMANTICISM
(with
FPA.1I3-6)
FPA.3I14-6
THE ARTS
?
IN CONTEXT: ?
THE
(first ?
offering:
?
Fa
1/82)
X ?
I
?
(14 ?
tut.?)
MODERNIST ERA
(with
FPA.I14-6)
FPA.316-6
THE ARTS ?
IN CONTEXT: ?
NORTH
Current ?
Spring/81
* I
?
(14 ?
tut.)
AMERICAN STYLES
(with
FPA.I16-6)
FP
A.370-3
TECHNICAL THEATRE
(first ?
offering: ?
Fail/BI)
x ?
I
?
(2 ?
labs?)
FPA.382-3
AESTHETICS OF PERFORMANCE
Current ?
Spring/81
X
I
FPA.3814-3
CRITICISM OF PERFORMANCE
Fall ?
1980
A
I
FPA.1489-5
INTERDISCIPLINARY PROJECT
?
IN
Current ?
Spring/81
(14 students)
FINE AND PERFORMING ARTS
NOTE: ?
denotes a course that has been approved
at ?
all ?
level,
but
has not
been offered as yet.
?
Semester of
first ?
offering
?
is
?
indicated.
THE FOLLOWING COURSES ARE AWAITING APPROVAL
FROM SENATE --
(Decision: ?
May/81)
FPA.372-2
TECHNICAL PRODUCTION
?
I
(first ?
offering: ?
FaII/81)
FPA.373-2
TECHNICAL PRODUCTION
?
II
(first ?
offering: ?
Spring/82)
S
0
.?
APPENDIX C - p.I
SPRING 1981 TEACHING PERSONNEL
FULL-TIME TENURE-TRACK PROFESSORS
It
(rnterdisc.) +
ALDERSON, Evan
(Dance) ?
+
ALOI, Santa
(Visual
Art) ?
BARBER, Bruce
*
(Interdiac.) +
BLASER, Robin
(Theatre) ?
DIAMOND, Marc
(Theat,e) ?
FELDMAN, Peter
(Dance)
?
+
GARLAND, Iris
(Film) ?
RAZUTIS, Al
(Dance) ?
+
STRATE,
Grant
(Music)
?
+
TRUAX, Barry
(Visual Art) +
WALL, Jeff
Assistant Professor - Joint with English Dept.
Assistant Professor
Assistant Professor
Professor - joint with English Dept.
Assistant Professor
Associate Professor
Associate Professor
Associate Professor
Professor
Assistant Professor - Joint with Communication
Assistant Professor
' Joint Appointments ?
+
Tenured
VISITING PROFESSORS
Visiting Assistant Professor (2.0)
Visiting Assistant Professor (0.11)
Visiting Assistant Professor (0.14)
Visiting Assistant Professor (0.8)
(Film)
KENDALL, ?
Nicholas
(Theatre)
MURPHY,
?
Vincent
(Dance)
PERREAULT, ?
Jean Pierre
(Dance)
SMITH-SLOSKY, Marc
FULL-TIME LECTURERS
(Interdisc.)
BARENHOLTZ, Jerry
(Dance)
EISLER,
?
Lee
(Interdisc.)
MACFARLANE, John
(Music)
MINTYRE
?
David
- joint with Computing Science Dept.
APPENDIX C - p.2
SPRING 1981 TEACHING PERSONNEL
LAB INSTRUCTORS
(il:n)
SMITH, ?
Mark
Lab
?
Instructor ?
I
SESSIONAL LECTURERS
Jul)
(
ELIOT-HURST,
?
Michael
- ?
from Geography Dept.
(Professor)
(?J:rdAsc.)
GIBSON, ?
Ed
-
?
from Geography Dept.
(Associate ?
Professor)
((r)tcdIsc.)
ZASLOVE, ?
Jerry
- from Geography Dept.
(Associate ?
Professor)
SESSIONAL ?
INSTRUCTORS
(Titrt?)
DOLMAN, Janet
GREENHOUGH, Karen
(;sudi ?
Art)
GUILBAIJT, ?
Carol
•'is
'
j1
?
Art)
MACWILLIAM, ?
David
MILLER,
?
Diane
POGROW, Gary
Ii: ?
irn)
REIF, ?
Tony
(nLiciisc.)
VARDEMAN, ?
Lynn
ZAPF, ?
Donna
TEACHING ASSISTANTS
(f,trdisc.)
FETHERSTONAUGH,
?
Dana
-
?
FPA.170
?
Introduction to Technical ?
Theatre
GREEHHOUGH, ?
Karen
-
?
FPA,121 ?
Contemporary
Dance Fundamentals
iu)
HOUTMAN, John
-
?
FPA.231 ?
The Crafts of
Film
?
If
'.ntidisc.)
INMAN, ?
Susan
- ?
FPA.116/316 The Arts
in Context: ?
North American
Styles ?
-
Dance Tutorial
(:11w)
McGARRY, ?
Michael
-
?
FPA.133
?
Introduction
to Filmmaking
(riisc.)
MacKAY,
?
Sherri
- ?
EPA, 116/316 The
?
Arts
in Context: ?
North American
Styles
?
- Visual ?
Art ?
Tutorial
(1(r1IsC)
MENDELSON,
?
Fred
-
4'
I. ?
I
APPENDIX D
?
Space Study - Centre for the Arts
Spring Semester - 1981
?
10-Week Analysis (I week
?
1
days; I day
?
5 ?
hours)
S.F.U. Theatre Building Complex
?
1. ?
Theatre Auditorium - 450 seats - specialized area
Productions and Production-Related Work - 52.8 hours/wk.
Public Events and Related Work
?
- 14.9 hours/wk.
External Users
?
- 2.1 hours/wk.
69.8 Total aver-age
hrs./wk.
a.
Auditorium Component Areas: Control Booth (lighting and audi')
equipment and controls), Attic (lighting instrument storit
and work area)
b.
Auditorium Sub-Component Areas: Foyers (often used for scenc
studies and rehearsals, as well as meetings within and w
p h--
out the department), Box Office (ticket sales, informMitn,
and office for 2 continuing and 4 temporary employe(:s)
Special Notes: The auditorium is most often unavailable for we
.
?
?
because of the presence of sets on stage or due to size nd?
technical restrictions.
?
2. ?
Sceneshop - specialized area - carpentry, paint and storage area
Productions and Production-Related Work - 35.5 hours/wk.
Public Events and Related Work
?
- 1.8 hours/wk.
Course Usage - (I course)
?
- 4.0 hours/wk.
Related-Course Work
?
-
?
9
41.3 Total averaq('
hrs./wk.
Special Notes: The scenéshop cannot be used while performances or
rehearsals are on stage due to a noise problem. The sceru-
shop has a limited work area due to its use as a major
storage and loading area.
3. ?
Room 109 - scenestudy - dressing room
Productions and Production-Related Work - 18.4 hours/wk.
Public Events and Related Use
?
- 14.0 hours/wk.
Course Usage (I course)
?
- 1.2 hours/wk.
Course-Related Work
?
- 1.8 hours/wk.
External Users
?
- ?
.6 hours/wk.
?
36.0 Total aver-'q°
hrs./wk.
0_2
pial Notes: Area is very small and subject to exhaust fumes.
RrnH8 - Audio Studio - specialized area - equipment room
Productions and Production-Related Work - 6.1 hours/wk.
Public Lveritc and Related Use
?
-
Course Usage (I course)
?
-
?
.5 hours/wk.
Course-Related Work
?
- 10.0 hours/wk.
16.6 TOtal average?
hrs./wk.
eciaI Notes: A special pass for admittance Is required for this
room.
5
?
:ism 116A - Theatre Dance Floor - special floor with barres and
mirrors
Productions and Production-Related Work - 3.4 hours/wk.
Course Usage (2 courses)
?
- 14.0 hours/wk.
Course-Related Work
?
?
- 15.0 hours/wk.?
32.4 Total average
hrs./wk.
1ial
Notes: This area is mainly reserved for dance students to
practice thoir compositions as they find time, therefore the
averqe should be higher due to their unmonitored use of this
space.
Pcxnn
11613 - Concrete Theatre - mainlystorege area
Productions and Production-Related Work - 20.9 hours/wk.
Course-Related Work
?
- 3.9 hours/wk.
248 Total average
hrs./wk.
icial Notes:
?
This area is also known as "the black hole".
?
It is
not conditioned for long periods of use without getting on the
nerves of the users. This area is also unusable due to its
direct proximity to the Dance Floor. Only one of-these areas
can be used at a time to avoid np.ise problems. The control
booth in this area has served as a designer's office in a make-
shift fashion.
kLorn 113 -Green Room - multipurpose
.
- open area
Productions and Production-Related Work - 3.7 hours/wk.
Course-Related work
?
4.0 hours/wk.
Student Union
?
8.0 hours/wk.
15.7 Total average
?
hrs./wk
Special Notes: This area is open to general traffic and noise; not
a good work area or meeting place. 'It is supposed to be the
Courses (I course)
Course-Related Work
- 12.0 hours/wk.
- 45.0 hours/wk.
57.0
Total
hrs./wk.
I. ?
S
?
I)-
student union's lounge.
8.
Small - Specialized Rooms
Rooms 111, 112, 120 and 122 - Dressing rooms; Room 129 - Storqe
and Lighting
Equipmeflt
. .ROOm
119 - Production Office; Room 115 -
Costume Sewing and Storage; Rooms 105, 106 and 107 - Prop.
dud
Departmental Storage - occasional office; Rooms 211 and
206 -
Technical Director and Stage Manager Offices.
9.
Studio I - specialized music area
Courses (4 courses)
?
- 14.0 hours/wk.
Course-Related Work
?
- 35.0 hours/wk.
49.0 Total averafle
?
hrs./wk.
Special Notes: Piano in area demands almost exclusive use of fti
space by music
.
program students and faculty.
0. Studio 11 - performance/lab area - specialized
Productions and Production-Related Work - 21.5 hours/wk.
Course Usage (5 courses)
?
- 26.0 hours/wk.
Course-Related Work
?
- 3.9 hours/wk.
Film Shooting ?
- 3.3 hours/wk.
.
?
External Users
?
-
?
.2hours/wk.
54.9 Total aver.uie
?
hrs./wk.
Special Notes: As a performance/production area, this space is
quite
solidly used through the semester by students and faculty. The
space has lighting equipment for this purpose. It is
an in
serious need of repair, particularly structurally.
II ?
Ceiltre for the Arts Complex
I.
?
Visual Arts Studio 200- specialized area - workspace and off
?
ic
Special Notes: This area is a workspace as well as teaching area for
Visual Arts; carpentry and video project
s
are assembled hcre as
well as more conventional displays. The large, open size
Of
this
area is necessary to the courses and projects taking place wiThin
it. ?
-
. ?
Office Areas - Room 203 - 1 person, Room 202.- 2 person'-,
Poorl,
205 - 3 persons, Room 211 - 2 persons, Ro
o
m
'l? -
I)-4
2 persons, Room 213 - 2 persons, Room 214 - 5
persons
Total = 17 persons - all faculty offices
Theatre Studio-300 - open area - lab performance space
Productions and Production-Related Work - 20.0 hours/wk.
Course Usage (4 courses)
?
- 38.0 hours/wk.
Course-Related Work
?
?
- 5.7 hours/wk. ?
63.7 Total average
hrs./wk.
Special Notes: This is a small but nice performance space with
better possibilities than Studio II. A simple lighting and
audio system is in this area. There are problems with trans-
porting risers and seats for performances into this area.
[irIce Studio-401 and 402 - specialized - barres, mirrors and floors
Productions and Production-Related Work - 11.0 hours/wk.
Course Usage (5 courses) ? - 40.0 hours/wk.
Course-Related Work
?
?
- 8.0 hours/wk. ?
59.0 Total average
hrs./wk.
Special Notes: As with Theatre Dance Floor, this area is also used,
when ree and unmonitored, by Dance students for their composition
studies, therefore, the average is low. The floor In this area
has been a problem.
4..
?
LLLm Studio and Editing Tr-èi lers-520 àhd 530 - specialized
Course Usage (3 courses) ?
-
?
22.0 hours/wk.
Course-Related Work
?
?
- 50.0 hours/wk. ?
72.0 Total average
hrs./wk.
Special Notes: See J. Macfarlane memo to Assoc. Dean, Dec. 17/80.
Equipment storage room in trailer A-I, also office for staff
person. C.A.52I - 2 faculty; Rm. 508 - 2 faculty; Trailer A-2
editing and storage facility. These rorns are overscheduled
and crowded.
5. ?
MitiOffice Area-500 - Office space for 20 people and machinery
Room 509 -
Room 505 -
2 faculty,
staffperso
Room 512 -
this area.
Director, Room
I staffperson,
Room 519 - 2 s
ns, Room 510 -
I staffperson.
507 - 2 faculty, Room 506 - 2 faculty,
Room 504 - I staffperson, Room 514 -
affpersons, Room 500 open area - 3
I staffperscn, Room 511 - 2 staffpersons,?
Heavy office equipment also housed in
I
Special Notes:
?
small area for so many people. Conference
. ?
Room in this area doubles as lunch, gathering area when possible
but seldom is available due to large number of meetings held
here out of necessity.
Ill ?
Other Centre Areas
I.
?
AQ200I - Dance Stud
?
- specialized - barres, mirrors and floor
Productions and Production-Related Usage - 1.0
hours/wk-
Course Usage (3 courses)
?
- 20.0 hours/wk.
Course-Related Usage
?
?
- 15.0 hours/wk.
?
36.0 Total average
hrs./wk.
Special Notes: As with CA Dance Studio and Theatre Dance Floor,
students use this area for practice as much as is possible.
This is a heavily-Used weekend space.
2. ?
Studio ?
specialized
Courses (I course)
?
- 6.0 hours/wk.
Related Course Usage
?
?
- 35.0 hours/wk.
?
41.0 Total average
•
hrs./wk.
Special Notes: This is an unmonitored area, however, indications are
that this is a
?
active work area as students are requesting
other space due to lack of available time and space in this arei.
3.
Q- Art Gallery - specialized
Houses exhibitions and S.F.U. collection of art works. Off
ic:e
of I staffperSOn.
4.
112W. Hastings Street _ViiaLArtS Studio
- specialized
Courses (I course)
?
- 8.0 hours/Wk.
Course-Related Usage
?
-
*8.0 Total average?
firs ./wk.
Special Notes: There is no way of knowing how busy this space is
after class. It certainly gets some use from students on their
projects but as it is unmonitored, total average time cannol be
calculated. The space is in constt use as studio space
for
dV,jIiCed
Visual Art students.
IV Non-Centre A
?
B°0kojyj fi I I Space Requirements
0
D--:()
A. ?
'necialized Areas for Special Course Needs
?
S
I.
Images Theatre
-
?
I Course
- ?
8.0
hours/wk.
2.
Multi-Mdia Theatre
- 3 Courses
- ?
6.0
hours/wk.
3.
CC 8100
- 5 Courses
-
?
16.0 hours/wk.
4.
CC 6117
?
and ?
6118
- I Course
- ?
6.0
hours/wk.
10 Courses
-
?
36.0
Average hrs./wk.
[3.
Rlar
Classroom Bookings
I.
Robson Square/Downtown
Campus- '-
2
Courses
?
-
11 .0
?
hrs./wk.
2.
AQ 3140A
- 2
Courses ?
-
2.0 hrs./wk.
3.
AQ 5018
-
?
I
Course ?
-
2.0 hrs./wk.
4.
AQ 5020
- ?
I
Course ?
-
2.0 hrs./wk.
5.
AQ 5051
- 2
Courses ?
- 2.0
hrs./wk.
6.
CC 5100
-
?
I
Course
?
- 4.0 hrs./wk.
7.
TLX 8509
- 2
Courses ?
-
3.0 hrs./wk.
8.
TLX 9501
-2
Courses ?
- 2.0 hrs./wk.
13
Courses
?
-
28.0 Average
hrs./wk.
Total Courses Booked Outside Centre
?
- 23
Outside Centre Total Average Hours/Week Booked - 64.0
S
Total Courses Booked in Centre Areas
?
- 32
In Centre Total Average Hours/Week Booked
?
- 205.7
Total Average-Hours Booked for Courses
Total Average-Hours Booked
- 269.7 hrs./wk.
- 719.8 hrs./wk.
0
APPENDIX E
?
Equipment Summary
Centre for the Arts
is
?
(Spring 1981)
S.F.U. THEATRE
A)
LIGHTING SYSTEM
-
Dilor 195x2.4 KW dimming system with K.liegl Performer II
microprocessor controller (125 channels). Also intet 1ce
with Dilor three scene manual controller (60 channels) for
teaching and backup.
- 172 stage lighting instruments of varied descripiiorr.. Approxi-
mately half are new, half are nearing end of useful lifo.
- complete Inventory of stage cable
- sidelight ladders, scaffolding, boom stands, etc., comprh;in(i?
varied though somewhat limited inventory of stage hardwart
B)
MAINSTAGE AUDIO SYSTEM
-
8 channel reproduction and record system with JBL Studio Monitor;,
. ?
Altec amplifiers, equalization, peak limiting.
?
Primarily a tape
and live system. The stage and house are wired for flexible micro-
phone and speaker placement. Mixing is by four ganged portable
Sony mixers and plans include replacement with a unified, thedtrHa1
mixing console. System also includes a complete ClthIr-(:orn
tiundplicr*
communications system.
C)
AUDIO STUDIO
-
basement audio studio to be expanded Summer 1981 for use uis
Electronic Music Studio in Contemporary Music Minor Proqram.
Currently includes three Sony Quad tape recorders (" format),
cassette and turntable, Tascam 12 in 4 out studio mixiri(i console,
JBL Studio Monitors. In addition some older tape recorder", Ind
amplifiers from this studio will be included in a small audio
workshop facility for the new program.
D)
STEINWAY CONCERT GRAND PIANO
E)
THEATRE SCENESHOP
-
basic construction facility for technical theatre teachinq,
Ilpl)orl
• ?
of teaching productions and public events. Includes
rddial saw
(replacement already requested), bandsaw, table saw, drill pr;:.,
lathe, power saws, router and dri I Is. Also has a col
IccHon
kit
carpenters hand tools. Specialized scenic equipment also incliidino
airless sprayer is .stored elsewhere for use on stage.
H
STAGE
MANAGER'S STORAGE
?
S
--
hand tools, electronic; gear and parts specifically reserved
for the use of the Centre's union..crews and naintenance technicians.
In nIii 'ion o the equipment referred to above, the theatre has a costume
col c(-1
ion and sewing facility which is rather small by theatre standards
nni
1 1,mps col lection that is equally minimal.
?
Al I
?
I lie
above fad i I ities and equipment are used equally for teaching
Iv. , I-h Ji rec.
tly and as production support) and public events presentation.
?
;i 1il l)
?
-
I ?
(fi.
H;
IC)
facility is devoted entirely to the teaching of Music courses.
equipment includes a Heintzman baby grand piano, a Sony sound
y tern with receiver, cassette deck and reel to reel recorders,
piicrioqraph, and a .1 imited collection of musical instruments including
vibraphone and drums.
--
cl
rnu'.ic
the
also
Centre.
makes
?
It
use
consists
of a small
of
,
turntable,
music previewing
amplifier,
system
speakers
in the
and
offices
?
5
h
'
a d p hones.
?
';'l'th ) I ('
?
I ?
TI ILATRE
- entirely used as a teaching facility for theatre
- icjhting system: 12 dimmer Strand system, 43 stage lighting instruments
nrrd cable
- older Viking portable sound system
--
ore
sot Wenger seating risers
- I I 1 umb I i ng mats
- I() orange stacking chairs (used throughout Centre for classes arid
perl'ormance). These chairs wear out steadily and will soon require
replacement.
0
d ?
I
S ?
DANCE STUDIOS
- Dance is not intensively equipped in comparison to the other
aced
of the Centre. However its equipment does include a portable
Mirtuy
stage floor for the Theatre main stage , a portable bal lel barre y:;Hrii,
two upright pianos, and several drums.
?
In addition Dance tin; a
?
ny
reel to reel video portapac and camera system and several casel H
and reel to reel tape recorders. The hal I el classes wilt require
It(
purchase of a suitable floor cove.ring for i\Q 2001 (is Ilu cuteiil
?
Ii
is too slippery for ballet.
C.A. VISUAL ARTS STUDIO
- small collection of portable power and hand tools
- video equipment
- I Sony 3/
4
' colour video cassette recorder and two camera;
- studio 3/4"colour Sony video
c:a;setto
recorder
S ?
-
3/4 colour Panasonic colour edit system with microproce
?
eon!i1
- I lighting kit
C.A. THEATRE STUDIO
- used for teaching of theatre and small dance and theatre P.'
odijel
HT1'
-
sound system simiHr to Studio I with reel to reel, cas;elH, tuner
and phonograph
— 7 Bardwel I lighting instruments for illumination
- ?
- 10 tumbling mates
- upright piano
PRODUCTION EQUIPMENT
This is used in various combinations, depending upon course level and
1 ?
I
A
- 7 sync cameras wilh 2 lenses and accessories
- I variable speed silent camera with 6 lenses
-
.1
Bolex camera bodies and cases
- 14 13o I cx lenses
-
1
super 8 cameras
-- II I iqht meters
- B tripods
-
-
I
I
optical
animation
printer
stand and
and
accessories
accessories
(requires
(requires
one
one
of
of
the
the
Bolex
Bolex
cameras)
cameras)
?
5
-
2
sync tape recorders and accessories
- 9 microphones for tape recorders
- B cassette tape recorders
-
7
sets headphones
- 25 lights and stands
[3) ?
V TDEO
-
Panasonic double camera studio system with switcher - 3/4!I colour
cassette
- Panasonic portapac 3/411 colour cassette video recorder
- Sony
3"
colour cassette studio recording deck
- older Philips B/W 2 camera studio system with switcher. This
system, although useful for teaching, is near the end of its life.
POST PRODUCTION EQU!PMENT
- I four plate editing machine (Steen Beck)
- I six plate editing machine (Steen Beck)
- 3 editing synchronisers
-' I
motorized editing synchroniser
- 5 16mm editing viewers
- 5 sets film rewinds
- 7 film splicers
- I (Moviola)
2
arm editing machine
- 2 (Eiki) 16mm projectors
- I (Athena) 16mm analyst projector
-
4
super 8 projectors
.
?
S.F.U. ART GALLERY
- sound system for Gallery music
- camera system
*
.
is
APPENDIX F
?
Library Resources
Centre for the Arts
is
?
Step I of the Fine and Performing Arts library survey, just coru:IudJ
by consultant Helen Moore, is submitted as a statement of resources. if
is really an investigation of problem areas and is riot intended to k
detailed inventory of acquisitions.
.
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1 -4
FPA SURVEY
2. METHODOLOGY
Books
Shelf list measured (100 cards to the inch) in these LC classes,
in consultation with Natalia Bohan.
M ?
MUSIC
N ?
FINE ARTS
PG 3240-3255 RUSS
?
DRAMA
3071-3089
PN 1600-3299 GENERAL
?
INDIVIDUAL
PLAYWRIGHTS
PQ 500- 591 FRENCH
?
INTERSPERSED
?
1211-1241 ?
IN
COLLECTION
4133-4160 ITALIAN
?
WERE
?
4227-4245 ?
NOT
MEASURED
6099-6129 SPANISH
6217-6239
9083-9095 PORTUGUESE
9164-9170
PR 621- 739 ENGLISH
1241-1273
PS 330- 351 AMERICAN
. ?
623- 635
PT 605- 701 GERMAN
1251-1299
5250-5295 DUTCH
5490-5515
7800-7832 DANISH
7999-8020
8500-8534 NORWEGIAN
8699-8718
9415-9449 SWEDISH
9605-9625
II Periodicals
Computer printout of Fine and Performing Arts Serials produced
by Ann Liston. After deleting see references, ceased public-
ations. and year books, annuals, indexes, directories, et al.
an actual periodical count was reached.
0
S
FPA SURVEY
2. METHODOLOGY (CONTINUED)
II! RECORDINGS
These are used in the Library in the form of circulation
copies of tapes called PHONO-TAPES. On the advice of Kurtis
Vanell, IMC, I counted not the entries In the Library cat-
alogues, but the entries in KVs shelf list in his office,
as being more up-to-date. This home-made but thorough card
catalogue contains broad subject categories under which cards
are filed alphabetically by composer or performer. Each tape
carries an accession number. For the greater part, one work
only is found on each tape. Cards could not be measured but
had to be individually counted as Kurtis had employed many
added entries as a finding device useful to him, without the
Anthology
formal library device of a MAIN ENTRY. 'Headings FPA related:-
?
5
Course tapes
CBC programmes
Modern history
Lectures
Spoken Drama
Jazz by artist
Electronic composer
New music
Pop by artist
Specialty
Folk by artist
Folk by country
Classical by composer
r —6
40
0 ?
FPA SURVEY
2. METHODOLOGY (CONTINUED)
IV AUDIO-VISUAL located in CENTRE FOR THE ARTS
Interviews with Faculty and staff located various holdings
of materials bought from Centre budgets and shelved or
housed, for convenience at the Centre.
1. Slides 35 an
a)
housed in CA 203 Slide Library
The count was given to H. Moore and B. Barber
(Visual Art)
See separate report on Slide Library.
b)
Housed In CA 506
Peter Feldman (Theatre) showed me Theatre Teaching
slides bought with Centre funds which I counted from
information sheets supplied with sets.
S
2. Films
a)
Interview with Evan Alderson. HM did not see.
b)
Interview with Mark Smith, Centre Production Mgr.
and personal count.
3. Recordings
Interview with Truax, McIntyre and Zapf.
Count is Truaxs estimate.
V
?
AUDIO-VISUAL MATERIALS LOCATED IN
INSTRUCTIONAL MEDIA CENTRE
1.
Phono-master-tapes.
HM counted Kurtis Vanells shelf list.
2.
Video-tapes. HM counted from IMCs catalogue.
3.
Films. HM counted from IMCs 1978 catalogue and later
accession lists supplied by A-M. Mallnski.
5 ?
4. Slides 35 mm. tIM counted
from INC S
master list of Art
Related Subjects supplied by A-M. Malinski.
—I
-F
-8
r-
S
FPA SURVEY
2. METHODOLOGY (CONTINUED)
VI SOURCES USED BY FPA faculty and Sessional Lecturers unrelated to
LIBRARY, INC or CA.
1.
HM interviewed Ron Franklin, Media Technician C.C. 6122.
Count given to RN by RF.
2.
HM interviewed Rick Percy, Archaeology Museum who said their
film were all housed In IMC. Such 35 mm slides as they had
were Departmental teaching materials presently unorganized.
S
0
FPA SURVEY
3. COMMENTS RELATING TO LIBRARY
In the course of interviewing members of the Fine and Perfonning
Arts Centre, comments relating to the Library were made which
are passed on for your information.
COLLECTIONS
1)
?
Alol (Dance) Felt Garland in better position to give bibli-
ographies; Mentioned importance of having good DANCE films
in collection.
Mentioned expense of student dancers' clothing vs expense
of books. Aloi would expect books to be accessible in
Library. Indicated not enough copies of dance books on
reserve; not enough books in modern field in library, folk
dancing books not at all useful.
Requested separation Dance Theatre books from Physical
Education books as a useful step for students to produce
a cross-fertilization of Ideas. Requested more titles on
criticism: Martin Segal. Jewett, Croce.
Recommended Vision, of modern dance.
ii)
Alderson (CA, Sabbatical)
Aldersons comments were of a policy nature relating to a
small materials collection and to the establishing of a
slide libr'ian position.
iii)
Barber (Visual Arts)
Barber was organized and thoughtful about his requirements.
- need full time slide librarian
- need periodical holdings to support RILA index
- finds BLACKWELL blanket orders not pertinent to his
teaching needs, e.g. catalogue ralsonnee of an artist is
a very expensive work and faculty member may prefer to
have more titles on an artist or field before acquiring
•
?
the catalogue raissonnee.
- need multiple copies basic works. i.e. Gonibrich. Berger.
I
F—IO
EPA SURVEY
3. COMMENTS RELATING TO LIBRARY (CONTINUED)
COLLECTION (Continued)
- need duplicate circulating copies of special select
bibliographies (Marxist Aesthetics) as well as reference
- need all major bibliographies
- sees North American artists under-represented. From
1830 up but special emphasis 1940 on.
- referred to Jeff Walls bibliography?
iv)
Feldman (Theatre)
- referred to Rodenbergs list? Asked if it has been filled
- says lack of critical, analytical works
- Says students say not enough play-reading sets. Suggests
buying multiple copies play scripts 20th C. predominantly.
Most concerned about play scripts but also plays in collec-
tion.
- It is to be noted that this Professor had a large personal
paperback library in his office which he made available
to students.
- Feels Library should have copies of course texts.
PHYSICAL: shelving. Commented on shelving by country; would prefer
by form.
- Noted deficiency in holdings of Canadian plays and
criticism thereof.
v) Hurst (Film)
Michael Elliot Hurst indicated that he was a Sessional
Lecturer in F. & P.A. with no voting power In Dept.
meetings.
Not aware of any F.& P.A. library liaison person.
No easily identifiable route to place orders for books.
?
- Feels all films on campus should be centrally located?
for logistical reasons, e.g.: new DOWNTOWN CAMPUS.
Major concern to show films; spends his centre budget on
film rentals and freight. Feels Centre would benefit from
owning films, improved teaching methods especially at 400 level.
0 ?
FPA SURVEY
3. COMMENTS RELATING TO LIBRARY (CONTINUED)
COLLECTIONS (Continued)
Draws on Communications Centre CC6122 for some 20 items per
semester even though no copyright clearance.
vi) McIntyre, Truax, Zapf (Music)
These three faculty members interviewed together.
- Recordings in CA 504 considered prime teaching materials.
Bought with centre funds. Partially catalogued only, Music
faculty just know what is there. They Indicated it should
be taped soon for preservation. It is a cross section of
music history, so far only lOX contemporary.
Zapf (Musicologist) uses her own recordings and borrows
from University of British Columbia Music Library (Wilson).
Zapf commented music tapes In RESERVE ROOM made on voice
quality tape, not music quality tape. Does not reconumiend
students listen to them. The three music professors con-
sidered this whole group of tapes in LIBRARY to be course
tapes and subject to erasure. They were most unclear about
access to these materials. All three said they were not
aware tapes were there in AV (IMC)." All were surprised
when HM showed them KVanells subject headings.
ORDERING SOURCES: These faculty members stressed that the record-
ings needed fur the new Contemporary Music Minor were
unique; that the sources were unique and expressed their
intention to order new records with funds from Emergent
Funding and keep in their own offices.
SPECULUM Indicated not teaching music as a separate art; needs to
be adjacent to other arts. Library should be a mirror to
the courses taught. Tapes and listening room should be
adjacent to each other and to the books.
To conclude MTZ feel they would be greatly assisted by a
master list of the music collection as it stands before
beginning to add to the collection. (Books and periodicals).
.
F-12
EPA SURVEY
3. COMMENTS RELATING TO LIBRARY (CONTINUED)
COLLECTIONS (Continued)
vii) Razutlz (Film)
Indicated Library deficient In contemporary critical
writing.
- mentioned SCREEN (periodical)
29 Old Compton Road, London WN5PL
also Wide Angle and Camera Obscura.
- all books by Metz
- would prefer a library' film screening facility as IMC
has limited facilities and proliferation of courses has
created an overload for IMC.
- A.R. has personal collection (2 dozen more or less)
contemporary trade journals which he loans to the
University.
MARK SMITH, PRODUCTION MANAGER, when asked, stated that he
felt Centre should have a Media Resource Centre for exped-
iency. Mentioned student access to sound effects tapes
difficult (that of the three day loan) and competition
here with Truax's Sonic Tapes (fl.
0
. ?
FPA SURVEY
4. COMMENTS RELATING TO FPA CENTRE
These comments I deem to be related to the Centre Administration
and given here for your information only.
PERIODICALS:
Some dissatisfaction re the routing and storing of Centre-purchased
FPA periodicals.
LIBRARY LIAISON
Some lack of knowledge of placing book orders, whether or not to
expect feedback and so on.
PHYSICAL
Office collections held In lieu of a media resource centre at the CA
and distance from LIBRARY and desire to keep close watch over necessary
teaching tools; not wanting to enter materials in an open access University
situation.
Evan Alderson presented the most complete concept for a small
materials collection kept separate from the monographs and serials. This
would be different from a Fine Arts Library: ideally there would be a
Fine Arts Library. This small materials collection would house records
and video tapes. This would need to be expanded on by Professor Alderson.
-1
0
S
F— I 4
FPA SURVEY
5. COMMENTS OF CONSULTANT
FACULTY-LIBRARY
LIAISON
This department, the FINE & PERFORMING ARTS, stands In immediate
need of a Faculty-Library Liaison member. Mr. Bridwell of the Humanities
Division, cannot and should not be expected to operate in a vacuum buf-
feted by the problems of reduced budgets, Inflationary book and period-
ical prices, changing faculty, unresponsive faculty, and rapidly estab-
lished new teaching programmes. COLLECTION BUILDING, both retrospective
and current, is time Consuming, hard, professional work and not accom-
plished over-night. It requires subject specialists working closely with
faculty, and Ideally, before
p
rogrammes are established.
Not only collection building, but also the subtler aspect of faculty-
library understanding it brought to mind. M
y
own perception In Interviews
was that some members of the
D ep
artment perceived the library to be un-
responsive when in fact the Department members were probably more likely
simply unaware of the operational hazards of a University Library Acquis-
itions Department.
INSTRUCTIONAL MEDIA CENTRE
The relations of the members of the Department to the IMC were Stated
and Implied throughout this survey. They were mixed, ranging from con-
structive criticism to milk compliments. Scniie Faculty who use film ex-
tensively found the Centre to be helpful, resourceful, useful, knowledge-
able in making bookings and so on. Others stressed the awkwardness in
making room bookings, obtaining technical assistance (loading projector,
e.g.) or "bureaucratic" difficulties for students In use of screening rooms.
The INC was seen as helpful in obtaining art slides through photo-
graphing at UBC LIBRARY Fine Arts Division some years ago. I did not in
the short period I'used the Centre see anyone Consulting 51 ides in the
viewing room.
A Theatre professor said he was, "unclear how they operate" ...for
example •they
'
dont do posters (advertising).
Another comment said INC has been "helpful up to a point" but now
they were 'overloaded."
0
?
FPA SURVEY
I -Ili
'NOTES TO SLIDE LIBRARY?
CENTRE FOR THE ARTS. SIMON FRASER UNIVERSITY
S
F-16
FPA SURVEY
NOTES ON SLIDE LIBRARY, CENTRE FOR THE ARTS
35 rrrn slides are housed in room 203 of the Centre, In 36 wooden
drawer cabinet with brass plate labels Identifying major schools. The
slides total approximately 10,000.
There Is no question in my mind that this important resource is in
the worst condition of all the audio-visual materials and requires immed-
iate attention.
PHYSICAL
1.
Strip lighting - if lights turned off in nearby professors
office, they all yo out. Needs Individual lights.
2.
Carpet on floor - dust.
3.
No air conditioner or air purification, necessary to bind slides
in pure atmosphere.
4.
No blinds on windows which face south. Heat is destructive of
negative storage. Light must be able to be excluded for viewing.
5.
Size of room 12' x 10' approximately and presently serves as
office for a faculty member.
A separate room is required, large enough for slide librarian
and faculty members laying out lectures.
6.
LIGHT TABLE CUM processing table now occupies one wall of room
203. Chair to work sitting down, presume also used by faculty.
Slide room would require clean separate preparation area.
DRAWERS
1.
Drawers move easily but are open to dust even though slides
mounted and do not pull out completely so drawer above impedes
your reaching to back 3' of drawer. POOR design.
2.
Only one light at present, difficult for two persons to lay out
their slides at one time.
3.
Drawers hold about 600-800 mounted slides to a drawer, can't
use back couple of inches. Say 36 x 700 - 25,200 when all full,
but RECOMMEND doubling because many other periods and countries
yet to come and they need a separate drawer each.
bu
. ?
FPA SURVEY
SLIDE LIBRARY (Continued)
SLIDES
1.
unattributed
2.
unmounted (cardboard, not yet In glass)
3. unmasked
4.
badly masked
5. misfiled
6. mislabelled
7. I
nadequate coverage of Subjects taught
8.
irrelevant collections to areas taught
9.
lying in cardboard boxes on floor
10.
lying on top of table unprotected and open to dust and FINGERPRINTS
11.
stored In metal filing cabinet In same room should be incorporated
In Collection
12.
340 glass mounted slides In plastic sleeves on top of cabinet
• ?
waiting to be filed
13.
lacks separate card file for student
p
re-selection (If desired)
14.
Nineteen boxes of slides received Sept. 28, 1976 from BUDEK, E.
Pr
ovidence, Rhode Island still
unmounted
in Individual shipping
boxes, about 190 slides.
P
rinted attributions accompany boxes.
These could be very quickly Processed by untrained person.
(Person would have to know slide mounting techniques)
?
Typist
would be required to type labels).
15.
Slides also housed on top of cabinet in plastic sleeves in
binders, e.g. Blake (BM) 282 slides.
16.
Some ordering slide source catalogues shelved in room on top of
cabinet. Others personal, held by Prof. Barber.
17.
a) Typed slide collection: suggested policy and loaning
procedure
b)
also request for funds for PYEG student
c)
Fine Arts Slide book catalogue 'Corrected copy" no ddte,
two copies.
9
0
F- 18
FPA SURVEY
SLIDE LIBRARY (Continued)
The briefest examination of the Literature shows the use of a Slide
Librarian to be a paramount position to be filled In the Centre for the
Arts. Such a position would accomplish:
I)
?
the preservation of a costly resource,
ii)
the expediting of Its use by Faculty because professionally
organized,
iii)
the proper building up of the appropriate art areas.
In Betty Jo Irvine's. SLIDE LIBRARIES 2nd ed. Colorado, Libraries Unlimited,
1979 she says:
If a college or university Is developing a media program or
center, the proper administration of the slide collection
belongs to this program and should include appropriate pro-
fessional and support staff.
