As the music unfolds, composition and improvisation seem to flow together into a dream-like continuum where jazz and new music meet. To reach this place, Delbecq and Houle have worked for years extending the techniques of their instruments and creating their own language of musical gestures for purposes of spontaneous musical composition.

For our fourth Thinking Spaces session, we are excited to welcome Dr. Karamjeet Dhillon. Join us on Monday October 2 2023, 2:00PM-3:30PM to listen to this award-winning scholar discuss and share ideas about the nature of lived experience, sensory ethnography, and post-intentionality phenomenology. This talk takes place in-person in ImprovLab, University of Guelph. Registration is required to attend. Sign up now!

In the wake of BLM, MeToo, the COVID-19 pandemic, and changing audience and creator dynamics, the Shakespeare Industry (arts organizations and academic institutions alike) has finally realized that Shakespeare wasn’t just a basic white guy; “Shakespeare” can be – indeed, *is* – Black, trans, Indigenous, gender queer, disabled. While historians like Sawyer Kemp, Andy Kesson, Ayanna Thompson, and more work to uncover the previously invisible histories of Shakespeare’s own queer and coloured worlds, artists like Emma Frankland, Dawn Jani Birley, Reneltta Arluk, Nataki Garrett, and more are devising creation room practices that not only permit, but *rely upon*, the whole selves of equity-deserving artists previously excluded from Shakespearean spaces to shape the worlds of rehearsal and the plays in performance.