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Authority record
Corporate body

Abbott-Ferguson Productions Ltd.

Abbott-Ferguson Productions Ltd. was established in the late 1970s by Roger Abbott and Don Ferguson, two of the principals of the Royal Canadian Air Farce comedy troupe. Together they acquired a 55% stake in Air Farce Productions Inc. which had been incorporated in 1978 to formally establish the ownership and management of the creative work of the group. During the 1990s Abbott-Ferguson Productions subsequently bought out the shares from other troupe members and co-owners Dave Broadfoot, Luba Goy, and John Morgan, becoming the sole owner of Royal Canadian Air Farce and its creative properties. After the death of Roger Abbott in 2011, Don Ferguson became the sole owner of Abbott-Ferguson Productions, and by extension, of Air Farce. Abbott-Ferguson Productions Ltd. remains active as of 2020. Until 2008, the primary focus of Abbott-Ferguson Productions was on the development, production, and delivery of Royal Canadian Air Farce radio and television programmes, as well as national concert tours; live stage productions; books; and home audio and video releases. The roots of Royal Canadian Air Farce exist in the improvisational theatre revue The Jest Society. Established in Montreal in 1970, The Jest Society took its name from then Prime Minister Pierre Trudeau's goal of making Canada a "just society." The original cast included co-founders John Morgan and Martin Bronstein, as well as Patrick Conlon, Gay Claitman, and Roger Abbott. Don Ferguson joined the group when it moved to Toronto in the fall of 1970. Patrick Conlon and Gay Claitman chose not to move and remained in Montreal. Luba Goy joined in January 1971. Favourable reviews caught the attention of CBC Radio, which engaged the group to perform on its weekly variety show The Entertainers. The group renamed itself Royal Canadian Air Farce in 1973 with the performing ensemble comprised of Roger Abbott, Luba Goy, John Morgan, Dave Broadfoot, and Martin Bronstein; Don Ferguson was one of the show writers. In 1974, Bronstein stepped away from performing to concentrate on writing and other interests, and Ferguson became a writer-performer. In 1977, Gord Holtan and Rick Olsen joined the group as apprentice writers. The Royal Canadian Air Farce radio shows were broadcast on CBC Radio from 1973-1997. This longevity marks their success in attracting and keeping a strong national audience with their satirical sketches skewering the cultural and political events of the day. Taped in front of a live audience, the shows were first recorded at the Curtain Club in Richmond Hill, Ontario, and then subsequently at the CBC's Cabbagetown Studios on Parliament Street in downtown Toronto. From 1984-1992, the troupe began touring across the country to record their weekly broadcasts, tailoring sketches to the local audience. Attempts at television during this time were unsuccessful as the medium was unable to accommodate the troupe's need for its topical content to be broadcast as soon as possible after recording. A one hour television special was broadcast on CBC in 1980, leading to a ten week series that was aborted by a CBC strike, and two subsequent specials on the network. In 1984, a live Toronto stage show was recorded and subsequently broadcast on Global television. A critical development occurred in 1991-92 when CBC consolidated its Toronto operations in downtown Toronto. The new Canadian Broadcasting Centre housed an extensive collection of costumes, a large wardrobe department, hair and make-up departments, and contained full carpentry and paint shops. The quick turnaround from script to broadcast enabled by this development led to 1992: Year of the Farce, which was televised as a satirical New Year's Eve special to such great ratings success that the troupe was able to begin its long run as CBC Television's highest rated weekly television series. The series ran from October 1993 until the end of December 2008. The radio and television programs ran concurrently until May 1997 when the radio show was discontinued in order to focus completely on television. Making the transition to the television series as performers were Roger Abbott, Don Ferguson, Luba Goy, and John Morgan. Dave Broadfoot retired from the cast in 1989 to pursue a solo career but, as a respected colleague and mentor, he made regular special guest appearances on the television series for many years including the final regular broadcast in 2008; Broadfoot passed away in 2016. Morgan retired from Air Farce in 2001, and the regular troupe was joined by many guest stars, some of whom subsequently became regulars. New cast members included Jessica Holmes, Alan Park, Craig Lauzon, and Penelope Corrin. The fifteenth season of the series was aired live under a new name, Air Farce Live, in 2007-2008. The final half-season ran from October until December 2008, and returned to the previous production schedule, which saw the show recorded in front of a live audience on Thursday evenings for broadcast on Friday. From 2009 until 2019 Air Farce reunited to perform its very highly rated New Year's Eve special broadcasts with a mix of performers. John Morgan passed away in 2004, and Roger Abbott remained with the troupe until his death in 2011. Long-time show writers Gord Holtam and Rick Olsen retired at the end of the 2008 season. Over the years Air Farce and its cast were recognized with many awards including the Governor General's Performing Arts Award for Lifetime Artistic Achievement (Broadcasting) in 1998; a star on Canada's Walk of Fame in 2000; a Juno Award for Comedy Album of the Year in 1979; and the Earle Grey Award for lifetime achievement in Canadian television in 2000 as well as twice winning the viewer-voted People's Choice Award for favourite television program. The cast were the first Canadians inducted into the International Humour Hall of Fame in 1992, and were inducted into the Canadian Comedy Hall of Fame in 2001. In addition, cast members have been the recipients of multiple ACTRA awards. Other television projects produced by Abbott-Ferguson Productions include: three solo television specials performed by Air Farce mentor Dave Broadfoot; SketchCom, a series developed to showcase promising new comedians and comedy troupes; and XPM, a two-episode sitcom about a former Prime Minister starring Don Ferguson, Dave Broadfoot, Kathy Greenwood, and Jessica Holmes. In addition, Abbott-Ferguson Productions has been involved in developing and producing various comedy-related projects such as CBC Radio's comedy archive show, Comedy Classics, and other programs.

Alex the Folk Band

  • Corporate body
  • 1989-

Alex the Folk Band is a seven-member, music-making cooperative that specializes in harmony vocals and fiddle-based instrumentals. "The band has released three albums over the years — the self-titled debut (2004), Alex in the Kitchen (2009) and OK, Heaven, Here I Come (2012). They used to average 10 gigs per year." http://www.orilliamatters.com/local-news/friendship-and-folk-fuel-alex-30-years-later-1311177#:~:text=Current%20band%20members%20Gord%20Ball,banjo%20and%20harmonica%20with%20Alex.

Alliance of Canadian Television and Radio Artists

The Alliance of Canadian Television and Radio Artists (ACTRA) negotiates and administers collective agreements and sets minimum rates and basic conditions governing the English-language radio, television and film industry. ACTRA is composed of three guilds, and had its genesis in the Association of Radio Artists (1943), assuming the name Association of Canadian Television and Radio Artists in 1961. In 1984 ACTRA was reorganized and the first word in the title altered to 'Alliance'. The ACTRA Awards were first given in 1970 honouring Canadian writers, broadcast journalists and performers.

Alvorado

  • Corporate body

Art Gallery of York University

The collection of art at York University was established in 1959 when a decision was made to allocate.5% of all building budgets to the purchase of works of art for public display in the new buildings. An art selection committee headed by Mrs. J.D. Eaton was responsible for selection of works. The committee, formalized as the Art Advisory Committee in 1963, enjoyed a close relationship with the Faculty of Fine Arts. In 1968 Michael Greenwood was hired as Curator of the university collection. He remained in that position until 1984 when he was succeeded by Loretta Yarlow. Plans were made in the early 1970s to establish an art gallery at the university and it opened in the 1972/73 academic year. At the same time the University Art Committee was established as a successor to the Advisory Committee. In 1981 renovations doubled the size of the gallery. The gallery serves both an educational and exhibit purpose to the university and wider community. Its exhibitions (both curated and travelling) have included shows of works by Norval Morriseau, Claude Breeze, Ted Godwin, George Grosz, Max Ernst, contemporary American art, African art, German Expressionism, photography, sculpture and installation art. Its permanent collection includes Canadian, European and non-Western art, and is displayed throughout the university campus.

Artfocus

  • Corporate body

Artpost

  • Corporate body

Association of Canadian Film Craftspeople

  • Corporate body

Constituted in Toronto in 1979, the Association of Canadian Film Craftspeople was later recognized as a trade union in Ontario and operated as an unincorporated association representing the workplace interests of film technicians in sectors including lighting, hair and makeup, camera work, set decorating and transportation. In addition to negotiating improved pay and working conditions and promoting skills development workshops, the association provided its membership with health insurance and other benefits. The ACFC participated in Canadian industry committees, lobby groups and events and supported many organizations dedicated to the development of Canadian film production personnel. By 1989 the ACFC had opened locals in Winnipeg and Vancouver and including Toronto reached a membership peak of 800. By the early 1990's, a shifting marketplace and an intense rivalry with other unions resulted in a declining membership. The ACFC was dissolved in April of 1998 and many of its locals merged with the rival International Alliance of Theatrical Stage Employees. One division of the former association, ACFC West, continues to operate in British Columbia.

Atkinson College

The Joseph E. Atkinson College was established in 1961 as the result of a donation from the Atkinson Foundation. The purpose of the college is to provide evening classes for adult learners. Originally located at Glendon Hall, the college offered its first programme of courses in the 1962-63 academic year and began offering courses year-round in 1964-65. The college building on the Keele Street campus opening in 1966. At this time the college offered courses leading to the ordinary (three year) Bachelor of Arts degree in a restricted number of fields for both evening and part-time students. Atkinson College courses were generally taught by a full-time faculty appointed to the college. Thus the college, in effect, mirrored the academic development and structure of the larger university, with Divisions of Humanities, Natural Science and Social Science, as well as the several arts programme departments (English, History, Geography, Sociology, etc.). The college had an enrollment of 300 in 1962-63, and this had increased to over 6000 by 1970. In addition to the Arts programme, a degree programme in Administrative Studies was instituted in the 1970s, an Honours degree was offered by 1970-71 and degree programmes leading to a Bachelor of Science and a Bachelor of Social Welfare were first offered in 1973-74. By this date there was a Canadian Studies Programme and an Urban Studies Programme and students were permitted to define a course of study leading to the Bachelor of Fine Arts degree. The physical extent of the college was enhanced in the early 1970s by the addition of a west wing to the main building, the construction of Elm in a Elliott Atkinson Hall (both 1971), and a nine story residence building in 1973. By 1991 the college had a student population of 8,800, and departments or programmes of study in the following areas: Administrative Studies, Canadian Studies, Classical Studies, Computer Science and Mathematics, Economics, English, Fine Arts, Francaises et Langues modernes, Geography, History, Humanities, Philosophy, Political Science, Psychology, Science Studies, Social Science, Social Work, Sociology and Urban Studies. The college is led by a Dean assisted by two Associate Deans, and there is a Master of Atkinson College. The College Council serves as the senior deliberative body, and the Atkinson College Students' Association oversees the interests of students. The college has its own Counselling Service, Outreach Services, an Office of Student Programmes, an Alumni Association and a librarian within the York University Libraries.

Atkinson College Council

  • Corporate body
  • 1962-

The Atkinson College Council (originally the Faculty Council, 1962-1964) was established in 1962 by the university Senate as the legislative and deliberative body of the college. It deals with all academic matters, including curriculum, examinations and petitions of grades. In addition, it has responsibility for policy and planning activities, hiring of faculty and awarding of research grants to faculty and student awards. College Council membership includes the Dean, full-time faculty, student advisers, part-time and cross-appointed faculty and a number of students as well as university officers. The council officers include a chair, elected at the October meeting of the council, vice-chair, which is reserved for the Dean, and a Secretary. The council meets monthly, October to June. The council has several standing committees: Nominating; Policy & Procedure; Curriculum; Examinations and Academic Standards; Awards and Petitions; Research, Grants and Sabbaticals.

Atkinson College. Assistant Dean

  • Corporate body
  • 1969-1971

Reporting to the College Dean, the Assistant Dean was charged with academic and administrative duties relating to the provision of services and courses at the college, a task that had previously been that of the Associate Dean of the College. The job was eventually re-defined, with an assistant dean (administration) and an assistant dean with academic responsibilities. By 1972, the assistant deans were replaced with associate deans. The office was filled by Professor Harold Adelman from 1969-1971.

Atkinson College. Associate Dean

  • Corporate body
  • 1966-1972

The position of Associate Dean was created in 1966, with responsibility for the overall academic programme of the College. This included responsibility for the development of the general education programme: through consultation with Divisional directors, he had administrative responsibility for development of the curriculum, hiring and promotion of faculty, the academic budget, the College calendar, the examination schedule, and related matters. The position was vacant from 1969-1972, with many of these responsibilities being assumed by the Assistant Dean. In 1972, new Associate Deans were appointed. For the period 1966-1969 Thomas Leith served as Associate Dean.

Atkinson College. Atkinson College Student Association

The Atkinson College Students ' Association was instituted in 1963. All enrolled students are members of the Association which has as its main objective the fostering of activities and events that enhances the university experience of the membership. The Association has a General Assembly which is its deliberative body. The Assembly elects its own executive, the student members of the Atkinson College Council, and the student Senators of the York University Senate. In addition, the Association is responsible for the college newspaper, the college pub, and several events and activities (orientation, social events etc) throughout the school year.
The General Assembly of the Atkinson College Students' Association is a legislative and deliberative forum representative of the entire student body of the college. The Executive of the Assembly consists of a president, vice-president, treasurer and secretary
as well as five directors (Academic Affairs, Internal Affairs, External Affairs, Social and Cultural Affairs, Community Relations and a Director without Portfolio) elected by the assembly. In addition representatives are chosen from each class. The Assembly also appoints several committees to oversee college activities, publications, and operations.

Atkinson College. Counselling Centre

  • Corporate body

The Counselling Centre (formerly Counselling Services), operates as a service to students seeking personal, academic and career counselling within the college. It is staffed by professional counsellors and by peers.

Atkinson College. Counselling Services

  • Corporate body

Counselling Services operated as a service to students seeking personal, academic and career counselling within the college. It was succeeded by the Counselling Centre.

Atkinson College. Division of Humanities. Director

  • Corporate body
  • 1966-1972

The concept of using general divisions (Humanities, Social Science, Natural Science) was introduced at Atkinson College in the 1966-1967 academic year but the College reverted to the traditional departmental structure six years later. Division Directors were academic administrators who oversaw the introduction of courses and the appointment of faculty. They were elected by their divisional peers. The present records date from the period in which Walter B. Carter served as Director of the Humanities Division, 1969-1972.

Atkinson College. Faculty Council

  • Corporate body
  • 1962-1964

The Atkinson Faculty Council was established in 1962 by the university Senate as the legislative and deliberative body of the college. It dealt with all academic matters, including curriculum, examinations and petitions of grades. In addition, it has responsibility for policy and planning activities, hiring of faculty and awarding of research grants to faculty and student awards. In 1964 it was succeeded by the College Council.

Avenue-Bay-Cottingham Ratepayers' Association.

The Avenue-Bay-Cottingham Ratepayers' Association (Toronto) was established in the 1960s as an advocacy group. It operated under various designations until 1970 when it acquired its present name. In the summer of 1970, the Marlborough Avenue Ratepayers' Association, a part of the Avenue-Bay-Cottingham group, began a dispute with Marathon Realty Corporation over the building of the York Racquets Club on Marlborough Avenue. The boundaries of the dispute widened when it was learned that Marathon planned to build Summerhill Square, a combined retail and residential complex on land it owned in the area. Marathon later sold the property and the Square was not built. Jack Granatstein, a professor of history at York University, was a Director of the Avenue-Bay-Cottingham Ratepayers' Association in 1969, president in 1971, and a prime mover in the Marlborough Avenue Ratepayers' Association. His description of the dispute is contained in his book, 'Marlborough marathon: one street against a developer', (1971).

Bidiniband

"Dave Bidini formed Bidiniband, featuring former Rheostatics member Don Kerr on drums, Paul Linklater on guitar, and Doug Friesen on bass. Their debut album, The Land is Wild, was produced by Kerr and was released on Pheromone Recordings in 2009. Bidini's website describes the album features "more songs about dead hockey players, cannibalism and lesbian school teachers." https://en.wikipedia.org/wiki/Dave_Bidini

Black Sparrow Press

"Black Sparrow Books, formerly known as Black Sparrow Press, is a book publisher originally founded in 1966 by John Martin of Santa Rosa, California. He founded this company in order to publish the works of Charles Bukowski and other avant-garde authors. He initially financed this company by selling his large collection of rare first editions. Typography and printing were the work of Graham Mackintosh of San Francisco, Noel Young and Edwards Brothers, Inc. Barbara Martin oversaw all of the title page and cover designs, which are still unique today.

Black Sparrow Press most prominently published the work of authors Charles Bukowski, John Fante, and Paul Bowles. A more complete list is shown below. These artists, now considered part of a contemporary 'alternative tradition,' were first established and nurtured under the auspices of Black Sparrow Press. Many of its titles are now highly collectible.

Black Sparrow Press sold the rights to publish Bukowski, Bowles and Fante to HarperCollins Publishers in 2002. At this point, John Martin retired. Martin then sold the remainder of his inventory for $1.00 to David R. Godine, Publisher who adopted the name Black Sparrow Books. Godine is now the exclusive licensed distributor of Black Sparrow Books while HarperCollins continues to print and reprint the books by Bukowski, Fante and Bowles, replicating the original designs. In 2010, Black Sparrow published Door to the River, a collection of essays by Aram Saroyan; Well Then There Now, a collection of poems by Juliana Spahr; and Cheyenne Madonna, a collection of linked short stories by Eddie Chuculate. Copies of all editions of Charles Bukowski's works published by the Black Sparrow Press are held at Western Michigan University, which purchased the archive of the publishing house after its closure in 2003."
-from Wikipedia entry available at: https://en.wikipedia.org/wiki/Black_Sparrow_Books .

British Canadian Trade Association

The British Canadian Trade Association (formerly Canadian Association of British Manufacturers and Agencies) was a British trade lobby group. Organized in 1951, the Association had offices in Montreal, Toronto and Vancouver. The organization was made up of approximately four hundred British firms operating in Canada. It sought to promote trade between the two countries, represent the interests of its members to the federal and provincial governments, to publicize the activities and products of its members and to foster good relations between all receiving or offering goods and services in either country. Forced to close its offices in the 1970s, BCTA was re-named British Canadian Trade Associates by 1980.

CHRY 105.5 FM

  • Corporate body
  • 1969-

Radio York was established in 1969 as a student-operated radio station that broadcast throughout York University. In 1987 the station received Canadian Radio and Television Commission approval to begin public broadcasting as radio station CHRY 105.5 FM. The station has limited revenues from advertising sales and receives the bulk of its operating monies from a levy on York University students. It has a Board of Directors made up of students, alumni, radio alumni and members of the external community. The Board is elected annually, and oversees the operations of the station. The daily decision-making power at the station rests with the Program Director.

Calumet College

  • Corporate body
  • 1971-

Calumet College (initially known as College 'F') was established in 1971. It was the only college on the campus without a building and without residential student members until 1991 when the Calumet College Building and Calumet College were opened. As of 1989, Calumet became the college of all Winter/Summer undergraduate students, and in 1992 it became affiliated with the Faculty of Administrative Studies.
Calumet is administered by a Master who is assisted by the College General Meeting which meets monthly, and is made up of all college students, Fellows and the Master. It sets the general policies and priorities of the college, including expenditures. The College General Meeting has adopted positions on several public issues including nuclear disarmament, wildlife conservation, and apartheid. The College' s unofficial name in 1970 was 'Peace College'. In addition to the General Meeting the co-curricular activities instigated by the Programme Committee and the Calumet Network Committee include seminars, art shows, electronic music workshops and activities related to the college curricular programme. There is a college newspaper, 'Calumetro ' and the On the Edge Pub (a successor to the Ainger Coffeeshop).
Calumet is home to the Bootstrap, a 24-hour computer lab, and Page Plus, a desktop publishing centre to assist students and faculty. Both of these facilities are evidence Calumet' s attention to computing sciences.

Canada Dance Festival

Based in Ottawa and Toronto, the Canada Dance Festival was first produced in 1987 as an initiative of the Dance in Canada Association, the National Arts Centre and Dance!, An Ottawa Summer Festival. Following the first festival, the Canada Dance Festival Society was formed with a separate administration and an official co-production arrangement with the National Arts Centre. Held biennially since 1988, the Canada Dance Festival aims to promote and produce a week long celebration of contemporary dance, featuring the newest artistic creations from a selection of the country's choreographers. It also attempts to support the creation, development and dissemination of these artists' work to a national and international audience. Another important goal of the festival is to foster the professional growth and development of participating artists. The festival has partnered with the National Gallery of Canada, Le Groupe Dance Lab, Arts Court, the University of Ottawa, and the National Capital Commission. The administrative structure of the festival consists of a 10 member Board of Directors made up of representatives from the artistic and business communities of Ottawa.

Canadian Association for Latin American and Caribbean Studies

The Canadian Association of Latin American Studies (CALAS) was founded at York University on 12 June 1969. In 1976, CALAS became the Canadian Association of Latin American and Caribbean Studies (CALACS). The Association was the first Canadian organization to bring together scholars and activists from around the world engaged in teaching and research on on Latin America and the Caribbean, with a focus on expanding the study of Latin America and Caribbean in institutions of higher education. The Association holds an annual Congress and has published an interdisciplinary journal, the Canadian Journal of Latin American and Caribbean Studies, since 1976.

Canadian Association for Women in Science

  • Corporate body
  • 1981-

The Canadian Association for Women in Science (CAWIS) was formed in 1981. It started as a chapter of the U.S. based Association for Women in Science (AWIS), but a decision was made at the chapter meeting in May, 1981 to from a wholly Canadian organization in order to better serve the needs of Canadians. CAWIS initiatives and activities include publishing a CAWIS newsletter; co-ordinating public seminars and lectures; promoting science education in high schools for girls; supporting, lobbying, informing organizations, ministries, associations on issues relevant to women and science; participating in conferences on women and science; establishing a CAWIS award to Canadian women in science; establishing a Canadian registry of women in science; and marketing the organization CAWIS to the general public and women involved/interested in scientific professions.

Canadian Association in Support of Native Peoples

(from Trent University Archives fonds-level description)
The Canadian Association in Support of Native Peoples is an association of natives and non-natives in support of natives. It was originally established in 1957 under the name of the National Commission on the Indian Canadian and was a non-native organization created to study the "Indian problem". The first chairman of the Commission was Mrs. W.H. Clark. By February 1958 it had become apparent that the problems of the native peoples were much more complex than first anticipated, and it was decided to involve aboriginal peoples in the Commission to help find viable solutions. In 1960, the Indian-Eskimo Association (I.E.A.) was incorporated, with Mrs. Clark as the first president. The I.E.A. had several functions which included encouraging native leaders to form organizations, fund-raising, organizing workshops to discuss native housing, community and economic development, and providing advice and support in legal matters. Also, provincial and regional divisions were created to help deal with specific native issues, not just native problems on a general level. By 1968, several national and provincial native organizations had come into being. In September of the same year, leaders of the native organizations met with representatives of the I.E.A. to discuss the future role of the Association. It was agreed that the native organizations still needed the I.E.A.'s support, but that they should begin to deal directly with governments, without the I.E.A. acting as the middleman. It was clear that the future of the I.E.A. was to provide only support and advice to the developing native organizations. In 1972, many of the recommendations made in 1968 had come into effect. The name was changed to the Canadian Association in Support of Native Peoples to reflect the new functions of the Association more accurately. At this time, regional offices of the Association were closed, and the head office moved from Toronto to Ottawa. The Association still continues to function in an advisory capacity.
For more information, see: http://www2.trentu.ca/library/archives/82-014.htm .

Canadian Association of Professional Dance Organizations

  • 130139580
  • Corporate body
  • 1978-

The Canadian Association of Professional Dance Organizations (CAPDO) is the only national service organization for dance in Canada. Established in 1978 and incorporated in 1981, CAPDO helps to serve the interests of dancers and dance organizations across Canada regardless of their stage of development and experience. It represents the collective interests of its members in seeking out public support for its initiative to expand opportunities for professional development and creativity within the discipline. Its members are the major professional dance companies and institutions in Canada with proven records of professional achievement and artistic merit. In 1990, CAPDO undertook a formal review of its structure, objectives and administration with the primary purpose of expanding its membership and better representing the needs of a broader spectrum of the dance community. The membership today consists of dance companies, training and re-training institutions and other agencies serving the professional dance community.

Canadian Creative Music Collective (CCMC)

  • 147681489
  • Corporate body
  • 1974-

Based on entry in The Canadian Encyclopedia:
"CCMC. 'Free music orchestra' formed in 1974 in Toronto as the Canadian Creative Music Collective. Only the abbreviation was in use by 1978. Defining itself as 'a composing ensemble... united by a desire to play music that is fluid, spontaneous, and self-regulating,' the CCMC, by its instrumentation, by the backgrounds of several of its founders, and by the improvised nature of its music, was initially aligned with the free jazz community.

Its original members were Peter Anson (guitar and later synthesizer); Graham Coughtry (trombone); Larry Dubin (percussion); Greg Gallagher (saxophones); Nobuo Kubota (saxophones); Allan Mattes (bass, bass guitar, electronics); Casey Sokol (piano); Bill Smith (saxophones); and Michael Snow (piano, trumpet, guitar, analogue synthesizer). Gallagher, Coughtry and Smith left 1976-7, Dubin died in 1978 and Anson departed in 1979. The remaining quartet was augmented by the drummer John Kamevaar in 1981. Sokol left in 1988, Kubota in 1991 and Damevaar and Mattes in 1994, and the vocalist Paul Dutton became a member in 1989 and John Oswald (alto sax) as of 1994. The CCMC began moving toward improvised electroacoustic music: instrumentation in 1990 comprised guitar-synthesizer and double bass (Mattes); wind synthesizer (Kubota); tapes and live electronic sampling (Kamevaar); voice (Dutton and Kubota); and piano (Snow).

After early performances in private, the CCMC established the Music Gallery in 1976, performing there on a twice-weekly basis until 1983, and later weekly. CCMC members were responsible for the gallery's operation until 1987 - Anson and Mattes 1976-80, Mattes alone thereafter - and established the Music Gallery Editions record label and Musicworks. After 2000, the CCMC's relationship with the Music Gallery ceased.

The CCMC has travelled widely, making four tours in Canada by 1982 and five in Europe 1978-85. It performed at the FIMAV (Festival international de musique actuelle de Victoriaville) in 1984 and again in 1997, at the 1984 summer Olympics in Los Angeles, at Expo 86, in Japan in 1988 and for New Music America, Montreal, in 1990. It later appeared in France (1998); Texas (1999); New York (2001); and in 2002 in England, the Netherlands, France and Germany. It has also played in various festivals in Canada, eg, Open Ears (Kitchener-Waterloo) and No Music Festival (London, Ont). The ensemble since 1995 has been a trio, consisting of Dutton (voice or soundsinging, harmonica); John Oswald (alto sax); and Snow (piano, analogue synthesizer).

Music Gallery Editions released six LPs recorded by the CCMC 1976-80: CCMC Vol 1 (MGE-1), CCMC Vol 2 (MGE-2), CCMC Vol 3 (MGE-6), Larry Dubin and the CCMC (3-MGE-15), Free Soap (MGE-22) and Without a Song (MGE-31). Two cassettes, CCMC 90, documenting the 1989-90 season at the Gallery, were issued in 1990. These were followed by the CDs Decisive Moments (TLR 02, 1994); Accomplices (VITOcd063, 1998) and CCMC + Christian Marclay (NMRx0003/ART MET CD004, 2002)."

Canadian Film Development Corporation

The Canadian Film Development Corporation (Telefilm Canada) was created by Act of Parliament in 1967 to foster and promote the development of a feature film industry in Canada. The plan called for direct investment in low-budget Canadian 'cultural films', but by 1973 the demands for a more commercial fare led the CFDC to promote international co-production, sometimes using foreign stars in the feature films. Many of the films produced under this arrangement were never released. In 1984 the CDFC was renamed Telefilm Canada.

Canadian Friends of Finland

  • 134795206
  • Corporate body
  • 1982-

The Canadian Friends of Finland (CFF) was founded in 1982 by a group of Finnish Canadian volunteers led by Professor Varpu Lindstrom of York University. The mandate of the CFF is to develop and promote friendly relations and cultural and educational connections between Canadians and Finns. Since its founding in Toronto, the CFF has established active branches in Montreal, Ottawa, and Vancouver. In 1990 the CFF established the CFF Education Foundation (CFFEF) to support the Finnish Studies Program at the University of Toronto.

Canadian Italian Business and Professional Association of Toronto

  • Corporate body
  • 1952-

The Canadian Italian Business and Professional Association (CIBPA) of Toronto was founded in 1952 and incorporated on 21 December 1956 under its original name, the Canadian Italian Businessmen's Association (CIBA). The CIBA of Toronto began under the direction of a small group of Italian-Canadian businessmen and professionals, who included Anthony Andreoli, Sam Benedetto, Joseph D. Carrier, John de Toro, Remo de Carli, Eugenio Faludi, Neldo Lorenzetti, William Morrassutti, Vincent Paul, Sam Sorbara and Suilio Venchiarruti, who was the association's first president. Formed in response to the difficulties facing the large numbers of Italian Canadians in Toronto after World War II, the not-for-profit association assisted with the integration of new immigrants into Canadian society and raised funds for different causes. Throughout the 1950s, 1960s and 1970s, the CIBPA Toronto supported the formation and/or development of a number of charitable organizations, including the Italian Immigrant Aid Society (IIAS), the Centro Organizzativo Scuole Tecniche Italiane (COSTI), the Federazione di Associazioni e Club Italiani (FACI), the Italian Canadian Benevolent Corporation (ICBC), the Columbus Centre and the Villa Colombo Home for the Aged, as well as other charitable initiatives. In addition to its fundraising and charitable endeavours, as membership in the CIBPA Toronto grew, the association held monthly dinner meetings, business and professional networking events, and other special events with the aim of promoting business and social interaction between its members and with the wider community, which is the primary focus of the modern CIBPA Toronto.

The CIBPA Toronto is governed by a constitution and by-laws, which detail the association's objectives to "initiate and foster programs and activities for the welfare and betterment of the Italian and Canadian Italian communities, to promote and strengthen the image of the Canadian Italian community within Toronto and Canada, and to initiate and foster social and cultural interest and activities among its members and the Canadian Italian community." The CIBPA Toronto is managed by an elected board of directors comprised of an immediate past president, president, vice-president, secretary, treasurer and Ladies' Auxiliary representative. The board of directors oversees a number of permanent committees, including executive, legal, membership and nominating committees, and other rotating committees. CIBPA Toronto membership includes categories for full, youth, student, life, honorary and corporate members. In 1983, the CIBPA Toronto joined CIBPA Montreal to form the National Federation of Canadian Italian Business and Professional Associations, which now includes chapters in Hamilton, Niagara, Halifax, Ottawa, Sudbury, Sault Ste. Marie, Thunder Bay, Windsor, Winnipeg, Regina, Calgary, Windsor and Vancouver.

Canadian Law and Society Association/l’Association canadienne droit et société

  • //viaf.org/viaf/139509275
  • Corporate body
  • 1982-

The Canadian Law and Society Association/l'Association canadienne droit et société is a group of scholars dedicated to the advancement of interdisciplinarity in legal and socio-legal scholarship in Canada and internationally. The association focuses on training in law, history, sociology, political science, criminology, psychology, anthropology, and economics as well as in other related areas. It awards prizes for socio-legal scholarship; holds a small midwinter meeting and a large annual conference and graduate student workshop; and publishes the "Canadian Journal of Law & Society/La revue canadienne droit et société." The CLSA/ACDS was formed in 1982 to provide a sense of intellectual community for a growing group of Canadian scholars interested in the relationship between law and society. In 1985 the association held a conference at the University of Montreal, where the decision to formally establish the association and journal was made. John McLaren was elected president with Peter Russell as vice-president, and the association obtained formal “learned society” status. The journal’s first issue appeared in 1986 under the editorship of Rainer Knopf. In recent years, the association has participated in independent and co-operative projects and conferences.

Canadian Native Friendship Centre (Edmonton, Alta.)

(from ANFC website)
The Friendship Centre Movement began in the mid-1950s when groups were formed in most urban areas across Canada to represent the interests of the increasing number of Indigenous peoples migrating from outlying reserves. These early Friendship Centres existed mainly as referral agencies between established social service organizations and urban Indigenous residents. Funding of these early centres was dependent on individual volunteers and their ability to raise operating funds though various fundraising events and private donations.

As the stream of new arrivals continued to grow throughout the 1960s, Friendship Centre staff became increasingly aware of the need to extend their services beyond a referral mandate. For this to be possible, increased organization and adequate funding for each Centre was necessary. To support this transition, in the late 1960s, Friendship Centres began organizing into Provincial/Territorial Associations (PTAs): unifying bodies aimed at providing administrative support to each of the local Friendship Centres within their specified region.

With the increased organization and supportive network that ensued from the creation of the PTAs, local Friendship Centres were able to expand their services beyond their referral mandate to concentrate on proactively encouraging and assisting Indigenous peoples to adjust and thrive more successfully in their new urban environment. With this refocus, both the public at large as well as Provincial and Federal governments began to recognize the viability and importance of the Friendship Centre Indigenous Self-Reliance Movement.

In 1972, the government of Canada’s support of the movement was formally recognized with her implementation of the Migrating Native Peoples Program (MNPP); providing operational funding to each of the then 40 Centres across Canada. The MNPP was renamed the Aboriginal Friendship Centre Program (AFCP) in 1988. The federal government’s commitment to supporting Friendship Centres has been ongoing with the renewal of the Aboriginal Friendship Centres Program. The AFCP program now provides core operational funding to 115 local Friendship Centres across Canada— 20 of which are located in communities throughout Alberta.

Canadian Science and Technology Historical Association

The Canadian Science and Technology Historical Association was established in 1980 to promote an interest in the scientific and technological heritage of Canada, through production of a scholarly journal, Scientia Canadensis, and the sponsoring of biennial conferences. Its membership is largely drawn from the fields of academe and government.

Canadian Society for the History and Philosophy of Science

The Canadian Society for the History and Philosophy of Science/Société canadienne pour l'histoire et philosophie des sciences (CSHPS/SCHPS) has a mandate to connect scholars in the interdisciplinary study of all aspects of science. It publishes a newsletter, Communiqué, and its annual conference takes place within the Congress of Social Sciences and Humanities.

Canadian Speakers' and Writers' Service Ltd.

  • F0280
  • Corporate body
  • 1950-2012

Canadian Speakers' and Writers' Service Ltd. was begun by Matie Molinaro in 1950. Since that time it has represented the interests of several leading Canadian authors, performers and speakers including Marshall McLuhan, Harry Boyle, Mavor Moore, Celia Franca, Lister Sinclair, Don Harron, and several others. The Service also ran a writer's retreat north of Toronto until the late 1980s. Molinaro has also acted as a ghost-writer, written publicity, and translated material in her career as president of CSWS.

Canadian Theatre Review

The Canadian Theatre Review was Canada's first quarterly theatre journal and was established at York University in 1974 as a publishing project of the Faculty of Fine Arts and the Department of Theatre. It grew out of a Theatre Department publication called the York Theatre Journal which began in about 1970. Both publications were initially edited by faculty members Don Rubin and Ross Stuart.

The first issue of CTR appeared in January 1974 and it set the model for the journal's issues thereafter: themed issues, a full-length playscript, short essays on a variety of subjects and book reviews. Within 24 months, the journal expanded into theatre book publishing and began using the more comprehensive designation CTR Publications. In addition to the journal,

CTR Publications, under Rubin's general editorship, published some two dozen separate volumes including the archival series "Canada on Stage" (1974-1988), the four-volume "Canada's Lost Plays" series and historical volumes such as Toby Gordon Ryan's "Stage Left: Canadian Theatre in the Thirties". In 1982, Rubin turned the editorship over to Robert Wallace of Glendon College and its production to the University of Toronto Press.

When Wallace left as editor, the publication was taken over by the University of Guelph and edited by Alan Filewod, a Guelph Theatre professor and a graduate of the York Theatre Department when the journal first began.

Carly-Jo

  • Corporate body

"Country music, Carly-Jo style, is upbeat positive, and empowering. Sisters from Burlington, Ontario, Carly and Jo, love to entertain […]. "What you get is what you see", their first single, from their self-titled debut album, sums up the Carly-Jo philosophy. Carly on piano, and Jo on guitar, united in powerful vocals that tell it like it is. [...]" Mariposa Folk Festival programme, 2009, p. 43

Cartographica

  • Corporate body

'Cartographica' is considered to be the foremost journal in its field, publishing articles on latest developments of in cartography. It was formed by the union of 'Canadian cartographer,' and 'Cartographica,' and has long been associated with the Geography Department of York University.

Centre for Experimental Art and Communication (Toronto, Ont.)

The Centre for Experimental Art and Communication (CEAC) was created in Toronto in 1975 by the Kensington Arts Association, an avant-garde artists collective. The Centre acted as a studio, resource centre, museum, gallery and performance space for the collective. It also acted as the host for visiting acts and artists in the areas of performance art, behaviour workshops, contextualism, visual arts (especially video art) and other post-modern art forms. The CEAC collective also produced events which were showcased in Europe, the United States, South America and, to a lesser extent, Canada. The Centre was the sight of 'Crash and burn,' a punk-rock musical venue in the mid-1970s. The Centre alienated funding bodies in the late 1970s when a copy of 'Strike', a journal associated with CEAC, was charged with promoting violent overthrow of authority, and CEAC was forced to close in 1980.

City Art

  • Corporate body

Co-operative Commonwealth Federation

The Co-operative Commonwealth Federation (CCF) was founded in Calgary in 1932 by a number of socialist, labour, agrarian, and co-operative groups with the aims of economic reform. With the signing of the Regina Manifesto (1933), the movement became an electoral political party and enjoyed great success in the province of Saskatchewan where it formed the provincial government for several years. The CCF also enjoyed limited success in Ontario (Official Opposition in 1943), as well as on the federal scene. In 1961, the CCF was succeeded by the New Democratic Party (NDP) after forming an alliance with the Canadian Labour Congress.

Committee for an Independent Canada

The Committee for an Independent Canada was established in 1970 by Walter Gordon, Peter Newman and Abraham Rotstein to promote Canadian economic and cultural independence. Many of the proposals offered by the Committee were eventually made into government policy including the establishment of the Foreign Investment Review Committee, the Canadian Development Corporation, and Petro Canada. The Committee was disbanded in 1981.

Communist Party of Canada

The Communist Party of Canada was founded in 1921 as a secret society and became a public party in 1924. Banned in 1940, it re-surfaced as the Labour-Progressive Party, returning to its proper designation in the latter part of the decade. Influential in trade unions, the Communist Party has had its greatest electoral successes in municipal politics, particularly in Winnipeg. It has suffered setbacks in the 1950s with the denunciation of Stalin and again in the 1980s with the decline of Communist parties in Russia and former Soviet-bloc countries.

Council of the York Student Federation

The Council of the York Student Federation began in 1968 as the York Student Council, changing its name in 1969 to Council of the York Student Federation. In 1990 its name was changed again, this time to the York Federation of Students. Prior to 1968, the York Student Representative Council had served the interests of students at the university. Originally made up of students from the three colleges (Founders, Vanier, Winters) and the two faculties (Graduate Studies, Administrative Studies), with an invitation of membership to faculty, the Federation is currently comprised of all students in the Faculties of Arts, Fine Arts, Education, and Pure and Applied Science and the undergraduate students in the Faculty of Administrative Studies. Associate members include students in Osgoode Hall Law School, Glendon and Atkinson colleges. The Federation is governed by a Board of Directors comprised of an elected President, Secretary and Treasurer, and representatives of the constituent members. In addition there are vice presidents for external relations, finance, internal relations, equality and social affairs, and commissioners for health care and clubs.
The purpose of the Federation is to represent the interests of the student members within the university community and with various external bodies (Ontario Federation of Students, etc), to serve as a communications and information service for the student body, and to administer social, cultural, athletic and business operations of the Federation on behalf of students.

Da

  • Corporate body

Danny Grossman Dance Company

Founded in 1975 by Danny Grossman, the Danny Grossman Dance Company (DGDC) is a modern dance company that was legally incorporated as the Danny Williams Grossman Dance Company in 1977. Considered as one of Canada’s most popular modern-dance troupes, the company toured extensively in Canada and performed globally across Europe, Israel, South America, and the United States. It toured in more than seventeen countries and has appeared at major dance festivals including Jacob’s Pillow. Its mission is to provide the environment, opportunity and support for the creation, performance and preservation of works by Danny Grossman. The company’s artistic statement is to present dance that is about humanity: clear, concise, daring, and universal – not afraid of subject matter. The company’s repertoire of 30 original works reflects Danny Grossman’s personal values of equality, pacificism, honesty courage, social responsibility, sympathy for the underdog and a willingness to reveal demons.

During the first two years, four company dancers (Danny Grossman, Judy Hendon, Erik Bobrow, Greg Parks,) were also members of the Toronto Dance Theatre as dancers, apprentices, and students. Working under the umbrella of TDT, DGDC practised after hours and undertook extended residencies and performances at the University of Michigan in Ann Arbor and at Simon Fraser University in British Columbia. Follow the success of Higher on tour to Miami and New York in 1976, the company was invited to perform at the New York Dance Festival, the Dance in Canada Conference in Halifax, and in the cultural festivities of the 21st Olympiad in Montreal in 1976.

By 1978 the company was established on a fulltime basis and would rehearse in the evenings at the National Ballet School studios. The six members DGDC (with Randy Glynn and Judith Miller joining the founding dancers) embarked on its first tour of Western Canada with Peter Sever as manager and Germain Pierce as wardrobe supervisor. Afterwards, the company moved to its own studio space on King Street, Hendon left and Pamela Grundy (who would later become Co-Artistic Director) and Trish Armstrong joined by audition.

In the 1980s, the company entered into an extended period of creative work to build a new repertoire in preparation for upcoming tours in North America and Europe. In 1988, the company expanded its repertoire to remount 15 revivals from Canadian artists (Patricia Beatty, Paula Ross, Lawrence Gradus, Judy Jarvis, Anna Blewchamp) and some American choreographers (Charles Weidman and Paul Taylor). Throughout the 1990s and early 2000s, the company would performance and tour primarily in Canada.

The company has also collaborated and co-produced with artists of different techniques, cultures, and disciplines including Judy Jarvis, Lawrence Gradus, Rina Singha, and Brainerd Blyden-Taylor. Collaborations also assisted the company to maximise resources through initiatives such as For Dance and Opera (a joint booking project to meet tour management needs) and 509 Parliament St (joint studio space for Canadian Children’s Dance Theatre and independent artists). The company also belonged to Dance 2020 (workgroup of members of Toronto dance community to set priorities and visions for the future), Arts 4 Change (a program designed to create positive change for and by arts professionals in Toronto), and Artsvote (a campaign to educate local voters and politicians about issues in the cultural sector). The company also engaged in educational initiatives with local school groups, community groups, and undertook residency programs on tour.

With shrinking grants to fund operations, the company stopped performing in 2008 and shifted its focus on teaching and preserving Grossman’s choreography. The company travels to schools and teaches works to students at institutions such as Adelphi University.

Dear Sister

  • Corporate body

"This folk and roots trio have played everything from the Winnepg Folk Festival to a packed room in Toronto's iconic Cameria House. Raven Sheilds and Bri Salmena write the songs and play guitar, and Aaron Comeau backes them up with all the other intruments." (2012 MFF programme booklet)

Desh Pardesh

  • Q106610783
  • Corporate body
  • 1988-2001

Desh Pardesh was a multidisciplinary arts festival dedicated to providing a venue for underrepresented and marginalized voices within the South Asian diasporic community, particularly left wing and queer South Asian artists and academics. It operated from 1988 to 2001. The organization's mandate states: "Desh Pardesh is lesbian and gay positive, feminist, anti-racist, anti-imperialist and anti caste/classist. Desh exists to ensure that the voices and expressions of those constituencies in the South Asian community which are systematically silenced are provided with a community forum. In particular: independent artists, cultural producers and activists who are women, lesbians and gays, people with disabilities, working class people and seniors." Founded in the late 1989, the festival was originally conceived as "Salaam Toronto!" and administered by Khush, an association of South Asian gay men in Toronto. This day-long festival was held at 519 Community Centre in May, 1988. The Khush committee later developed into a coalition-based organizing committee to administer the newly named Desh Pardesh, which was held in March 1990, and was co-sponsored by Khush and The Euclid Theatre. Desh Pardesh was incorporated as a non-profit organization on April 7, 1994. In addition to organizing an annual summer conference and arts festival (featuring film screenings, workshops, issue-driven seminars, spoken work and literary readings, music, dance and performance art pieces), Desh Pardesh also hosted periodic arts development workshops, community outreach seminars, mini-festivals, art exhibits, and film retrospectives. It also served as a resource centre and referral service to various South Asian community groups and artists, cultural organizations and activists. In later years, Desh Pardesh worked in close collaboration with SAVAC (South Asian Visual Arts Collective). The Desh Pardesh festival and its administrative body closed in 2001 due to a financial crisis.

Egypt Migrations: a Public Humanities Project

  • Corporate body
  • 2016-

"Egypt Migrations is a federally incorporated not-for-profit educational, community outreach, and archival organization. Formerly, Egypt Migrations was the Coptic Canadian History Project (CCHP). CCHP was founded by Michael Akladios in fall 2016. Miray Philips joined in 2017 as the Blog editor and we extended the project’s activities to the United States. In 2020, [they] made the decision to transition from the Coptic Canadian History Project to Egypt Migrations. [...] [Egypt Migrations] aims to preserve, educate, and empower Egypt’s migrants and their descendants by countering this exclusion and utilizing storytelling to reveal meaning without committing the error of defining it. [It] collaborate[s] with geographically dispersed communities in sharing the stories of any who once called Egypt home and all those first, second and third generation living transnationally. The organization retains its emphasis on the Copts while expanding its lens to Egypt and its migrants, more broadly construed." https://egyptmigrations.com/about/

Excalibur Publications Inc.

  • Corporate body
  • 1964-

Excalibur is a student newspaper at York University that started in 1964 and has been autonomous since 1966.

Federation of Women Teachers' Associations of Ontario

The Federation of Women Teachers' Associations of Ontario was established 3 April 1918, as a result of a meeting called by several local women elementary teachers' associations wishing to form a provincial organization. The FWTAO's original mandate included the promotion of the professional and financial status of women teachers in Ontario through the fostering of local associations and campaigning for a minimum annual salary. In addition to representing the financial and everyday workplace concerns of its membership, the FWTAO's mandate was extended to include curriculum reform, employment equity, and other issues related to sexual discrimination. As a consequence of a long series of legal challenges that began in 1985, based on the gender-exclusive nature of the Association, the FWTAO amalgamated with the Ontario Public School Men Teachers' Federation (OPSMTF) in 1998 to form the new Elementary Teachers' Federation of Ontario (ETFO).

Flashlight Radio

  • Corporate body

"Flashlight Radio burst on to the music scene when two childhood friends reunited. Suzy Wilde and Ben Whiteley grew up playing tag together backstage at folk festivals while their parents Nancy White and Ken Whiteley performed. They have combined their 'folky' roots with an 'indie' rock influence. Flashlight Radio's songs combined insightful lyrics, powerful music and beautiful melodies that compel the listener to sing along. [...]" Mariposa Folk Festival programme, 2009, p. 45

Founders College

  • Corporate body
  • 1965-

Founders was the first college established on the main campus of York University, opening in September 1965. The College is affiliated with the Faculty of Arts with special attention paid to the disciplines of Anthropology, French Studies, History, Psychology and Women 's Studies. In addition, the college offers a number of course in the college tutorial programme and is part of the Inter-College Curriculum programme. The college contains the Arthur Haberman Art Gallery, the Nellie Langford Rowell Library and the Office of the University Advisor on the Status of Women. It has a residence building made up of seven houses, each named after a member of the Group of Seven.

Founders College Senior Common Room

  • Corporate body
  • 1966-

The Founders College Senior Common Room opened on the Keele Street campus in 1966. This establishment was renamed the York University College Faculty Common Room in 1968.

Founders College. Master

  • Corporate body
  • 1965-

The Master is the senior administrative officer of the College, and sits on the several councils and committees that make up the governance of the college (College Council, the Fellows, Council of Masters, Inter-College Curriculum Committee). In addition, the Master is responsible for the residential life of the College together with the Residence Tutor and Dons and the Residence Council. In the period covered by these records the following men served as Master: John J. Conway (1970-1975) and Hugh Parry (1970-1975).

Founders College. Student Council

  • Corporate body

The Student Council of Founders College is the main voice of students in the College and for Founders students within the York Federation of Students and in the Senate of the university. In addition to its governing function, the Council is responsible for the student pub, the Cock and Bull, and social and athletic activities at the College.

Glendon College

Glendon Hall was the site of the first classes of the new York University in 1961. When the university took up its present Downsview, Ontario location, Glendon College was established as the university 's bilingual, undergraduate college, an affiliated autonomous faculty. In the late 1960s a proposal to relocate the College to the main campus was defeated and it remains a small, liberal arts college within York University. In addition to traditional liberal arts departments, Glendon also has departments in International Studies, Canadian Studies, Multidisciplinary Studies and Women 's Studies. In addition, there is a School of Translation at the College which offers an undergraduate degree in translation as well as a Certificate Programme in Technical and Professional Writing (in English only).
The College is headed by a principal assisted by a Senior Administrator. It has its own Faculty Council and a Dean of Students. The College has its own student-run radio station (Radio Glendon), art gallery (Glendon Gallery) and theatre (Theatre Glendon). The Glendon campus is served by the Frost Library. Students enrolled at the College must demonstrate proficiency in both Official Languages and take instruction offered in English and French.

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