UNews - Manitoba

Horns looking for medals at Canada West Track Championship

trevor.kenney — Fri, 27 Feb 2015 18:51:37 +0000

The 2014-15 Canada West Track & Field Championships will see a small but talented ��Ѹ��Դ��߿�Ƭ of Lethbridge team compete this weekend at the Max Bell Fieldhouse in the ��Ѹ��Դ��߿�Ƭ of Manitoba.

The Horns will send 12 athletes to the championship meet this year, with seven women and five men ready to challenge for conference titles.

Reigning CIS rookie of the year Aaron Hernandez and two-time Canada West weight throw gold medalist Peter Millman lead the Pronghorns this season and are favourites to win their respective events. The men’s team as a whole has been ranked 10th in the country for the past three weeks.

Following a stellar freshman campaign where he won both the Canada West and CIS gold medal in the triple jump, Hernandez enters the championship meet as the jumper to beat, ranked first in both the Canada West and CIS in his event.

Millman has had an exceptional start to his third season and goes to Winnipeg as the top ranked thrower in Canada West. Undefeated thus far this season, Millman sits atop the rankings in both the weight throw and shot put amongst Canada West competition. He is also ranked second in the CIS.

Ryan Sommer sits in second place in the Canada West rankings in both weight throw and shot put and sixth in CIS. Madison Hurst and Jordan Armstrong round out a strong men's team, ranking sixth and 13th in conference rankings for shot put and weight throw respectively.

On the women’s side, third-year Truro, Nova Scotia product Montana Forsyth is the top ranked Pronghorn athlete, ranking fifth in the weight throw, while Lara Roth is ranked one spot behind her at sixth.

The women's 4X200m relay team is ranked sixth in Canada West and looks to better its season's best time and ranking.

Overall, the Horns are poised to take home five medals and build on their preparations for the CIS Championships.

"We have had a strong season from a number of athletes thus far, but Canada West is where the rubber really starts to hit the road and preparations for CIS begin to show through,” says head coach Larry Steinke. “I'm expecting strong results from everyone and signs indicate that we will have some very notable performances again this year at Canada West."

Horns host weekend Canada West soccer games

trevor.kenney — Thu, 12 Sep 2013 21:35:58 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Pronghorns men's and women's soccer teams will be looking for their first victories of the Canada West season this weekend as they each host a pair of matches at the
U of L Community Stadium.

Pronghorn Men

Coming off a disappointing opening weekend of the season, the men’s soccer team (0-2-0 CW) will look to rebound this weekend hosting the Saskatchewan Huskies (2-0-0).

Revenge will also be on the squad's mind this weekend; the ‘Horns and Huskies faced off on the final weekend of the season last year and were battling each other for a post-season spot. The Huskies dashed any hopes of the ‘Horns qualifying for the playoffs with a heartbreaking 2-1 victory on the second to last game of the season. In the final game of the season, the ‘Horns and Huskies battled to 1-1 draw.

The ‘Horns dropped both games of a home-and-home series with the Calgary Dinos last weekend, falling 3-2 Saturday in Calgary and 1-0 the next day at home. Defender Conner Brady and freshman Odilichukwu Ohuegbe were the ‘Horns goal scorers on Saturday.

The Huskies, who made their first appearance on the 2013 CIS top 10 list this week at #10, opened their season two weeks ago beating the Winnipeg Wesmen 2-1. Last weekend they traveled to Prince George for one game versus the UNBC Timberwolves and routed the Timberwolves 7-0.

Kick-off for both Saturday's and Sunday's games will follow the women’s contests at approximately 2:15 p.m. at the Community Sports Stadium.

Pronghorn Women

After starting the 2013 season on the road last weekend, the women’s soccer team (0-2-0 CW) returns home to host a pair of Manitoba schools.

Saturday afternoon, the ‘Horns will host the Winnipeg Wesmen (0-2-0 CW) before the Manitoba Bisons (0-2-0 CW) come calling on Sunday. Both games are set for 12 p.m. at the U of L Community Sports Stadium.

The ‘Horns opened the season with a tough 3-0 loss to the Alberta Pandas in Edmonton, followed by a close 1-0 defeat to the Mount Royal Cougars in Calgary. The Cougars' lone goal came on a penalty kick in the opening half.

Both the Winnipeg Wesmen and Manitoba Bisons opened the season with a pair of losses on home field versus the Regina Cougars and Saskatchewan Huskies respectively.

Rosen explores the language of the Canadian Shift

trevor.kenney — Wed, 26 Jun 2013 16:30:40 +0000

The easy way to pick a Canadian out of a crowd is to ask them to say "out and about" – a phrase that stereotypically 'outs' a Canuck 'about' as quickly as astronaut Col. Chris Hadfield could tweet from the International Space Station.

Because of our unique way of speaking, and no matter how hard we try to hide it, experts and non-experts alike hear the inflections: Out becomes 'oot' and 'about' becomes 'aboot' – the vowels are changed to alter the sound of the word.

Linguists call this 'raising', and it means that these particular vowels are pronounced higher in the mouth than in other dialects of English.

But there's also a lesser-known way to tell a Canadian apart from other English-speaking people, and it is an important process to take note of because it may fundamentally change how words are pronounced over the next 50 years.

The process, called 'vowel shift' in linguistics, happens all over the world in a variety of ways, but it is named the "Canadian Shift" for the uniquely Canadian direction of the vowel changes.

��Ѹ��Դ��߿�Ƭ of Lethbridge linguistics expert Dr. Nicole Rosen describes it as the way that people shift vowel sounds in words that cause them to be altered ever so slightly.

"For example, 'milk' becomes 'melk'; 'bag' might sound like 'beg,'" says Rosen.

"Other words can change as well – 'pit' starts to sound like 'pet'; 'pet' sounds like 'pat', and 'pat' starts to resemble 'pot'. The change in pronunciation can actually cause communications challenges, in particular within different generations of people who may feel they know how to pronounce words 'properly' based on how they learned them 50 years ago. It is definitely a generational evolution which we have to keep up with."

Rosen, a member of the U of L's Language, Identity and Assessment research group, studies endangered languages such as the Manitoba Metis' Michif language, the differences in speakers of western Canadian English, and the differences in speech patterns between members of the Latter Day Saint churches (Mormons) and non-Mormons.

She says the shift in vowel pronunciation isn't a dramatic event, but a gradual and barely perceptible change that happens over generations.

"We no longer speak Old English, which has become a completely separate language," says Rosen, a fluently bilingual (French) former Manitoba resident. "Parents or grandparents today might give their kids and grandkids a hard time for their so-called 'sloppy pronunciation,' when in fact they are changing the language by using it – it is inevitable, and not something you can 'fix' or 'undo'."

Rosen will be presenting her work at a conference in Paris, France, later this summer. The Language, Identity and Assessment research group recently hosted a conference at the U of L on language and gender.

Closing de Grandmaison

trevor.kenney — Wed, 19 Jun 2013 17:40:51 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison travelled across the Canadian Prairies documenting history through the faces he painted. Recognized as one of the most significant portraitists of First Nations people in Canada, de Grandmaison's own story began across the Atlantic.

Nicholas de Grandmaison. Courtesy of U of L Archives.

Born in Russia in 1892, de Grandmaison's roots trace back to France and a great-grandfather who was rescued during the French Revolution. Because of his heritage, de Grandmaison's early years were privy to upper-class privileges his forefathers had been afforded by Catherine the Great a century earlier, including art lessons and learning about social graces as part of his schooling. After graduating from college, he attended a military school and was trained as an officer.

When the First World War broke out, de Grandmaison, who was in his early-20s, served as a soldier in East Prussia where his unit suffered a terrible defeat and he was sent to Germany as a prisoner of war. He spent a number years as a prisoner of war in Germany where he put his artistic talent to work, drawing his fellow prisoners and even some of the camp's officers.

Eventually, de Grandmaison regained his freedom, but his life was far from worry-free upon returning to Russia. As a monarchist, he ended up fleeing his civil war-ravaged homeland and escaping to Poland/Germany.

In time, de Grandmaison made his way to England. In London, with support from his friends, he attended St. John's Wood School of Art. That creative journey, however, did little to ease de Grandmaison's constant fear of deportation. So, using the winnings from a horse race wager, he set sail for Canada in 1923.

Upon disembarking in Quebec City, de Grandmaison connected with some harvesters who were headed to Manitoba. His career as a farm labourer, however, was not to be. After doing multiple odd jobs, de Grandmaison secured work at a large commercial art firm in Winnipeg. There, in addition to joining the Winnipeg Arts Club, he spent the next few years illustrating catalogues, painting portraits of chief justices, politicians and the children of local business leaders. But it wasn't until de Grandmaison ventured to northern Manitoba in 1930 that he found his true calling in life: capturing portraits of First Nations people.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Wanting to capture First Nations people in an authentic setting ultimately compelled the artist to move to Alberta where he set out to paint First Nations people who lived far away from cities and towns, and consequently had managed to retain their customs.

While in Alberta, de Grandmaison married Sophia (Sonia) Orest Dournovo, a talented sculptor in her own right, and together they went on to have five children – all of whom would grow up to become artists or work in some facet of the art world.

When the children were young, de Grandmaison worked on a number of commissions as a way of supporting his growing family. Despite these everyday responsibilities, he remained devoted to drawing First Nations people.

Specifically, de Grandmaison was fascinated with his subjects' faces. In them, as he once described, he saw "…all the sorrow, oppression and history…indelibly written. They have character, colour and history in their blood."

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

In fact, when the artist had arrived in Canada, First Nations people had been moved onto reserves and were being taught how to farm. This dramatic shift, as de Grandmaison came to understand, posed a serious threat to First Nations people's traditional way of life. So while first-hand memories were still vibrant, de Grandmaison felt duty-bound to document the history of First Nations people.

He accomplished this goal in two ways: by recording First Nations people as they told stories in their own languages and by preserving their features in pastel drawings. Today, those recordings and works of art – many of which are housed at the ��Ѹ��Դ��߿�Ƭ of Lethbridge – serve as proof of de Grandmaison's unwavering loyalty to Canada's First Nations communities.

"There are not many paintings that actually depict First Nations people as individuals," says Josephine Mills, director/curator of the U of L's Art Gallery. "De Grandmaison's paintings focus on the honour, dignity and character of each person. He didn't see First Nations people in a stereotypical light; he tried to show their individual personalities and life stories."

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Not only a technically skilled artist, Mills says, de Grandmaison possessed the exceptional ability to capture an individual's unique personality. Through careful colour selections, precise compositions and gentle lines, he was able to depict subjects' expressions as well as their character.

De Grandmaison's attention to detail was evident in every aspect of his work. For example, he recognized the importance of portraying First Nations people in their real clothing. It was a commitment to authenticity that stood de Grandmaison apart from other portraitists who chose to dress First Nations people in ornate and often culturally inaccurate costumes.

Instead, de Grandmaison was deeply deferential toward First Nations people, and this approach did not go unnoticed by First Nations communities. In fact, as a symbol of the respect and affection that First Nations people felt for de Grandmaison, he was named Chief Little Plume, honorary chief of the Piikani Nation. When de Grandmaison died in 1978, he was laid to rest on the Brocket Reserve in southern Alberta.

Thirty-five years later, the gestural, unfinished qualities of de Grandmaison's drawings continue to intrigue viewers and tell an important part of the Canadian story. And thanks to a recent gift to the U of L, even more people will now be able to appreciate the late artist's work.

In February 2013, the BMO Financial Group donated 67 original pastel portraits by de Grandmaison to the U of L's Art Gallery, along with $50,000 to care for and create access to the works. The collection, which is valued at more than $1.6 million, spans a period of more than 30 years and traces the development of de Grandmaison's talent and facility as one of the most important painters and portraitists of western First Nations people in Canada.

The donated portraits are part of a portfolio of works by de Grandmaison that were purchased by BMO in 1978 from the artist's family following his death. To that end, the collection now has an ideal home at the U of L, says Robert Hayes, senior vice president, prairies division of BMO Bank of Montreal.

"The ��Ѹ��Դ��߿�Ƭ already owns one of the most comprehensive collections of artworks and artifacts by this important Canadian portraitist. We are excited to enhance this collection with a gift that will allow it to continue to serve as a resource for students, faculty and independent scholars," says Hayes.

This gift of works from BMO Financial Group joins over 170 drawings, paintings and personal archival items (most of which have been deemed to be of outstanding significance and national importance) already housed by the U of L Art Collection and Archives, which the de Grandmaison family previously donated to the U of L.

"The ��Ѹ��Դ��߿�Ƭ takes seriously what it means to be entrusted with these cultural treasures," says Mahon. "These pieces hold special meaning for the U of L as most of de Grandmaison's work was created in this area. I find it fascinating that the communities Nicholas de Grandmaison was passionate about are the same communities the university remains passionate about today."

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

One of the most significant art collections in Canada, the U of L's Art Gallery's holdings number over 14,000 objects from Canada, America and Europe – and those works are not simply kept in storage on campus. "The gallery does a great deal with its works," says Mills. "We exhibit them, send them on tours, loan them to other galleries and use them to generate research."

In addition to using the works as teaching and research tool for faculty and students across the ��Ѹ��Դ��߿�Ƭ, there are plans to initiate an oral history project that will collect stories from anyone who knew de Grandmaison and any of the subjects in his portraits. Mills has also commissioned First Nations artists, such as Jeffrey Thomas, to create new works in response to de Grandmaison's artwork, and there are future plans to loan the collection to other museums and create a touring exhibition.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

"While we tend to understand history as big events, this piece of Canada's history focuses on the individuals and their stories," says Mills. "If we didn't have these paintings, we would be missing an important part of our Western heritage."

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

The faces of history

trevor.kenney — Wed, 19 Jun 2013 17:12:40 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison. Courtesy of U of L Archives.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

Jurkowski named Dean of Faculty of Fine Arts

trevor.kenney — Thu, 11 Apr 2013 15:37:48 +0000

The Faculty of Fine Arts will be under the stewardship of a new Dean after the ��Ѹ��Դ��߿�Ƭ of Lethbridge appointed Dr. Ed Jurkowski to the role, succeeding Dr. Desmond Rochfort.

"It is always exciting to announce the appointment of a new Dean, and it is especially gratifying to be able to promote someone from within the ��Ѹ��Դ��߿�Ƭ of Lethbridge community," says Dr. Andrew Hakin, provost and vice-president (academic). "Dr. Jurkowski has been with the U of L for 17 years now and brings with him a wealth of knowledge, experience and a unique understanding of the challenges and opportunities that face the Faculty of Fine Arts."

Jurkowski has been at the ��Ѹ��Դ��߿�Ƭ of Lethbridge since 1996 when he began a term appointment as an assistant professor of music in the Faculty of Fine Arts. During his tenure here at the ��Ѹ��Դ��߿�Ƭ, he has continually progressed, earning tenure as an associate professor of music in 2001 and then full professor of music in 2007.

He most recently served as the Chair of the Department of Music (2003-2009) and has been in the role of Associate Dean of the Faculty of Fine Arts since 2011.Jurkowski earned his bachelor's degree in music (composition) from the ��Ѹ��Դ��߿�Ƭ of Manitoba before completing his master's and PhD designations at the ��Ѹ��Դ��߿�Ƭ of Rochester in Rochester, NY, where he was also a teaching assistant and instructor from 1989 through 1996.

A visiting exchange professor at Hokkai-Gakuen ��Ѹ��Դ��߿�Ƭ in Sapporo, Japan in 2006, Jurkowski has published four books, including his latest, The Collected Works of Eduard Tubin: Double Bass and Balalaika Concertos (Series II, Volume 3) in 2013.

"I want to thank Dr. Rochfort for his fine work within the Faculty of Fine Arts over the previous five years," adds Hakin.

Jurkowski's appointment is effective July 1, 2013 to June 30, 2018.

Wieden headlines talk

trevor.kenney — Wed, 20 Mar 2013 18:18:23 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge's Dr. HJ Wieden is one of four experts who will present a Cafe Scientifique talk at the Southern Alberta Art Gallery on Thursday, Mar. 21.

Wieden will be joined by Dr. Eric Brown of McMaster ��Ѹ��Դ��߿�Ƭ, Dr. Frank Schweizer of the ��Ѹ��Դ��߿�Ƭ of Manitoba and Dr. Tim McAllister as they discuss Antibiotic use in Agricultural Practices: Implications on the Health of Canadians.

In areas such as southern Alberta, the issue of antibiotic resistance can have a huge impact not only on human health but on industries such as agriculture.

In order to ensure the production of safe food products, the agricultural industry has utilized antibiotic protection of animals for many years. While this ensures quality food control, there are implications for the health of Canadians especially with respect to the efficiency of current antibiotic therapies.

Attend this talk to hear about current research being conducted in Canada. Areas of focus will include: how antibiotics work; pharmaceutical research necessary to develop new antibiotics; testing of antimicrobials; and the agricultural use of antibiotics in livestock populations.

Doors open at 6:30 p.m. with the talk scheduled from 7 to 9 p.m. Please RSVP due to limited seating to penny.dagnone@uleth.ca or 403-382-7198.

The presentation will also be available remotely at the following link: http://uleth.adobeconnect.com/cafe-scientifique/. The first 100 people to log in can view the Cafe remotely.

Crossing borders with bold Brazilian program

trevor.kenney — Tue, 05 Feb 2013 23:02:52 +0000

Dr. Drew Rendall's psychology lab might be considered atypical in its student makeup now, but as the ��Ѹ��Դ��߿�Ƭ of Lethbridge continues to push internationalization as a key strategic goal, it may soon become representative of many.

Rendall currently has graduate students from Alberta, Manitoba, Sri Lanka and Brazil assisting with his research projects, the most recent addition coming to the ��Ѹ��Դ��߿�Ƭ by way of the Brazilian Science Without Borders (SWB) program.

"This is a real boon for us as a university," says Rendall, professor of psychology in the Faculty of Arts & Science. "Graduate students are kind of the heart of the research enterprise, they are the real engine of it. They collect the data and do a lot of the work, and without graduate students the research enterprise disappears."

Science Without Borders began as an initiative whereby the Brazilian government is looking to send 100,000 students to universities around the world to study in the fields of science, technology, engineering and mathematics. The goal is to revolutionize the country's research and development system.

"Brazilian science has shown great improvement over the last decade but we face many challenges," says Ednei Barros dos Santos, a Brazilian PhD student who has taken advantage of the SWB program to come study under Rendall at the U of L.

"We have a very low proportion of doctors in relation to our population, and there is a low frequency of international collaboration."

Doctoral student Ednei Barros dos Santos just recently returned from a three-month field study in Argentina.

Dos Santos discovered Rendall while researching his master's degree in zoology. After reading his papers, he decided to contact Rendall to see if he was open to supervising his PhD studies. The two met while Rendall was on field study in Argentina and not long after, dos Santos applied to the SWB program for funding.

"My research focus is on song variations of the house wren. I'm going to compare the male songs of two different populations, one here in Canada and the other in Argentina," says dos Santos. "We are trying to understand what is the relation between song variation and different mating systems and migratory behaviour."

That his master's work in Brazil, where he researched language in animal species, could be so closely related to Rendall's studies some 11,000 kilometres away, speaks to the value of international collaboration.

"This program provides an incredible opportunity for Brazilian students to be exposed to scientific innovation at Canadian universities, and will help to spur growth in science and technology sectors in Brazil," says Trish Jackson, the U of L's acting manager, International Centre for Students. "The students we are hosting are a wonderful addition to the institution; they have serious academic intentions, and will certainly make an impact when they return to complete their studies in Brazil."

The SWB program initially provided study opportunities for undergraduate students, placing more than 1,200 in Canadian universities alone. The U of L has 14 students enrolled from the program, including three who began last September and 11 more since January. Currently, a second call is going out for prospective doctoral students, and it is incumbent that faculty members provide the program with details of their research opportunities so that they might be able to participate. The PhD program is one of eight graduate programs offered by the School of Graduate Studies.

"We're excited to take part in this program. It's proven to be very successful at the undergraduate level and is likely to draw exceptionally high quality students," says Dr. Matthew Letts, Associate Dean of the Faculty of Arts & Science. "The program provides full support for PhD students from Brazil, including tuition, travel, book and living expenses, but potential supervisors need to enter the doctoral research opportunities they wish to provide into the CBIE (Canadian Bureau for International Education) Placement Database to be considered for participation."

That dos Santos was accepted by SWB is heartening to Rendall, given that his research is not as applicable as many of the funded students.

"Brazil is very interested in training students who can come back and contribute fairly directly to agricultural initiatives, to resource extraction initiatives and to the information systems industry, for example," says Rendall. "The thrust of what Ednei is working on doesn't have immediate and obvious implications but I think it's pretty encouraging that they are taking a fairly broad approach to this. It shows that they are also interested in training some basic scientists who will come back and contribute to science broadly, and that's exciting."

For more information on the program, contact Dr. Matthew Letts (matthew.letts@uleth.ca) or Dr. Helen Kelley (helen.kelley@uleth.ca)

GET THE FACTS

· Science Without Borders was just one of the initiatives discussed when ��Ѹ��Դ��߿�Ƭ President Mike Mahon visited Brazil in May as one of 30 Canadian university presidents who took part in an educational tour

· Dos Santos is wrapping up a three-month field study of house wrens in Argentina and will be back studying at the U of L in February

· The second call for SWB doctoral students runs from Feb. 1 to May 31 for January 2014 intake. The third call runs from June 1 to Sept. 30 for May 2014 intake

· Researchers can access the SWB database at the following web address: web.cbie.ca/smi/index_e.html

Exercise physiologists hold conference

trevor.kenney — Thu, 09 Aug 2012 19:44:51 +0000

Undergraduate and graduate students, along with some of the top exercise physiologists in western Canada, are at the ��Ѹ��Դ��߿�Ƭ of Lethbridge this week for the 6^th Annual Exercise Physiologists of Western Canada (EPOWC) conference.

Delving into issues such as the prevention of osteoporosis and optimizing physical capacity in obese adults, the conference is a student-focused event that invites undergraduate and graduate students from universities in British Columbia, Alberta, Saskatchewan and Manitoba to present their research work in a supportive and constructive environment. It also serves to expose students to the work of leading researchers in exercise physiology and allows opportunities for networking and the development of collaborative relationships.

The two-day event begins Thursday, Aug. 9 with a pair of talks that are open to the general public and feature two of the top exercise physiologists in western Canada.

Dr. Phil Chilibeck of the ��Ѹ��Դ��߿�Ƭ of Saskatchewan presents Exercise and Nutritional Strategies for Prevention of Osteoporosis at 4 p.m. in Markin Hall (M1040). His talk will focus on the best exercises to build bone during growth and throughout the lifespan, based on biomechanical, physiological and clinical evidence. The talk will also cover the best types of exercises for building bone, preventing falls and preventing fracture in people who already have osteoporosis.

Dr. Danielle Bouchard of the ��Ѹ��Դ��߿�Ƭ of Manitoba follows with a presentation titled Increasing Physical Capacity in Obese Older adults: Is Weight Loss the Solution? The talk begins at 5 p.m. in M1040.

The second day of the conference, Friday, Aug. 10, features the ��Ѹ��Դ��߿�Ƭ of Lethbridge's Dr. Tom Hazell as he discusses Time Effective Training: How Far Can Short Bouts of Intense Exercise Go in Improving Fitness? His talk, at 2:30 p.m. in M1040, will focus on the acute and chronic effects of sprint-interval training on metabolism and body composition.

Also featured is Dr. Michael Koehle of the ��Ѹ��Դ��߿�Ƭ of British Columbia, who will present High Altitude Research from the Field to the Laboratory at 9 a.m. on Friday morning.

The keynote presentations are sponsored by Alberta Innovates Health Solutions.

For a full look at the EPOWC conference, access the website at http://www.uleth.ca/artsci/kinesiology/exercise-physiologists-western-canada

Three Horns named to Canadian squad

trevor.kenney — Fri, 09 Mar 2012 18:36:36 +0000

Canada, the defending champions of the Hong Kong Sevens and reigning IRB Sevens Challenge Cup holders, have named their roster for the upcoming IRB event in China, which kicks off on Mar. 23.

Head Coach John Tait, having recently guided the Canadian women to a second consecutive victory at the USA Sevens in Las Vegas, has named a strong side full of speed, power and experience.

Leading the Canadians in pursuit of their sixth consecutive major tournament win will be experienced veterans like Kelly Russell, who played every minute of every game for Canada at their previous IRB Challenge Cup win, in Dubai. Russell makes up one twelfth of a squad that features a dynamic and exciting core of talent. Powerful runners like Alberta's Jen Kish and Manitoba's Mandy Marchak will look to punch holes in opposition defences and make room for the raw speed and creativity embodied in the likes Ghislaine Landry and former ��Ѹ��Դ��߿�Ƭ of Lethbridge Pronghorn Ashley Steacy.

Steacy, one of the most decorated players CIS women's rugby history was a part of the 'Horns three CIS Championships teams and was a two-time CIS Player of the Year.

Joining Steacy from the 'Horns program are Kelsey Willoughby and Kayla Moleschi, who both helped the 'Horns win a sixth consecutive Canada West title last fall. Willoughby was the Canada West MVP and All-Canadian, while Moleschi stormed on to the CIS scene last year, winning the Canada West Rookie of the Year award and being named both a CIS All-Canadian and CIS Championship All-Star.

Selection for the Hong Kong tournament has been a process unrivaled in the history of Canadian women's rugby. Having assembled talent from Europe, the national club scene, as well as the Canadian university game, twenty committed athletes have spent months working on their speed, fitness and skill at Rugby Canada's Centre of Excellence in Langford, British Columbia. The Canadian coaching staff has been able to gather an unprecedented amount of data on their players and have had the opportunity to witness athletes in head-to-head competition for extended periods of time. Funding from the Canadian government's "Own The Podium" program has meant that Canada's sevens stars are benefitting from the tools necessary to maintain their status as the world's number one team. Such funding enabled opportunities like the recent clinic put on at the C.O.E. in Langford by legendary New Zealand kicking coach Mick "The Kick" Byrne.

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Closing de Grandmaison

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

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The faces of history

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

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