Issuu

l i g o h p t S

An AnAHSC AHSC Publication Publication

Volume IX 2025/2026

About Spotlight

Spotlight was founded to respond to the question, “what can you do with an arts and humanities degree?” Now in its ninth edition, Spotlight pairs students and Western Arts graduates for an inspiring conversation on the value of an arts and humanities degree, the Western experience, and the various paths each alum has taken to reach their chosen career. More than offering a series of roadmaps to any number of career options, these interviews encourage arts students to be open to whatever the workforce has in store for them and to take advantage of opportunities as they come. Spotlight is about connection and those values that we share as the arts and humanities community. View past issues: https://issuu.com/ahscpubs

Letter from the Dean

When I was a Western student studying English in the late 1980s, I recall there being just one student publication, an annual collection of poems written and edited by graduate and undergraduate students. Today, students edit, contribute to, and manage the launching of numerous publications of critical essays, creative writing, and of course Spotlight. This publication is a particular highlight for me, since it brings together current students with Arts & Humanities Alumni who have gone on to successful careers in a variety of fields. And that’s another big change I have noticed over the years. The pathway to a career for students like me appeared to be more straightforward: there were far fewer students graduating, so finding an interesting position with a B.A. seemed, at least, to be accessible. But we also lacked information on what was possible with an arts degree—or at least I did, until I saw some of my friends working in areas I never imagined were possible for us. But if I’m honest, the biggest change is that so many of our students are so much more adventurous and creative than many of us were. Spotlight showcases these qualities. It is evidence of the talents of our current students, tells the story of so many of the same attributes in our graduates, and gives other students a sense of the possible, of what others have done and what they might, too. For me, what makes the publication special is how it connects Western Arts & Humanities across time: putting current students in touch with former ones as a way of pointing toward a future full of possibilities. The evidence of the opening toward the future is perhaps clearest in the writers’ reflections upon the experience of interviewing their respective alumni. The reflections are often quite touching for how they evince a humility in our students, but also a sense of strength and conviction, whether new-found or renewed. It has been a great pleasure to watch this issue unfold. From the initial conception, to researching possible interviewees, to writing, editing, and publishing the volume, our students have taken ownership of the entire process. As I have witnessed repeatedly in my time as Associate Dean, their intelligence is matched only by their creativity, their industriousness by their good judgement.

Jan Plug Associate Dean, Faculty of Arts & Humanities

Letter from the Editor As Alumni Relations Commissioner, this year was, in many ways, a grounding and inspiring experience. I stepped into the role at a moment in my degree when I found myself reflecting deeply on my academic path and what it might look like beyond Western. Connecting with alumni and inviting them to share their stories became a meaningful reminder of how varied and fulfilling those paths can be. Working on Spotlight allowed me to see the publication process from a collaborative and relational perspective. Supporting alumni contributors and helping bring their pieces to life reinforced the importance of thoughtful communication and mutual trust. Their willingness to revisit their journeys added a richness to the final product that speaks to the strength of our wider network. I’m incredibly grateful for the opportunity to have worked on Spotlight this year and to help bridge past and present voices within Western’s community. I hope readers find insight, encouragement, and a sense of continuity within these pages, and feel inspired by the many paths represented here.

Paige Hammond Alumni Relations Commissioner

Letter from the Editor I like to think of an arts and humanities degree as a chameleon, changing colour and camouflaging to adapt to its environment. It permits a level of career flexibility because the transferable skills it spends years refining produce some of the most malleable minds. No matter the specialization (English, film, linguistics, etc.), an arts and humanities degree teaches skills that are invaluable in the workforce and the world at large. Critical thinking and articulation are needed now more than ever in the wake of AI and its threats to creativity and intellect. As a fourth-year, I often find myself in the midst of a “Senior Scaries” bout. “What will I do with my degree once I graduate?" is a question that often crosses my mind. The truth is, I don’t have an answer—and I think there is beauty in that. There are so many possibilities and it seems overwhelming, but I know that I will find the answer because I have those malleable tools to succeed. The alumni featured in Spotlight are a testament to that A&H success. It has been a great honour to help produce Volume IX of Spotlight. Paige has done a wonderful job coordinating this volume. I’d also like to extend my gratitude to Cadence and Khadeejah, our copy editors; Evan, our layout editor; and Jan and Jessica in the Dean’s Office. Finally, a special thank you to all the writers and alumni, without whom Spotlight would not be possible. Wishing you endeavours,

all

the

best

future

Nicole Hennigar Vice President Publications

Table of Contents

6 8

Jenny Berkel and Mackenzie Kew BA English - Singer/Songwriter, Bookstore Owner

Maryam Golafshani and Aanya Pereira BA (Hons) Critical Theory, Criticism and Literature, MA Centre for the study of Theory and Criticism - Resident Doctor, Psychiatry

10 Matthew Ryan Smith and Fiona Gao PhD Art and Visual Culture - Museum Curator

12 Abby Vincent and Molly Asma

BFA Fine and Studio Arts, MA Art History and Curatorial Studies - Head of Marketing and Development, Museum London

14 Marc Powell and Kelly Loubandha

BA French, MA French - French Learning Coordinator

John Van Rys and Rishit Kante BA (Hons) English Language & Literature, MA English Language & Literature Professor, Author

JENNY BERKEL

Singer/Songwriter, Bookstore Owner BA English

Jenny Berkel, the founder of Little Wren, an independent bookstore in London, followed a path that wasn’t perfectly linear, one that was shaped by years of writing, creating, and participating in literary communities both within and beyond the university. Berkel began her undergraduate degree at King’s College, studying Social Justice and Peace Studies. After a few years, however, she stepped away from university. “I got a little antsy,” she says, and what began as a break from school turned into “a long time” as she focused on song writing and creative work. Several years later, in her early thirties, Berkel returned to Western to finish her degree. This time, she chose a combination of English and Social Justice and Peace Studies, with a stronger focus on English. Her return was motivated not by career goals but by a desire to learn. “I didn’t come back to school thinking I’m doing this for a career,” she explains. “I really did come back just because I wanted to study.” That return played a significant role in shaping what Little Wren would later become. After completing her undergraduate degree, Berkel continued her studies with a Master’s in English at Western. She began the program in 2020, notably as part of the first cohort to complete the degree online during the COVID-19 pandemic. During her Master’s, a course with Dr. Madeline Bassnett, she recalls, “did sort of start a change in my life, a movement more towards poetry.” At the same time, Berkel relocated from London to Nova Scotia, where she lived for nearly three years. As the program was remote, she reflected that the move influenced how she thought about her life and priorities. “Being in a new place… shifted sort of how I thought,” she says. The pandemic, she adds, encouraged many people to consider “what I want my life to look like.” When Berkel returned to London in 2024, she came equipped with degrees, deep passion, and years of experience working at bookstores. Like many avid readers, she had long imagined opening a bookstore. “I was one of those kids who imagined I would have a bookstore when I grew up,” she says. That idea became more concrete when she noticed a gap in London’s literary landscape. “There just really aren’t a lot of independent bookstores in London that are doing new books,” she explains. “So, it felt like a pretty obvious gap to me. I took the plunge.” With that plunge Little Wren was born, not just as a retail space,

but as a place for conversation and connection. That intention is evident in the store’s frequent events, including readings, launches, and discussions. Poetry events, in particular, stand out. “The poetry events often are the best attended,” she notes, describing evenings where conversation extended long past the scheduled time. “It wasn’t just the writers up front talking,” she says, “It was like everybody talking together.” When asked if she saw a relationship between Little Wren and Western, Berkel described the shop as closely connected to the university and its academic community. Professors regularly attend events at the store, and she has collaborated with faculty members on readings and launches. One event was held in collaboration with Dr. Kate Stanley and writer Kristen Case, along with an opening reading by a Western student. She describes the event as a “full circle moment,” adding that with faculty members such as Dr.

Written by Mackenzie Kew

Mary Helen McMurran in the audience, it underscored how “in some ways, this bookshop wouldn’t exist” without the role her professors played during her time at Western. One of the most rewarding parts of bookselling, she notes, is when customers return to talk about a recommendation that connected with them. In addition to running Little Wren, Berkel has another full circle connection to Western as a creative writing professor at Huron University. In her creative writing courses, she emphasizes classrooms that are “co-created in a way with the students,” describing teaching as “a collaborative sort of thing” rather than “just standing there telling people things.” That approach is evident in her commitment to workshops. “One of the top three most important things for me as a writer is to be part of a workshop,” Berkel says. She states that workshops can be motivating and transformative: “You have regular workshops. You’re going to want to write something new,” and when they go well, “it can completely bring your work to a completely new level.” Berkel continues to workshop regularly, now alongside writers and peers who were once her mentors, an evolution that displays the long-term creative

relationships forged on campus. While teaching and being a business owner, she continues to write her own poetry. Her first full-length poetry collection is set to be published, with a chapbook scheduled for release beforehand. Reflecting on recent years, Berkel describes 2025 as “a really good year.” “All these things that I’ve been kind of working towards suddenly blossomed,” she says. Berkel already has things in the works for 2026, with Little Lit Fest, a one-day literary festival planned for March, and co-directed with London-based creative Misha Bauer, in collaboration with Western. Berkel’s story illuminates how staying connected to your alma mater can continue to ground you and generate new opportunities. Instead of cutting ties after you get your degree and starting anew, the relationships formed during these university years can assist in shaping creative and professional life long after graduation. Those connections can evolve into collaboration, mentorship, and shared community—and in turn, they allow you to become the support or inspiration that once helped move your own work forward.

MACKENZIE’S REFLECTION English Literature - 4th Year

As a fourth-year student, I’ve been preparing myself to step away from Western after graduation, assuming that graduating means moving on. However, listening to Jenny Berkel’s story gave me pause. When she spoke about returning to school not just for a career, but because she wanted to learn, it recentered how I’ve been thinking about my degree. In the arts, there is rarely a clear future, and Jenny’s words reminded me that uncertainty isn’t something to rush past. There is value in lingering. This experience made me reflect on how much I’ve gained from workshops, sustained conversations with peers, and relationships with professors. Jenny showed me that these connections don’t disappear after graduation. They can shift, deepen, and reappear in unexpected ways. Instead of feeling pressure to have everything figured out, I’m left with the sense that staying curious, connected, and open to where my work leads might be enough.

MARYAM GOLAFSHANI

Resident Doctor, Psychiatry

BA (Hons) Critical Theory, Criticism and Literature, MA Centre for the study of Theory and Criticism “I could have just never sent that email,” says Maryam Golafshani, one of SASAH’s earliest graduates, “but I did, and it changed the trajectory of my life.” Joining SASAH in 2013 with a double major in English Literature, Golafshani went on to complete her Master’s in Theory and Criticism at Western as well. Now, having graduated from medical school, she’s a resident doctor in psychiatry at the University of Toronto. Although she started at Western aiming for a general science degree, she met Joel Faflak—who was, at the time, the director of SASAH—and she was convinced to join the program. “He made a very compelling case that it would be a great fit for me,” Golafshani says. “I didn’t really know what I was signing up for, but I knew that partly because it was a guinea pig program, there was a lot of flexibility given to students.” SASAH’s flexibility was, as Golafshani discovered, the exact thing she needed. It supported and gave her the freedom to engage with her varied interdisciplinary interests, but most importantly, it helped her foster a natural curiosity that is crucial to the way she engages with her work. For Golafshani, having the opportunity to explore genuine interests and passions was one of SASAH’s greatest strengths. She credits SASAH with helping her learn how to be there for her patients and care for them when they might not be able to care for themselves. Nobody who knew Golafshani personally was shocked with her shift from a science degree to one in humanities. Medical school, on the other hand, was a whole new world. Whether it be from peers, patients, or supervisors, she was met with varying degrees of surprise when she spoke of her humanities background. “I think medical school is advertised as being a lot more open to different backgrounds now,” she says. “But in practice, the reality is that the majority of diversity comes from someone studying global health or health sciences instead of medical science.” As she credits her time at Western with the growth of her interpersonal skills and interest in community-based work in psychiatry, it is clear just how integral the SASAH experience was to Golafshani. “It undoubtedly shaped the way I am,” she says. “I don’t think we need to make everyone do arts and humanities to make them a good doctor, but it worked for me.” She emphasizes just how important it is to find a path that truly means something and connects with you, saying that many of her peers—from traditional science backgrounds—are equally as capable as he is at caring for patients. The borderlands of health and illness that Golafshani deals with in her work are vast spaces, blurred lines of chronic conditions, disabilities, and the risk of the potential ‘other.’ Proactive prevention is prioritised, and constant vigilance is exercised in her world of contemporary medicine.

Written by Aanya Pereira

“A lot of people in health care today would tell you that this is the area in which we really work: this in-between of people being ill but not ill, disabled but still functioning in society. It’s all an in-between zone.” It is with a smile in her voice that Golafshani gives some advice to current students. Let it be known, she says, that she received this same advice from others and never took it herself. Though she does not presume to have it all figured out, the words that Joel Faflak said to her when they first met still hold true: not everyone’s circumstances are the same, and you don’t need to worry too much about what the next steps are. It might not seem like it now, she assures, but as clichéd as it is, there’s always going to be plenty of time to figure things out. “My past self would be very surprised at how everything lined up and turned out in my life today,” Golafshani says. “Now, you know, a decade or more later... I realize that I could have saved a lot of energy I spent trying to control everything and spent it on exploring and taking the opportunities that came my way. Still, you can’t just sit around waiting for things to happen. Pursuing what you’re interested in takes active work. If you have the energy and time to take it even a little bit further, those threads open amazing opportunities for you. Some threads might just die. Then you think about it a

decade later, and it’s strange— but it all comes back to what I was saying about the best thing about a humanities education. I had an opportunity to be curious about things and get inspired and be supported in exploring that curiosity.” After all, it is curiosity and drive that led Golafshani to email Joel Faflak about SASAH, even though it was nerve-wracking as a first-year student to send an email to a professor who had never met her. The worst thing they can do is say no, but you’re going to have to be the one to ask first.

AANYA’S REFLECTION

English Literature - 4th Year

While I creep ever closer to graduation, the thought of am I really doing the right thing with my life? plagues me increasingly. As such, my talk with Maryam could not have come at a better time; open about both her work and experiences that led her to where she is today, she is concrete proof that taking risks and just getting your foot in the door could be the start of something wonderful. Not only have I learned more about all the places a humanities degree can take you, but I’ve also found a growing sense of contentment in my choice to be here, to be doing what I’m doing despite the uncertainties the future might hold. Maybe it’s not so much about what can I do with my degree? or how useful is this, really? There’s plenty of merit in aiming for what really matters to me, and there’s plenty of time for me to fill that trajectory of my life. My thanks to both Maryam and the Spotlight team for this opportunity.

MATTHEW RYAN SMITH

Museum Curator

PhD Art and Visual Culture Matthew Smith is an experienced Curator and Head of Collections at Glenhyrst Art Gallery. He completed a PhD in Art and Visual Culture at Western University, and he approaches curating as a form of storytelling. “I work with artists to tell stories about people, the land, and its history,” Matthew says. As a curator, Matthew introduces audiences to artwork that inspires reflection and evokes emotions. “It’s like introducing someone to a song they haven’t heard before but immediately fall in love with,” says Matthew, “it can change their life in some small way.” The role of curator involves a wide range of responsibilities from phone calls and studio visits to researching artists’ work and brainstorming exhibition ideas. Gallery work also involves administration, which can include grant writing, scheduling, logistics, and preparing contracts. It is rare for two days to be the same. When Matthew completes the gallery work, he shifts his focus to writing and research. Most recently, he completed a book chapter on Indigenous graffiti in art institutions. Matthew’s journey is closely linked to his training in Arts and Humanities. He started his undergraduate studies in Studio Art at York University. However, he rediscovered his love for art history, which he cultivated in Dunbarton High School in Pickering. “I can still recall the minute details of canonical artworks because of those days,” Matthew says. He switched his major to Art History, and after he completed his undergraduate degree, he applied for a Master’s degree in Art History at the University of Toronto right away. His passion then motivated him to pursue a PhD. Matthew came to Western in 2008, where he explored how artists used events from their lives to shape their work or to serve as subject matter. He completed his PhD in Art and Visual Culture at Western in 2012. Life at Western was enriching, and Matthew built important connections and meaningful memories. Matthew reflects on his academic experience: “I was like a sponge, absorbing as much knowledge as I possibly could... Filling my brain with ideas and sorting out their purpose was exciting.” He spent his free time with friends at the Graduate Club, enjoying drinks after class, which helped him relax and refocus. Matthew curated an exhibition at the McIntosh Gallery, Some Things Last a Long Time, as part of his curatorial stream dissertation. Having his family and friends attend the exhibition was a meaningful memory for him. The seminar offered by Professor Dr. Sarah Bassnett, Photography and Social Crisis, influenced Matthew the most and inspired him to apply more critical methodologies into his dissertation. After graduation, Matthew worked as an instructor at Haliburton School of the Arts, Fleming College, as well as a sessional professor at OCAD University, Western, and the University of Toronto Mississauga. He was aware that there are limited art history professor positions in Canada. His experience at Western enhanced his skills in curatorial work, so he made a deliberate decision to pursue curatorial roles and became a curator at Glenhyrst Art Gallery. He was also the Curator-inResidence at McIntosh Gallery in 2017. “There is an ethics of care built into the profession,” Matthew says. Drawing from his own experience, he concludes that a good curator should fundamentally care about art and

Written by Fiona Gao

its impact on communities. To gain experience in curating, Matthew recommends pursuing internships and volunteering, particularly by visiting museums and galleries in person and engaging with staff members. Strathroy, Lucan, Port Stanley, and St. Thomas, for example, are great places to begin getting involved with the communities in the areas surrounding London. Matthew also encourages support for local small museums and galleries. The curating job balances writing and research with curatorial work. Writing is a core part of Matthew’s practice as a curator. He writes exhibition labels, critical essays, book chapters, advertisement copy, exhibition descriptions, and sometimes poetry. He also takes on various research projects, including critical essays and reviews. “I work through thoughts on the page,” Matthew says. He encourages students to write as much as possible: “Writing is a crucial practice because it helps organize your thoughts.” Influenced by his research interests in Indigenous art, Matthew picked up Ojibway as an additional language. He recently completed a curatorial research position with the New York Historical, and he is co-editing the first book

on Indigenous graffiti, muralism, and style writing with two friends. Finding new writing commissions, pitching exhibitions, pursuing research work... While each day can be demanding, Matthew always makes time at the end of the day to go for a run or engage in some form of exercise. When it comes to exploring career choices, Matthew encourages arts students to think realistically and proactively. For example, consulting with professors and administrators to identify areas of demand for specific careers is a good approach. Connect, practice, and actively take in creative ideas from different sources—over time, these experiences will come together to create a system that helps you succeed. “Do your own research to find out who is hiring, for what positions, and why,” says Matthew. “In later years, you will thank your younger self!

FIONA’S REFLECTION

Honours Double Major in English and History, Minor in German - 3rd Year I appreciate this opportunity to work with Matthew. Switching majors, applying to graduate studies... Although Matthew made it seem easy, I often find it difficult to decide on a path and go full force with it. I still ruminate on my decisions, and the fear can take up a great chunk of my energy. This interview made me realize that sometimes I just need to trust my instincts and stand firm with my choices. The idea of learning a new language, another passion connected to our main field of study (but not necessarily directly related), is also very inspiring. Ojibway is a wonderful option in many ways, as it offers worldviews and insights that are largely unaffected by IndoEuropean languages. I have always wished I knew more languages, and I would welcome any opportunity to learn. I truly appreciate and agree with the suggestion to write more. Looking back at the silly sonnets I wrote in my first year, I know I could not have improved if I stopped writing poetry; and academic writing works the same way. Thank you, Matthew!

ABBY VINCENT

Head of Marketing and Development, Museum London

BFA Fine and Studio Arts, MA Art History and Curatorial Studies Born and raised in London, Ontario, Abby Vincent did not always plan to attend Western University. Although she always had a passion for the arts, Abby originally wanted to study outside her hometown, wanting a change of scenery. However, when she accepted her offer at Western, she had no idea that it would be a stepping stone for the many positive experiences throughout her career. Graduating in 2016 with a Bachelor of Fine Arts and Honours Specialization in Studio Art, Abby vividly recalls the memories and friends she made while completing her undergraduate studies. Abby remembers the hands-on and practical nature of the Western program, as well as all the projects she enjoyed over her four years: “I did what's called the practicum program in the studio arts department, which includes all of the folks who do the Bachelor of Fine Arts Studio Specialization program. During my time, it was a cohort of about 18 to 20 people, so it's a very close-knit group starting in the first year and continuing into year four.” During her time at Western, Abby enjoyed her year-end exhibitions, personal studio spaces, and school trips to places like New York. Abby reminisces about her year-end exhibition in her fourth year, called “Future Desserts,” where her entire class created pieces related to moments of sweetness and looking forward to the future. After graduating in June of 2016, Abby decided to take some time away from school and began working in arts administration at a local gallery. By using connections made in her undergrad, Abby started her “first real big girl job and obviously jumped at the opportunity!” After continuing to build her skills, Abby discovered how much she enjoyed arts administration: “As someone who's a little more type A, who really likes a routine, and who likes kind of an external system that I can fill out with my tasks, I discovered that supporting artists was something I found deeply important.” As Abby continued to work at DNA Art Space, she had the opportunity to collaborate with a team to build a roster of artists. While working there for over three and a half years, Abby was exposed to many opportunities, working herself up from an assistant to a manager, and eventually the associate director. By giving artist tours, installing work, doing studio visits, organizing events, and helping with festivals, Abby became more and more involved in the London community. While working at DNA, Abby came across a new position at the McIntosh gallery. Since it is located on campus, she was very familiar with the gallery and its resources. When the position of communications and outreach coordinator came across her desk, Abby decided this was something new that she wanted to explore. Although she started with a smaller role, after about six months, Abby took on a new challenge as Secretary and Bookkeeper. She quickly learned how to do payroll, accounts receivable, and expanded

her understanding of finances and artist fees. “I was able to sample a little bit of this and try a little bit of that, and work with a curator on this project, and learn a lot about shipping and insurance and brokerage and all of these other things that I like,” she says. Although this work may not be visible on the surface when you walk into an exhibition, there are several checkpoints that need to occur behind the scenes. Eventually earning a full-time position with the gallery, Abby continued to work there for seven years. “I was really grateful. None of these things happen just by passively being there, at the right place at the right time. You've got to build connections with these people and prove that you're really passionate,” she says. It was during this time that Abby received her Master’s in art history and curatorial studies. Although her Master’s was completed during Covid, she still enjoyed her program despite some operation changes. After graduation, Abby continued to work at the Gallery, eventually leaving to work at Museum London in the fall of 2024. Starting as a marketing and communication specialist, Abby was eager to focus on one area of expertise. “If I had any advice to give to a student... don't pigeonhole yourself into one specific practice or discipline or department early in your career. The

Written by Molly Asma

act that I was able to do all of these different things before then meant that I knew a lot and could bring all of that expertise into a new world that was a little more focused,” she says. After working for a few months, Abby decided she was ready for a new challenge, and in February of 2025, she was promoted to Head of Marketing and Development. In her new position, Abby has been able to take on bigger projects and manage a team of staff. Abby claims the job is “very rewarding,” full of new learning opportunities. Reflecting on her time at Western and where she is now in her career, Abby encourages students who are interested in this career to start at a small organization and to find their momentum: “Whether it's an artist-run center or university art space or smaller municipal space, DIY space… starting there, you can kind of taste test all of these different things, and you can figure out what you like and what you don't like. Sometimes that is more valuable than figuring out what you like. And you can use that information, that qualitative data, to inform what you're good at, and the mix of those two things together is like your superpower. So that would be my recommendation: starting small and then getting bigger in terms of scope, or in terms of scale, and then narrowing the scope of your work throughout your career.” Abby believes that you should always say yes to new opportunities, and by taking calculated risks and being experimental, you can work towards the goal of supporting art and culture. When reflecting on the arts and humanities, Abby claims it is invaluable. “I’m biased, but the magic of arts and humanities at

Western exists in the context of so many other disciplines. You're rubbing shoulders with folks in business, you're rubbing shoulders with folks in science, you're getting to know other disciplines within the Faculty umbrella, working with classics or working with modern languages, gender studies… All of those things together in this melting pot of expertise and criticism is really critical and really important,” she says. Abby finds value in the Faculty’s ability to support emotional intelligence, be a good ally and advocate, and to be a positive network that supports peers working toward a common goal. She says, “It was certainly a magic moment that I saw throughout the course of my degree that's very present. This kind of interdisciplinary collaboration is really fruitful, and it's not something that is only available to us in university. It's something in my line of work and in many other creative practices that is the foundation of collaboration, of success, of new learning, of development. And I think learning how to collaborate is maybe something that we didn't know that we were learning at the time but was definitely one of the most important skills that I took away from my time at Western University.”

MOLLY’S REFLECTION

Dual Degree in English and History - 3rd Year This being my second writing with Spotlight, my interview with Abby Vincent has been a great opportunity to learn from someone who is hardworking and inspiring in the field of arts and culture. As someone who also is studying English Language and Literature, I found it fascinating to hear about her career and her journey. Talking with Abby has reminded me that it is important to stay dedicated to my craft and always give my best effort. As someone who is uncertain of what I will pursue post-graduation, it was comforting to know that not everything in life is planned. Abby has inspired me to continue exploring my interests, and in that respect I look forward to new discoveries within my program. Abby should be very proud of her accomplishments, and I wish her the best with her 2026 projects! Her dedication to art and her ability to balance personal commitments motivate me to follow her example. I am deeply honoured for the chance to meet Abby, and I look forward to re-visiting the museum.

MARC POWELL

French Learning Coordinator BA French, MA French

This is the most employable man on planet Earth, and he doesn’t even know it. This is exactly what I was thinking during my Zoom interview with Assistant Professor and Senior Research Associate Marc Édouard Powell on a sunny Tuesday morning. You know an employable man when you see one. They wear many hats and, as became increasingly clear over the course of our hour-long interview, Marc Powell is in no shortage of headgear. His email signature is stacked, informing recipients that he not only holds the two aforementioned titles, but is also on a secondment as a Visiting Scholar for the Thames Valley District School Board and Western University, and is a Certified DELF Trainer-Facilitator and a coach for Western University’s Men’s Varsity Tennis Team. To add to this, he has received the Canadian Parents for French's 2025 McGillivray Award for FSL Leadership as well as the 2025 USports' National Coach of the Year Award for Canadian University Men's Tennis. It’s safe to say that Marc Powell not only wears many hats, but he wears them well, too. I was unsurprised to learn that the Powells—who all speak French, English, and Italian—are a family of educators. This is a bloodline that plays to its strengths. As soon as I was paired with Powell for Spotlight’s 2026 volume, it became clear that he’d thought to do what I’d never considered: he found the intersection between his supposedly wildly separate passions, strengths, and interests. His answers to my questions only confirmed this. “Coaching a sport and teaching a language are super natural connections, I think,” he says. Powell doesn’t believe that athletes are all that different from arts students. He believes even less that any student should let limiting beliefs such as this one stop them from doing either. If anything, learning a sport and learning a language require an identical set of skills. Both demand discipline and require repetition. The only way to learn them is by doing them. You can’t corner-cut your way to language fluency nor can you be talked through mastering a forehand in tennis. An added bonus is that no matter which language or sport you choose, your cognition only benefits from practicing it. If my time at Western has shown me anything, it’s that many of my peers feel doomed to remain Jacks of All Trades, passionate about a variety of different skills but convinced that they’re all singular paths that never converge. If this is you, here’s Powell’s advice: “Examine both and figure out if those things are really so contradictory. Find out what’s parallel between them.” Powell’s teaching career began when coaching tennis lessons while completing his Honours Bachelor of Arts in French Language and Literature and Italian Language and Culture at Western. Now that he’s held multiple teaching positions at the university, Powell states that “there’s something super fulfilling— or full circle—about coming back to work where you studied.” This sentiment isn’t exclusive to him, either. In his work as a part-time faculty member for Western’s Bachelor of Education program, Powell and his colleagues “see [this full-circle feeling] all the time with [their] teacher candidates when they get to return to their old elementary or high school.”

While not many people would necessarily choose to go back to school, this is the insight Powell provided for people second-guessing whether they should continue their postgraduate studies at Western or move on to other institutions. The best institution to attend is ultimately up to you, but Powell provides this insight because he believes that “it’s a myth that we have to change institutions to succeed or to grow.” And that’s all any of us want to accomplish at the end of the day, isn’t it? Growing in, and succeeding at, whatever we’ve chosen, no matter what it is. When I asked Powell about what insights he had for Arts and Humanities students hoping to teach French (or any other languages), I was pleased to discover that the answer comprises things I can already do, skills I know that you have, too. “Teaching a language is deeply humanistic work,” he says, “It requires empathy. It requires cultural awareness. It requires an understanding of how the brain works, learns and operates. What motivates your students to communicate? It’s definitely deeply humanistic work. That’s what I learned, and that’s where an Arts and Humanities background really prepared me, because I wasn’t aware of that

Written by Kelly Loubandha

[going into teaching]. I just thought I’d be teaching a language. Syntax. Grammar. Vocabulary.” As Powell broke down the art of teaching, the very concept finally clicked into the arts-shaped puzzle in my brain. What makes us Arts and Humanities students ideal candidates for jobs we’d never expect is all the stuff underneath: the things that don’t show up on the job description because we collectively yet mistakenly assume we all already have them. But it isn’t enough to just be a human. The best teachers are good at understanding humans and at teaching other people to understand them, too, like how Powell helped me understand, right then and there. Also, stop telling yourself that your French-Immersion or Core French education isn’t enough. You’re only getting in your own way. French is a slippery language. This is true for speakers at all levels. Canada is suffering from a shortage of qualified French-speaking French as a Second Language educators. An underestimated reason is that many perfectly proficient French speakers who studied in the Immersion or Core French systems lack confidence in their skills. That’s it. One of these speakers is very likely you. The good news is that you’re not the only one. “That confidence piece is definitely a challenge for our French teachers. In immersion, more than half of them speak French as a second language,” Powell says. “There is a lack of confidence from some of the teachers, unfortunately, which leads to some

retention issues, right? Because some of them want to switch out of French because they just don't feel comfortable.” Powell wants anyone aiming to go into FSL with the mistaken belief that they have to be perfect at French first to remember this: “They don't need to see you being perfect at French as long as they see their teacher trying and communicating in French and doing their best. [The students are] going to feel less anxious to take risks and to speak French, too. Whereas if their French teacher is always performing at an exceptional proficiency rate, that could be a little intimidating for them because they're going to feel they're going to make mistakes, right?” An artist, a linguist, and an athlete walk into a bar. They’re all the same person—that person is you.

KELLY’S REFLECTION

Creative Writing - 5th Year

Upon discovering that I spent my entire elementary and high school careers in the French First Language school system in Ontario, Marc Édouard Powell remarked, “Quel beau match!” My time speaking with Powell was absolutely delightful! It was certainly a trip down memory lane. I based my questions for him on the many passing comments and information I heard growing up during my time in the French system. Many of the side tangents we broke off into (and whose insights unfortunately could be incorporated if I wanted to respect the word count limit) ended up delving into our observations as polyglots in Canada and had a lot to say about the French as a Second Language curriculum. My questions were also based on the many conversations I’ve had in recent years not with aspiring French teachers, but rather with the large population of my peers who studied in French Immersion programs. Regardless of how “good” their French actually was, every single one of them decided their French wasn’t good enough to bother putting on a resume, let alone to teach to anybody else. I could often be found spending way too long trying to change their minds after being told this. When I was given my beau match, I saw it as my opportunity to convince more of you on a wider scale. I hope to hear from even one of you that I’ve succeeded. Thank you for reading :)

JOHN VAN RYS Professor, Author

BA (Hons) English Language & Literature, MA English Language & Literature “We may not be big but we’re small!” This was the slogan of the 1994 to 2015 CBC Canadian Radio Show hosted by the one and only, Stuart McLean. A humorist, broadcaster, monologist, and author, his tour-deforce storytelling through the fictional characters of Dave and Morley reached the ears of the “tick magnet,” Dr. Jon Van Rys. Growing up in a bustling city, Dr. Van Rys came to Western University with the vision of becoming an “ideal reader.” Coming out of high school, Dr. Van Rys had of love for literature which was expressed through his readings of various novels, short stories, poems, screenplays, etc. Some of his professors, such as, Dr. Richard Stingle, Dr. D.S. Hair, and Dr. Stan Dragland, introduced him to the work of the Canadian literary critic and theorist Northrop Frye, changing his understanding of literature. Much like Frye’s categorization of literature genres into seasons of the year, Dr. Van Rys entered headfirst into summer (heroic ascent) as he was tasked with teaching a section about Shakespeare to a class as their teaching assistant. Describing himself as “petrified,” the young teaching assistant, doing his Master’s at Western, graduated with an inferiority complex. Dr. Van Rys said he was so overwhelmed by the prowess of the authors he studied that he convinced himself that he “could never do that.” When asked about the authors that had the most impact on his journey during his years as a Master’s student at Western, Dr. Van Rys said he found his grounding in Canadian literature, specifically referring to authors such as Alice Munro, Margaret Atwood, Guy Vanderhaeghe, Carol Shields, and Alistair McLeod. These authors wrote Canadian characters in a way that left Dr. Van Rys pondering his own identity. A second-generation Dutch immigrant born in the 1950s, he questioned the place he had arrived in and wanted to understand the land better. However, everyone has to start somewhere. And for the Western graduate, this occurred in his mid 30s with poetry. He found his first job at Dordt University in 1990 as an English professor teaching literature and writing courses, and stayed there until 2005. While teaching his students how to read and understand poetry, Dr. Van Rys audited a course on poetry writing that his colleague was teaching at the time. “And so, I kind of fell in love with the language from the perspective of creating it,” says Dr. Van Rys. Following his tenure at Dordt, Dr. Van Rys went on to work at Redeemer University, initially as a professor and subsequently the Associate Dean of Arts from 2005 to 2025.

Simultaneously, from his mid 30s to his 40s, he wrote more casual poetry, as in his words, “I would never call myself a poet at that point.” Entering his mid 50s, Dr. Van Rys confessed to his wife that if he could dip his toe into writing fiction, that was the time. Influenced by Stuart McLean’s fictional domestic stories about Dave and Morley, coupled with his newfound residence in the farmlands of Dunnville, ON, he sought to write lighthearted and fun stories that would resonate with and engage readers. Dr. Van Rys understood and chose the path of making ordinary life emotionally and symbolically profound, without needing to upscale his stories. In his second year, married and with a child, and still loving literature, Dr. Van Rys came to a crossroads regarding his future path. As his father was a businessman, he thought of going into commerce. However, the young university student decided to earn a degree in the arts for two reasons. Firstly, he wanted to follow his passion and love for the subject, despite its uncertain trajectory.

Written by Rishit Kante

And secondly, he received overwhelming affirmation and support from peers and professors to trust what he was good at. Describing the event as a “calling,” Dr. Van Rys pursued his passion despite the risk and uncertainty. Following a traditional path, earning a BA, MA and PhD, Dr. Van Rys found a job at a small liberal arts college with a heavy teaching load, which led to less time for research. Overall, when looking back on the journey, he described it as having “worked out marvellously,” as it provided him with new opportunities. For instance, while working on his PhD at Dalhousie University, Dr. Van Rys was contacted by St. Mary’s University to teach business communications. Although he had no prior experience in the subject, he nonetheless jumped feet-first into the syllabus and taught the course. This was a cornerstone experience in his career, one that remained with him, as it allowed him to secure his first teaching position. He was also part of a team that worked with Thoughtful Learning to create textbooks for students from grade school to university, as well as the workplace.

Dr. Van Rys resides on his farmland in Dunnville, ON. He retired in 2025 and is now self-employed as a writer. His career in academia spanned an impressive 35 years, working with students and fellow professors alike, and he now pursues his passion of writing domestic fiction. Dr. Van Rys has announced his new novel, Milksop, that will be published by Chicken House Press in spring of 2026. He also writes on his Substack page ODD (Old Dog Dumps), where readers can find and be updated on his latest projects.

RISHIT’S REFLECTION English and Cultural Studies - 2nd Year

As an arts and humanities student currently majoring in Literature, I wanted to specifically speak to Dr. Van Rys because I knew I would gain the most insight from him. Coming from an Indian immigrant background, most of my family ventured into engineering, and when they heard I was pursuing literature, I instantly became the black sheep. I have had friends tell me that what I am pursuing was “useless” and would not benefit me in the long term. However, speaking to a talented and experienced person like Dr. Van Rys helped me realize that no matter the uncertainty or risk in my path, I must pursue what I love. This interview has also inspired me to continue with writing my own fictional stories and finding my own space in this vast world we call literature. Thank you to Dr. Van Rys, Paige, and the rest of the Spotlight team for giving me this opportunity to grow and learn. As Mr. Keating in Dead Poets Society once said, “Medicine, law, business, and engineering, these are noble pursuits and necessary to sustain life. But poetry, romance, love, these are what we stay alive for.”

Acknowledgements Brought to you by : Paige Hammond, Alumni Relations Commissioner Nicole Hennigar, Vice President Publications Alyssa Naoum, Associate Vice President Publications Layout by: Evan Rogers, Layout Designer Covers by: Kendra Jackson, Cover Designer Copyedited by: Khadeejah Abdul-Khadir, Copy Editor Cadence Desmarais, Copy Editor Contributing Writers: Mackenzie Kew, Writer Aanya Pereira, Writer Fiona Gao, Writer Molly Asma, Writer Kelly Loubandha, Writer Rishit Kante, Writer

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