USURJ: University of Saskatchewan Undergraduate Research Journal
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"Ocean Song" and "Filipino Student Association Banner"
No full textHi hi! My name is Kurt, an aspiring illustrator who dabbles in a variety of different art mediums such as painting, sculpting, drawing, and most prominently, digital art. I like to create art related to things I enjoy, whether games, music, or shows I like.
"Ocean Song" is a clay sculpture based on "Prestige Ocean Song Seraphine" from League of Legends.
"Filipino Student Association Banner" is a digital piece that I made for the Filipino Student Association, representing a lot of the Filipino Culture and incorporating it with Canadian and, more specifically, Saskatchewan\u27s culture. 
Lowering the Bar
Full text linkBeing somebody who\u27s always focused on academics, I like to challenge people\u27s expectations of me and what I can do. I end up expressing that in the art mediums I use, and like to break out of the convention of what\u27s considered "Normal" or "Expected." In other words, I just like creating things that I think look cool
Wednesday (Neurodivergent character/people series)
Full text linkEver since my late Autism diagnosis I began to realize a great majority of the people I like or who influenced me in my life were also neurodivergent. Wednesday is part of a series of paintings I have been working on to pay tribute and to share the people who have had an impact on my life
Influence of Physical Education Experiences on School-Aged Children’s Perceived Physical Literacy Development
Full text linkCollege of Kinesiology Research Theme: Child and Youth Health and Development
Introduction: Physical literacy is the motivation, confidence, physical competence, knowledge and understanding to value and take responsibility for engagement in physical activities for life. Physical education (PE) offers a unique and structured opportunity for children to develop physical literacy by providing varied movement experiences within supportive and inclusive learning environments. Pedagogical practices in these environments often range from more traditional (e.g., sport) to less traditional approaches such as circus arts, which may result in different student experiences. Current literature emphasizes the importance of examining how physical literacy is perceived and fostered within educational contexts, particularly through varied pedagogical approaches.
Purpose: This study aimed to investigate the relationship between teacher and student perceptions of physical literacy within the circus arts and traditional PE environments, and how these experiences might differ.
Methods: A cross-sectional design was utilized, with data collection from the physical literacy self-assessment (PLAYself), teacher assessment of student physical literacy (PLAYcoach), and observational assessments using a comprehensive physical literacy checklist. Descriptive statistics, correlation analyses, and Mann-Whitney U tests were conducted to explore differences and relationships among the distinctive physical literacy measures. Significance was set at p < 0.05.
Results: This study involved 228 students (114 males, 114 females) ranging from grades 4 to 7, and their PE teachers (1 male, 1 female) from the two schools. There was a significant positive correlation between student (PLAYself) and teacher (PLAYcoach) perspectives of physical literacy (r = 0.291; p < 0.001). There was also a significant positive correlation between both perspectives of physical literacy and the PE environment (PLAYself and PE environment: r = 0.754, p < 0.001; PLAYcoach and PE environment: r = 0.272, p < 0.001). When examining the difference in traditional PE compared to circus in PE, we found that traditional PE students reported higher self-perceived physical literacy scores (Environment: 22.5 ± 3.75 vs. 21.0 ± 3.27; p = 0.001; Self-description: 36.9 ± 5.88 vs. 34.3 ± 4.86; p < 0.001), whereas teacher and observational assessments indicated significantly higher scores outcomes in circus arts PE classes (Teacher assessed PL: 67.2 ± 20.54 vs. 53.9 ± 17.89; p < 0.001; Observational scores: 21.8 ± 0.95 vs. 15.6 ± 1.09; p < 0.001).
Conclusion: The results of this study revealed important relationships between physical literacy perceptions and their respective PE environments. Observational and teacher-reported data suggest that circus arts in PE provides a more physical literacy-enriched environment compared to traditional PE, fostering greater creativity, inclusivity, and affective engagement, as well as a greater opportunity for teachers to understand the abilities of all students in non-sport contexts. However, these experiences did not translate into students\u27 self-perceptions of physical literacy, indicating a need for further research to understand whether sustained implementation might bridge the gap between instructional design and student experience
Musicienne(s) du silence : Mallarmé, Ravel : « Sainte »
No full textInternational audienceDe Mallarmé à Ravel, il s’agit de prendre la mesure de deux silences, incommensurables entre eux : l’un dans le poème, l’autre dans la musique, – impliquant, chacun, une forme spécifique d’ironie et de mysticité, et faisant jouer deux historicités, qui situent « Sainte » au croisement de deux époques de l’art
"Life Goes On," "Light Lemon with Dark Inversion," and "Cold River Way"
No full textAs a colourblind person, Owen is interested in monochromatic imagery both as a preferred style of creating artwork and as a conceptual bed of inspiration. Black and white, yin and yang, negative and positive, light and dark. It\u27s impossible to know one without the other. This understanding informs how processes of change occur and how we know and move through the world. Ancient bacteria developed ocular capacities to distinguish the difference between light and dark. They made symbolic associations with this sense to more deeply understand where warmth and life-giving resources are and to understand their place and what to do in it. This dialectical understanding is the basis of living experience as we know it, and our development depends on it. We are constantly responding to a lack of things by inserting things. If either light or dark exists in excess, we lose the ability to know and enjoy dynamics. When they exist harmoniously, we know our place more deeply, hopefully well enough to expand its benefits to those who can see it. This artwork is meant to evoke a dynamic sense of an ever-changing place, and our imminent capacity to expand its bounty in relational harmony with our place and each other.
Media used: clay, scratchboar
A Jury of Her Audience: Metatheatricality and the Audience in Sharon Pollock’s Blood Relations
Full text linkSharon Pollock’s 1980 play Blood Relations tells a fictionalized story of the real-life Lizzie Borden murders. While the work is an example of feminist theatrical literature that features commentary on gendered oppression, the lesser-prevalent but more scathing commentary is found in Pollock’s metatheatrical identification of the audience. As court members speak to the audience and actresses gesture to the real cultural history of the murders, Pollock implicitly asks her viewers to consider not only the guilt of the characters in the murders, but also the patriarchal associations that caused Lizzie’s supposed acts in the 1890s and continue into modern Canadian society. At the emotional height of the play, the lights go out as the image of an axe is about to descend on its victim, and as the lights come back on, the audience is forever transformed into not only jury members in Lizzie’s murder trial but also potential guilty criminals in the outcome of the events. The blood is not only on Lizzie’s hands, but also on every hand in the theatre.