Categories
Student Life

Maria Peluso: a force to be reckoned with

How do you tell a story like Maria’s?

On the one hand, you might start with her birthday, but then you’d have to clarify: do you mean the date of her birth or the date on her birth certificate?

Maria Peluso was born on January 22, in a small town in Italy. On the day of her birth a great snowstorm raged and Maria’s mother was trapped inside her home.

At that time, a child’s birthday was recorded as the day they were registered with the town administration. It was eight days before the storm let up and her mother was able to make it to the village. Thus, although she came into this world on the 22nd, her birth certificate and legal documents state her birthday on January 31.

On the other hand, you could begin with when Maria first came to Concordia University.

Photo by Keith Race

After finishing her undergraduate degree in political science at York University in 1975, Maria came to Concordia.

In 1980, she completed a graduate diploma in community politics and the law and in 1986, a Master’s in public policy and public administration.

Following the completion of her studies, Maria’s professional career began by teaching at Concordia as well as several other institutions.

However, Maria’s contribution to Concordia goes far beyond the classroom. From 1994 until this past October, Maria was president of the part-time faculty association (CUPFA). Although Maria also sat on many committees at Concordia, it is how she carried out her role as CUPFA president that has left a lasting impact on members of the Concordia community.

“Maria Peluso could be considered much like a de facto Provost of part-time faculty. In this role she has contributed so much, not only to the association’s faculty members in all the faculties but also to an academic mission, her students, staff, and the university as a community. She has brought indefatigable energy and effort to so many university initiatives over the years, such as the annual charitable campaigns, services to students and the like,” wrote Lorraine Oades, vice-president of professional development at CUPFA.

Members of CUPFA agreed with Lorraine, “She is extremely proud of her members and her membership in the union and she’s somebody who really wants to do her best both for students and for her union members at Concordia,” said Kathleen Perry, former associate dean in the faculty of fine arts.

“She really is the person who takes everyone to heart. [A] great advocate for anything part-time teachers needed,” said Father John Walsh, a former professor at Concordia.

Marcel Danis, a former vice-president of the university, describes Maria as a fierce campaigner for her members’ rights. In his role as vice-president, Marcel sat across from Maria at the negotiation table.

“She’s probably the toughest labour leader that we’ve had in the university. She’s extremely determined and never lets go. It doesn’t matter how hard you try, if she has an issue that she wants to get and she really believes in, she’s really tough,” he said.

Maria credits her fighting determination and resolve to having grown up as an immigrant, poor, and on welfare. In particular, she cites the actions of her parents.

Her mother worked as a seamstress until she was fired for trying to start a union. Maria, eight years old at the time, helped her mother to find a new job.

Her father was not an activist by birth but simply believed in doing the right thing. While working at a steel mill in Ontario, Maria’s father was bothered by the soot that fell from the smoke stacks and onto the workers’ cars. The workers at the mill were required to park their cars underneath the stacks and Mr. Peluso was concerned about the damage the soot was doing to the cars, the environment, and to the workers. Mr. Peluso brought his grievance to the company’s attention and as a result, the company put pollution control methods into place which kept the soot off the cars and out of their lungs.

Maria has not only shown care and support for members of the Concordia faculty but for the students as well. She played a large role in the creation of two scholarships for women students at Concordia, the Judith Litwack Scholarship, and the Visible Minority Women’s Scholarship, and later the CUPFA Endowment Scholarship. As well, she was a staunch supporter of last year’s student strike, despite the diversity of interests.

Her leadership was a win-win for the university and for the students during the protest.

On the one hand, Maria supported her teachers who were trying to do their jobs, but she also supported the rights of those who wanted the freedom to protest. Additionally, she also supported those students who didn’t want their classes disrupted.

Her respect for diversity and freedom, a feature noted by all of her friends and colleague, was likely the source of this conflict.

In the greater Montreal community, Maria has acted as a mentor and guide for women in business. She was president of the Montreal Business and Professional Women’s Club from 1986-1989 and continues to serve on its board of directors. In addition, she is remembered by former employee, Ruth Pelletier, as being instrumental in her success in rejoining the workforce.

“I had been out of the workforce for some time … so she took me under her wing and really taught me the ropes … she mentored me very, very well. From that I ended up sitting on boards of many different not for profit organizations. I was in media, CJAD radio, CFCF radio, I finally ended up being executive director of Alliance Quebec,” said Pelletier.

Alexander Antonopoulos, a professor at the Simone de Beauvoir Institute, describes Maria as a “Concordia University feminist powerhouse.”

“Maria never shied away from engaging in a way that was not always ‘safe’. She was comfortable in discomfort and that’s the kind of thing that those who are doing feminism today have to become better and better at because feminism is not necessarily what media crack it up to be ..] And so, from that perspective, she wasn’t really being a man in a man’s world, she was bringing her feminism into political action as a way of interfacing with power.”

Although Maria stepped down as president of CUPFA this past fall she has not slowed down in the least. Maria is currently serving on Concordia’s board of governors as the part-time faculty member representative and continues to pursue other projects around campus and throughout Montreal.

A tireless crusader, Maria will no doubt continue to fight, advocate and work on the behalf of women, members of the Concordia community and humankind as a whole.

 

Categories
Arts

The art behind the science of the heart

They say sometimes you feel an emotion so intense, words can’t describe it — this is especially true when talking about matters of the heart.

Photo courtesy of finearts.concordia.ca

Until March 15, the Old Port’s Phi Centre will be showing Hybrid Bodies, an exhibition that delves into the culture, emotions, and psychology of the post-heart transplant experience and recovery. The works range from recorded interviews and projections to prints and a soapy surprise in the bathroom.

Through the works of four contemporary artists working in a variety of mediums, the exhibition goes beyond the material surgical procedure of the heart transplant. Instead, the exhibition explores the hidden meanings, contradictions and disorientations that arise from having the heart of a stranger inside your body. The artists were invited by the interdisciplinary academic research team, the Process of Incorporating a Transplanted Heart (PITH), to produce works based on a series of video interviews with transplant recipients.

Heart transplants are not commonplace, yet the field is medically and technically quite robust. There is however very little work done on the existential issues related to the transplant. In the PITH interviews, most recipients expressed significant distress when discussing issues such as the donor and their gift of life, as well as a disrupted sense of bodily integrity and identity that could only be appreciated by other heart recipients.

One of the featured artists is Ingrid Bachmann. The internationally exhibiting multidisciplinary artist is the founder of the in everyday life art-lab, co-editor of Material Matters and a Concordia University professor of Studio Arts.

“It seemed like there was such a gap between what people were saying and what their body language was saying. People would say ‘I’m great, super great.’ So if you have a written transcript of that you think ‘oh they’re great.’ But their body language would be ‘oh … I’m great … ,’ sort of huddled over. There was this gap. I took what I thought were the main themes that came out of that,” Bachmann said on her involvement in Hybrid Bodies.

Photo provided by Ingrid Bachmann

Bachmann’s artwork at the exhibition deals primarily with the many contradictions and disconnects of heart transplantation through the themes of gifting, kinship, and boundaries. Bachmann’s art generally deals with the extraordinary and impossible that exists in the everyday. Working with a range of mediums, her interest lies in the unseen and the smoke and mirrors of the world around us.

Her Hybrid Bodies exhibit, “The Gift,” entails a series of recorded dance performance pieces that deal with the theme of gifting that arose during many of the interviews.

“One is the idea of the gift, a real gift that is something that makes you happy and changes your life,”explained Bachmann.“The other is the notion of gift as a weight or a burden. How could you ever repay it? The last is a real form of reciprocity between two [people]. The notion of the gift is also used in promoting people for organ donation. It’s called giving the gift of life [yet] when recipients receive it, they’re told well, it’s a pump. A machine.”

On a physiological level, their life has been significantly altered, as simple everyday acts of walking and sitting down can be quite exhausting.

“I learned a lot of pragmatic things that are really good. Most galleries are set up for able-bodied people … they’re often difficult to get to,” said Bachmann.

Her point highlights how understanding post-operative life is as much an experiential and emotional issue as it is a medical issue.

Recipients will often think about their donor families. Patients may wonder about the person whose heart they have inherited and what the person was like.

“There is the sense of the body being changed a bit. It’s nothing like the sci-fi horror movie of being taken over by another personality [yet] some people have the sense of an intruder,” said Bachmann. This leads to a re-conceptualization of the notion of kinship, as suddenly you have this intimate, material, or even spiritual connection with a stranger. Similarly many transplant recipients experience a sense of disorientation with their bodies as they negotiate what is part of them and what is not, and when their body ends and begins as the body becomes understood as this porous and changing entity.

Through these different inquiries into listening and teasing out the hidden contradictory and ambiguous insights on the heart, their research brings to light unspoken and unseen experiences.

This is not only a work in improving post-operative life but also a work in empathy.

“It puts these ideas out in the public realm in a different way [. . .] Scientists have a very different process. They work in a quantitative way while we work in a qualitative way,” explained  Bachmann.

Shedding light and understanding these shared but unspoken experiences can be a very humanizing process.

“We put it [our work] out as propositions and hope that this exhibition functions more as an artifact for some of these ideas and concerns to be discussed in a different way,” said Bachmann.

The Hybrid Bodies exhibit will run until March 15 at the Phi Centre.

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