
DEDI at AMPD
Decolonization, Equity, Diversity and Inclusion at AMPD
At AMPD, we are committed to fostering a diverse, equitable, and inclusive environment that embraces difference and encourages dialogue. Our commitment to DEDI (Decolonization, Equity, Diversity and Inclusion) is central to our academic and creative endeavours, fostering meaningful dialogue that drives positive change.
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DEDI Committee
The DEDI Standing Committee amplifies, co-ordinates and facilitates the efforts of AMPD faculty, staff and students toward a culture of Decolonizing, Equity, Diversity and Inclusion across the disciplines of the School. The Committee’s work proceeds along three tracks.

A forum to raise concerns regarding DEDI within AMPD and receive guidance and resources.

Support and coordination for DEDI initiatives across York and within various creative communities to which our faculty and students contribute.

Cultivation and advancement of opportunities to support DEDI initiatives and priorities within AMPD.
Explore DEDI Student Work
Facing the Backlash was an exhibition presented by the AMPD DEDI committee alongside the (Re)Setting the Stage symposium in 2025
By Rowan Gayle
MFA Visual Arts (Studio) | Teachers’ Concurrent Education

Synopsis
Kincaid is a painting dedicated to Jamaica and Black ancestry, inspired by Jamaica Kincaid’s Girl. Its hand-painted plaid textile references women’s colonial-era clothing and generations of labor. Portraying women plainly and in varied skin tones, it resists stereotypes and reflects Jamaica’s diversity and cultural presence in Toronto.
Artist Biography
Rowan Gayle is a Toronto-based traditional artist working in acrylic and oil pastel. Specializing in portraits, their work has been featured in international art magazines and exhibitions across Ontario. Their pieces carry abstract messages through traditional forms, with each story residing in the eyes.
By Opal P.
BDES | Design



Synopsis
In a world driven by consumerism, it's easy to quickly judge how regions are performing through data and statistics, as numbers seem to offer straightforward insights. But do these figures truly reflect the reality of people's lives? By blending structured and organic forms, the visual language encourages a deeper reflection on whether economic growth truly translates into better living conditions.
Artist Biography
Opal P. is a multidisciplinary designer based in Toronto, with a focus on narrative-driven design. She combines visuals, strategy, storytelling, and copywriting to create thoughtful and engaging experiences. Her work spans graphic design, branding, publication, data visualization and more.
By Seunghyeon Sydney Yeom
BDES | Design

Synopsis
Hands of Three, Voices of Many visualizes the tension between the push for Diversity, Equity, Decolonization, and Inclusion (DEDI), and the backlash that seeks to suppress it. Three Black hands emerge from below—reaching upward, yearning for change—but are tightly wrapped in pale threads. These threads symbolize systemic forces: policies, attitudes, and barriers that silence voices, block reform and reverse progress.
Artist Biography
This is Seunghyeon Sydney Yeom, a Design major student. Yeom explores the intersection of visual storytelling and social change. Through experimentation across styles and mediums, they seek to create work that not only communicates but also challenges, questions and inspires transformation.
By Jenny Kim
MFA | Visual Arts (Studio)



Synopsis
Filial Love explores the emotional and cultural tensions within the artists’ relationship with their mother as a first-generation immigrant. Growing up between Korean traditions and Western influences, Kim often felt a disconnect from both their mother and from the cultural expectations placed upon daughters in Korean society. This work questions the cultural definitions of what it means to be a “good daughter” and how these ideals impact both individual identity and intergenerational relationships.
Artist Biography
Jenny (Hyemin) Kim (she/her) is a mixed media artist currently residing in Tkaronto (Toronto, Canada). She graduated with a BFA in Studio Art and a BA in Psychology from McMaster University and is currently pursuing an MFA in Visual Art at York University. Born in Korea, raised in the Philippines, and working in Canada, Jenny explores concepts relating to her experience living in various cultural backgrounds.
By Aisha Zubair, Anista De Matas-Payne, Ida Sun, Paola Zhang Cen
BDes | Design











Synopsis
I'm Just a Girl is a set of eight semiotic flashcards paired with a pocket that takes a natural, organic approach to illustrate the impact of unnatural beauty standards and expectations perpetuated on social media. Each card explores the experiences and emotions of young girls influenced by beauty influencers, trends, consumerism, or societal expectations, and aligns with the values of DEDI by challenging conventional beauty standards in media.
Artist(s) Biography
This group explores the harmful effects of beauty trends, influencers and online communities on self-image and mental health. Their work underscores the importance of addressing these issues, raising awareness and promoting safer digital spaces. By sparking conversations about the quiet pressures young girls face online, they aim to encourage self-love and confidence.
By Hana Thanvi
BDes | Design

Synopsis
This poster raises awareness about child marriage in South Asia. Through strong visual metaphors and impactful messaging, the design aims to evoke thought and empathy, urging viewers to consider the harsh reality many young girls face. By turning a symbol of joy into a representation of loss, this poster challenges cultural norms and invites conversation.
Artist Biography
Hana Thanvi’s work focuses on digital illustration and manipulation, photography, and typography, exploring themes rooted in culture, identity, and personal experience. As someone of South Asian descent, Thanvi is passionate about reflecting their heritage through the creative process.
By Olusayo Fasanya
BDes | Design

Synopsis
This poster powerfully visualizes the wage gap faced by Black women in Canada, directly addressing issues of equity and inclusion. The visual disparity challenges the notion of an equitable society and underscores the lack of diversity in economic opportunity. By bringing this injustice to the forefront, the poster advocates for the decolonization of discriminatory economic structures and promotes the need for fair and equal compensation for all individuals, regardless of race.
Artist Biography
Olusayo Fasanya is a graphic designer passionate about creating visually compelling and purposeful designs. Fasanya’s aim is to produce effective, striking visuals that clearly communicate a message, capture attention, and leave a lasting impression.They believe in the power of design to communicate clearly and make a meaningful impact.
Elena Li
BDes | Design

Synopsis
This image promotes DEDI by visually reframing the narrative around disability. The design contrasts a person in a wheelchair with their shadow, which depicts an empowered individual with a lightbulb, symbolizing ideas and potential. The message "See the ability, not the disability" reinforces this shift in perspective, advocating for a focus on what individuals can do.
Artist Biography
Elena Li dances between the flowing lines of Art Nouveau and the captivating narratives of Ukiyo-e, with a touch of the fantastical woven throughout. Li finds joy in crafting character designs and exploring the realms of fantasy, allowing these influences to intertwine and shape the stories within each piece.
Meng Li
BDes | Design

Synopsis
This activism poster utilizes a potent visual metaphor to critique smartphone dependency, extending beyond a simple description of the issue to subtly address critical aspects of DEDI. While seemingly focused on individual reliance, the concept of "invisible shackles" prompts reflection on equity of access to digital resources. For individuals with disabilities who rely on assistive technologies integrated into smartphones, this dependency is amplified, highlighting the need for accessible design and equitable access to reliable devices and connectivity.
Artist Biography
Meng Li is a versatile graphic designer with over five years of freelance experience and two years specializing in UI/UX design. She earned an advanced diploma in Graphic Design from Seneca at York in 2019 and previously co-oped at a Toronto-based children’s magazine, where she honed her creative and playful design skills.
Uswa Sattar
MFA | Visual Arts

Synopsis
This is a self-portrait of the artist in their bedroom. Painting was chosen as the medium to reflect the indexical state of the room, with clothing draped over the bed and stuffed within open drawers and plastic bags to show the figure’s previous actions, just as painting provides gestural lines that index the artist’s movements. The painting deals with queer identity as an individual of the Pakistani diaspora, as the figure is labeled through the title as a girl but wears a button-down shirt and cropped hair with heels and a skirt, mixing traditionally masculine and feminine aesthetics.
Artist Biography
Sattar is a multimedia artist completing a Master's in Art History and Visual Culture, who works primarily in acrylic painting, a medium that affords them the tools to explore themes of isolation, memory, technology and their roles in the everyday experiences of the South Asian diaspora.
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Restorative art project helps former inmates heal through creativity
Please note that the AMPD Equity Plan was developed by the AMPD Dean’s Office and is separate from the initiatives of the DEDI Committee.
AMPD Equity Plan
The AMPD Strategic Plan (2020) states our commitment to the “implementation of significant and sustainable inclusive practices and an equity framework to promote equal access and recognition of the multiplicities across all departments and programs in AMPD.” In 2022, the School implemented the equity plan and future strategy for the School. This is aligned with the York University Academic Plan 2020-2025, The Indigenous Framework and Black Inclusion. Since launching the Equity Plan in AMPD, the University has also implemented a larger Decolonizing, Equity, Diversity and Inclusion Strategy, 2023-2028
As of July 2023, many of the recommendations and initial actions have been implemented or have shifted to ongoing priorities and efforts. We are pleased to conclude this initial phase of the Equity Plan as we shift to continued efforts for the future. Inclusive excellence continues to be a top priority in our faculty, staff and student recruitment and will remain a priority for the future. No further specific updates will be provided here, but the framework and specific recommendations will remain to document our commitment to continued development and respectful relations as a diverse creative community committed to inclusive practices in practices, ideas and collaboration in all our relations.
Diversifying AMPD
Diversifying AMPD
1. There should be a focus on the student, faculty and staff experience within AMPD, with an emphasis on culture, belonging and inclusion, to make diverse community members feel welcome and valued. This will support AMPD to retain these individuals in their roles.
2. There should be a focus on the student, faculty and staff experience within AMPD, with an emphasis on culture, belonging and inclusion, to make diverse community members feel welcome and valued. This will support AMPD to retain these individuals in their roles.
3. Establish a students’ advisory group on equity that regularly meets directly withthe Dean, where matters of student recruitment, experience, and expectation can be freely discussed.
1. Commit to the ongoing and intentional recruitment of students from different identity groups, in all disciplines.
2. Establish a plan, in consultation with students, faculty, unions and alumni, to enhance the identification and recruitment of more racially diverse faculty in all academic disciplines. These individuals should be considered for all levels of teaching, as well as faculty leadership positions.
a. The Collective Agreement between YUFA and YorkU recognizes a joint Subcommittee to the Joint Committee on the Administration of the Agreement (JCOAA) on Equity, Diversity, and Inclusion.
Accountability and Transparency
Accountability and Transparency
1. The Dean’s Office is encouraged to share this report within the AMPD community and with all relevant stakeholders.
2. Provide the opportunity for and support the development of identity-based student, faculty, and staff affinity groups (or something similar), particularly across academic departments.
a. Create a formal process to solicit feedback, strategic direction, and support from these groups.
b. Provide consistent and clear updates on equity issues, commitments, and responses to feedback and guidance received.
c. Support and recognize the students, faculty, and staff leaders who take on the additional labour to do this work. Integrate equity work into annual reviews and promotional considerations for staff and faculty.
3. Create a faculty support group for white faculty. Use this as a place to acknowledge, learn, develop, and grow collective awareness around privilege and whiteness.
a. Create specific training sessions/modules that explore the production and maintenance of whiteness (particularly in academia)
b. Collectively decide on learning topics that are important to the group. Ensure a diversity of topics, authors, speakers, and perspectives.
c. Ensure psychological safety within these spaces. Make room for mistakes, honesty, and accountability.
1. Establish a robust, transparent, and clear complaints and feedback process within AMPD for students, faculty and staff, which can be complementary to processes already in place at York University.
a. The process should be guided by principles of confidentiality, impartiality, procedural fairness, and timeliness.
b. This approach should be complainant-centred, equity-informed, and mindful of power differentials, mitigating against victim-blaming or reprisals.
c. There should be informal transformative justice principles built into the approach to support students, faculty, and staff who do not want to participate in launching a formal complaint.
2. Create a sustainable process to regularly survey all AMPD community members- students, faculty, staff and management - to gather data on their identities, experiences, and priorities to address and achieve equity:
a. Ensure that information gathering objectives and processes are made clear, including conditions around anonymity, uses of data, and ways in which results will be shared and/or suppressed;
b. Disaggregate data by race and other identity markers wherever possible to identify disparities, and work with students, faculty, and staff from those identity groups to expand upon data gathered, solicit guidance on how it can be interpreted, and determine what interventions need to be implemented; and
c. Commit to a long-term data gathering and analysis process, where results can be collected consistently, and data is comparable.
Leadership
Leadership
1. The Dean should explicitly acknowledge the findings in this report and denounce racism, colonialism, and inequities within AMPD.
2. Adopt and model a posture of practice, in which leaders (the Dean, management and Chairs) can appropriately acknowledge and repair harm caused, and continue to learn and work towards becoming equity-informed leaders.
1. Create a system for further engagement with stakeholders and to operationalize findings and recommendations from this report;
a. Commit dedicated staff and resources to this work;
b. Develop short-, medium-, and long-term equity commitments in collaboration with the AMPD community and stakeholders;
c. Ensure commitments are communicated throughout the School so that all students, faculty, and staff understand that equity is a priority; and
d. Implement ongoing reporting to share progress on equity commitments, goals, and targets to ensure the AMPD community can hold leadership accountable for this work.
Interpersonal Racism
Interpersonal Racism
1. Provide training for all faculty and staff which educates AMPD employees on foundational elements of equity and anti-racism.
a. Commit to ongoing training and capacity building of incumbent staff and faculty, as well as onboarding new employees.
2. Provide resources (training, guides, videos, etc.) for everyone in the AMPD community on how to address racism and discrimination, including a shared vocabulary for acknowledging, identifying and responding to incidents when they occur.
1. Create expectations outlining how all members of the AMPD community(including students, faculty, staff, and administration) are expected to address racism and discrimination when they witness it and reaffirm that there will be no repercussions for doing so.
Practices of Exclusion
Practices of Exclusion
1. Provide resources, informational materials, guides, strategies, and best practices for staff and faculty on eliminating systemic racism and oppression thatcontribute to the differential treatment of black, Indigenous and racialized students.
2. Create an annual, open consultation series on equity, where the Dean’s Officecan engage with students, faculty, and staff to understand their perspectives and receive feedback on how AMPD can make the School more welcoming.
a. Ensure these recommendations are documented, shared, actively considered and implemented where possible.
b. The Dean should communicate why recommendations are not feasible in order to build transparency within the community and demystify assumptions around the capacity of the Dean‘s Office
1. Work with Indigenous artists, faculty and, where appropriate, students to identify and remove colonial perspectives and content in current curricula, and to decolonize and Indigenize lessons. Ensure this labour is compensated.
2. The Dean’s Office should procure trainers to offer role-specific training for faculty on how to diversify their lessons and engage with students inconversations about equity.
Curriculum and Teaching
Curriculum and Teaching
1. Work with Indigenous artists, faculty and, where appropriate, students to identify and remove colonial perspectives and content in current curricula, and to decolonize and Indigenize lessons. Ensure this labour is compensated.
2. The Dean’s Office should procure trainers to offer role-specific training forfaculty on how to diversify their lessons and engage with students inconversations about equity.
1. The Dean’s Office, in partnership with Chairs, faculty and unions, should clearly articulate that academic freedom and equity-informed teaching are not mutually exclusive.
2. Foster collaboration between the Dean’s Office, departments and programs to question notions of “classical” forms of art, recognizing and revising Eurocentrism within curricula.
3. Chairs and faculty should ensure content concerning Indigenous cultures and histories, as well as perspectives from other equity-deserving groups, isformally included in every department’s curriculum, and:
a. Chairs should encourage faculty to pursue equity-focused research and artistic projects; and
b. Faculty should encourage students to broaden their studies and research to engage with new content and consider how equity and the arts intersect.
