Connecting Heritage and History Through Drama and Dance: Student Researcher Spotlight—Shaughnessy Potter
There was never any doubt in Shaughnessy’s mind that one day she would create and produce her own stage production.
“Dance and theatre have been a part of my life since the day I was born,” says Shaughnessy, “My mother, Debbie Kachmar-Potter, and uncle, Ken Kachmar, are Ukrainian dance instructors who are most well known for the productions and storylines that they put on within Ukrainian dance ensembles and groups. Creating and producing productions runs in my blood.”
Honouring What Almost Disappeared
Attending a Ukrainian Bilingual program in the Edmonton Catholic School system, Shaughnessy closely learned of the Holodomor through her classes and hearing the stories directly from survivors.
“The Holodomor was intended to strip Ukrainians of their culture, faith, and pride,” Shaughnessy reflects, “It is now our responsibility to learn, remember, and share the stories of our past. It is more important now than ever. As we enter the fourth year of Russia’s full-scale invasion of Ukraine, we continue to witness attempts to erase Ukrainian identity and culture. Yet as Ukrainians, we continue to stand together and rise above these challenges.
Remembering and commemorating the Holodomor was my way of demonstrating that Ukrainians are strong, resilient, and proud. By sharing these stories, we honour those who came before us and ensure that their experiences are never forgotten.”
Strength Through Storytelling
The capstone project of the Drama program gave Shaughnessy the opportunity to bring her vision to life, 1932-1933: A Holodomor Story, bridging her love of acting and Ukrainian dance into a production that debuted at the 2026 Fine Arts Festival held at Concordia University of Edmonton.
That vision moved from concept to full-scale production with support from CUE’s Student Research Grant, which funded the building and transportation of the show’s props.
Using dance let her express something that words alone couldn’t.
“I think the beauty of using dance and movement is that it allows us to see the genuine emotions behind an individual. Watching someone express pure vulnerability is not something we encounter every day. I believe there is incredible power in witnessing someone share their emotions without saying a single word.”
A Collective of Support
Shaughnessy credits Professors Caroline Howarth and Glenda Stirling as mentors whose knowledge, wisdom, and support were instrumental in her bringing her production from concept to the stage.
As resilient and organized as Shaughnessy is, a production of this scale requires a full team to help everything run smoothly. 1932-1933: A Holodomor Story included a cast of 23 performers from across various ages along with a full team for costumes, set designs, transportation, music, tech, and more. Everyone involved was more than just a crew to Shaughnessy, in the end they became family.
“Collaboration with everyone involved required a great deal of communication. None of this would have been possible without constant communication, planning, and meetings. It was essential to clearly express what I needed from each of these groups, and I will forever be grateful for the generous donations and dedicated volunteers who helped make my dream of bringing this show to life a reality.”
Impacts Beyond the Stage
As part of the Fine Arts Festival, Shaughnessy’s work was performed twice, each time in front of a packed audience of over 200 patrons.
For Shaughnessy, the goal was never just to move an audience for one night, it was to make sure a piece of history that’s too often overlooked stayed with them long after the curtain closed.
“I hope audiences left with a deeper understanding of why we tell these stories and why they are important. I hope those with Ukrainian roots felt that their stories are being told and understood, and that they feel proud to be Ukrainian. For non-Ukrainian audience members, I hope they had the opportunity to learn more about Ukrainian culture and gain a better understanding of why we are so proud of and connected to our heritage.”
As one attendee put it, the production was “moving, emotional, mesmerizing, and transformative.” Another left the theatre in tears, calling it a vital way to honour and educate people about the Holodomor.
For Shaughnessy, this production was never really the finish line but proof of what’s possible when she trusts her own vision. As she carries that lesson into her Education after-degree at CUE, she hopes other students will find the same courage in their own ideas.
For students considering pursuing Drama and creating their own production, Shaughnessy has a powerful message:
“Go for it! In the beginning, it may feel scary, but if you don’t try, you’ll never know what could happen. It may feel lonely at first, but never be afraid to ask for help. There will always be at least one person on your side whether it’s a staff member, a fellow student, or a family member. Just know that if you believe in yourself, you can make it happen.”
Acknowledgements
Shaughnessy Potter would like to thank the Concordia University of Edmonton Student Research Grant allowing her to build and transport props for the production.
Shaughnessy would also like to thank the cast and crew of 1932-1933: A Holodomor Story
Cast:
Kt Chilton, Declan Myskiw, Kaylee Eaglesham, Luca Baluchynskyy, Tristyn Twidale, Ivanna Sumka, Elyse Dzenick, Martina Maslovski, Maria Kravchenko, Rachel Wynnyk, Tyson Serediak, Kalyna Danilak, Xavier Potter, Alexis Denischuk, Dmytro Zakharko, Isabella Rudiak, Fynnley Kozak, Elsie Bugiak, Ariel Rudiak, Isabelle Hart, Anastasiia Pilipak, Abbygale Hart, Rebecca Davey
Behind the scenes:
The Edmonton School Of Ukrainian Dance: Costumes
Vegreville Svilto Ukrainian Dancers: Costumes
Debbie Kachmar-Potter: Props and Costumes
Ina Kachmar: Props and Costumes
Ken Kachmar: Props, Costumes, and Prop Transportation
Duncan Eaglesham: Bench, and Prop Transportation
Vlad Helchuk: Music editing, mixing, and mastering
Duck Lefebvre: Table and Saw Horse
Kt Chilton and Tech Varscona: Door
Jared Bezovie: Ramp