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FIRST: Fanshawe Innovation, Research, Scholarship, Teaching 
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2017 
COR3 Curriculum Modification for 2017-18 
Fanshawe College 
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COR3 Curriculum Modification for 2017-18

Party\u27s Over
Graduation Exhibition 2010
Fanshawe College Fine Art Program
The ARTS ProjectApril 13-24, 2010
Guest Speaker: Scott Everingham
The Bijan\u27s Art Studio Award will be presented at the Opening Receptionhttps://first.fanshawec.ca/famd_design_fineart_gradcatalogues/1020/thumbnail.jp

Boyer, Adam

Komorowski, Nyssa

Laranjo, Danny

Martin, Johanna

Thomson, Mike


Party's Over 
Graduation Exhibition 2010 
Fanshawe College Fine Art Program 
The ARTS Project 
April 13-24, 2010 
Guest Speaker: Scott Everingham 
The Bijan's Art Studio Award will be presented at the Opening Reception 
a 
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Coordinator's remarks ... 
This, the thirty-eighth Fanshawe College Fine Art graduation exhibition, is the first to be held at The 
ARTS Project. The previous three shows at this gallery have been second year project oriented. Guest 
speaker Scott Everingham is a graduate of the Fine Art Program, who then completed a Bachelor of 
Fine Arts degree at NSCAD University, and a Master of Fine Arts degree at University of Waterloo. He 
has exhibited extensively and will speak of the challenges he has faced thus far in his young career . 
Like Scott, many of our graduates go on to complete undergraduate and graduate programs as testified 
by alumni statistics . 
The works on display show the diversity of interests that individuals in the third year always represent. 
On behalf of the faculty and staff we wish you all success in the years ahead . 
Tony McAulay 
Coordinator, Fine Art Program 
Dustin Adrian 
The series Liquid Words 
explores the printed word 
in the digital age. Through 
the manipulation of text 
and photo images, these 
works ask viewers to 
question their relationship 
with modern information 
and the channels by which
it is received. 
Liquid Words (Details) 
Digital Projection and Prints 
Installation Variable 
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We hoye you wi(( 6e 
Joinin3 us on 
the evenin3 of the 23rd 
11. (ecture on yfii(osoyhy and cufrure is
y(anned. 
Liquid Words (Details) 
Digital Projection and Prints 
lnslallatlon Variable 
_fain 
the 
cufr 
Olivia Burnham 
Unique mark-making 
techniques have evolved 
from a performative act 
that led to the fabrication 
of paintbrushes made from 
human hair. Personal 
painting tools are used to 
stain the canvas and 
create delicate patterns 
that index physical 
impressions, softened by 
muted colours. 
Hair Brushes 
Human Hair and Old Paintbrushes 
Dimensions Variable 
Impressions 
Acrylic, Sugar and Ink on Board 
62cm x60cm 
Impressions No. 2 
Acrylic and Acrylic Medium on Canvas 
111cm x 86cm 
J 
Jessy Donn-Barkley 
The process of painting is 
one of layering and 
blending soft fields of lush 
colour in a systematic 
manner. A rhythmic image 
is generated by repeatedly 
adding and blurring 
focused marks, to achieve 
an aquatic feeling. 
Blitzkrieg 
Oil on Canvas 
122cm x 122cm 
Riot 
Oil on Canvas 
122cm x 122cm 
Breath Salty 
Oil on Canvas 
122cm x 122cm 
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Rachael Farkas 
Illusionary maps created 
from shapes formed 
through experimentation in 
watercolour and food 
materials dictate the work. 
The use of sugar and tea 
metaphorically speaks to 
the divisiveness of colonial 
history. 
18' 20' N & 64' 50' W 
Sugar, Tea, Soya, Watercolour, Paper 
61cm x 96.5cm 
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13' 05' N & 59' 30' W 
Sugar, Tea, Soya, Wa1ercolour, Paper 
23cm x 30cm 
18' 00' N & 76' 50' W 
Sugar, Tea, Soya, Watercolour, Paper 
23cm x 28cm 
10' 00' N & 84 '00' W 
Sugar, Tea, Soya, Watercolour, Paper 
23cm x 28cm 
19' 00' N & 72' 25' W 
Sugar, Tea. Soya, Watercolour, Paper 
23cm x 28cm 
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Christine Fleming 
These paintings explore 
the qualities of reflected 
light and shadow within 
architectural environ­
ments. Oil paint is applied 
in various painterly 
techniques to acheive a 
mixture of soft and hard 
edges that create a 
languid atmosphere. 
Waiting 
Oil on Canvas 
188cm x 243cm 
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Tork 
Oil on Canvas 
145cm x 193cm 
1 
Melise Hill 
The subject of the 
manipulated human body 
provokes questions. The 
spontaneous application of 
lush painterly strokes 
unites the process with the 
subject. The large scale of 
the figure is intended to 
challenge the real-space 
physicality of the viewer. 
Five 
Oil on Canvas 
243cm x 189cm 
Arctic 
Oil on Canvas 
182cm x 182cm 
Balao 
Oil on Canvas 
193cm x 114cm 
Clayton King 
These acrylic paintings 
express socio-political 
concerns around First 
Nation's issues. The United 
Nation's Declaration on the 
rights of Indigenous Peoples 
has inspired the use of a 
contemporary play on 
historical Canadian 
landscape painting to 
highlight and promote First 
Nations as allies of the 
Crown, not subjects. 
Eagles at the Beach 
Acrylic on Canvas 
t27.5cm x 102.5cm 
Collection of Fanshawe College 
Do You Believe? 
Acrylic on Canvas 
165cm x 207cm 
Nyssa Komorowski 
These self-portraits rely on 
past experiences and 
personal relationships to 
reflect on issues of identity. 
Sequences of photographs 
and video projections 
communicate the concept 
of space and time to the 
viewer. 
Loving You is Like Digging a Hole (Delail) 
Digilal Prints and Video Projeclions 
Dimensions Variable 
WE WILL BE WARM. WE'LL BUILD A 
HOME WITH THE BEAM OF A BARN 
Sick Day I Weekend 
Digital Print 
51cm x 127cm 
SICK DAY 
Posl Posl·Nuplials (Delails) 
Video Projection 
Dimensions Variable 
WEEKEND 
a 
Danny Laranjo 
Multimedia projections 
presented within closed 
environments use 
manipulated travel photos 
to suggest oppositions 
between confinement and 
freedom. Images of 
repeating vertical bars and 
a restricted colour scheme 
extend the metaphor of 
entrapment. 
Mascara 1 
Digital Print 
43cm x 27cm 
Freedom ol Travel 20 
Digital Print 
43cm x 27cm 
Freedom ol Travel 25 
Digital Print 
43cm x 27cm 
Entrapment 
Video Projection on Wood and Plexiglass 
76cm x 100cm 
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Johanna Martin 
A collage process fuses 
the tactile qualities of 
cloth, pattern, and flesh 
into almost literal 
tapestries. A domestic 
interior space defines a 
location in which painterly 
abstractions and swatches 
of fabric smother the 
canvas surface and 
envelop the human figure. 
Un!illed 
Ac,ylic on Canvas 
163cm x 163cm 
Untitled 
Oil and Acrylic on Canvas 
66cm x 142cm 
a 
Andrew McEwan 
Helvetica supposedly has no 
character, is neutral, and so 
ubiquitous as to be virtually 
invisible; yet anachronistically, 
it is the most widely used 
typeface in urban spaces. In 
these works, letters are 
plucked from the alphabet, 
constructed from wood and 
given slight "character 
adjustments." The work 
transforms the font's 
omnipresence into tactile, 
utilitarian, sculptural form. 
Untitled 
Wood and Spray Paint 
51cm diameter x 5cm 
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Untitled 
Wood and Spray Paint 
Installation Variable 
a 
Rob Merriam 
Fictionalized narratives 
from visual cues 
appropriated from the 
language of Film Noir are 
constructed through 
juxtaposing image and text 
with multimedia. The work 
is a visual exploration of 
the play of shadows, 
dramatic and high contrast 
lighting, and an emphasis 
on the silhouette to depict 
dark psychological and 
social themes. 
Weeping Willow 
Digital Print 
28cmx 43cm 
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Winter Nair 
Digital Print 
28cm x 43cm 
Femme Fatale 
Digital Print 
28cm x 43cm 
Snow White and the Big Bad Wolf 
Digital Print 
28cm x 43cm 
Lady in Red 
Digital Prinl 
28cm x 43cm 
n 
Tyler Nolan 
The work so far reflects 
an interlaced series of 
multiple dimensions 
connected to the 
ecosystem. 
Found materials inspire 
varied human/animal 
viewpoints interpreted 
through sculpture, 
painting, and multimedia 
installation. 
The Myth of Shadows 
Oil on Canvas 
214cm x 136cm 
Untitled (Detail) 
Acrylic, Colton. Steel and Wood 
Installation Variable 
Witness to !he Seasons 
Acrylic on Plywood 
50cm x 40cm 
Religious Seasons 
Acrylic on Plywood 
40cm x 40cm 
" 
Abigail Smith 
Complexities of light and 
colour provide inspiration 
for these paintings. The 
exploration of jewel 
objects, photographic 
process and paint 
manipulation provide a 
visual territory of vibrant 
kaleidoscopic brilliance. 
A dream-like atmosphere 
reigns throughout this 
delicate painting series. 
Elegance Collided 
Acrylic on Canvas 
80Cm x 80Cm 
Elegance Collided No. 2 
Acrylic on Canvas 
43cm x43cm 
Elegance Collided No. 4 
Acrylic on Canvas 
43cm x 43cm 
Elegance Collided No. 3 
Acrylic on Canvas 
43cm x 43cm 
Mike Thomson 
Through installed 
sculptural forms the viewer 
is invited to investigate 
each piece in order to 
perceive the intended 
concept of opposition. 
The hung and freestanding 
forms communicate the 
subject of necessary 
difference. 
Al 
Mixed Media 
170cm x 20cm 
The Pillar Moment 
Plaster on Board 
lns1alla1ion Variable 
" 
Sammie Verge 
Impasto painting and 
shifts in scale bring a 
focus to a personal locale 
on transformed city road 
map images. 
Wall installations of 
multiple painting panels 
reference the relative 
displacement of each 
panel. 
Fanshawe College 
Acrylic on Canvas 
25.5cm x 20cm 
II a· 
Exeter-Mitchell 
Acrylic on Canvas 
20cm x 25cm 
Fanshawe Lake 
Acrylic on Canvas 
23cm x 30.5cm 
Dalewood 
Acrylic on Canvas 
20cm x 25cm 
MacDonald.Cartier Freeway 
Acrylic on Canvas 
20cm x 25cm 
Jessica Wareing 
Photography is used to 
orientate a history of 
figurative painting through 
superimposed images. 
These images are 
projected on the human 
body, to open up a 
dialogue around the 
subject of the 
contemporary nude. 
Eric Fischl 
Digital Image on Acetate in Light Box 
32cm x 27cm 
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Gustav Klimt 
Digital Image on Acetate in Light Box 
32cm x 27cm 
Art 
Oigital Image on Acetate in Light Box 
32cm x 27cm 
a 
Amber Warner 
Feelings of hopelessness 
and despair are expressed 
through personal subject 
matter. 
Mediated photographic 
sources are interpreted in 
relief prints through muted 
colours and an expressive 
use of gouging tools. 
Deliberate mark-making and 
a clean reduction process 
emphasize texture. 
F 
Lino Cut on Stonehenge 
56cm x 39cm 
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Lino Cut on Stonehenge 
56cm x 39cm 
In Memoriam 
Uno Cul on Stonehenge 
39cm x 56cm 
Heather Wadhams 
A personal approach 
inspired by an imaginative 
response to growing up in 
a rural environment has 
directed the consideration 
of the works' natural 
subject. A surface 
abundance of subtle 
colours and controlled 
marks have been the 
source of experimentation. 
Snowmobile Under Tarp 
Acrylic on Canvas 
61cm x 91cm 
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Humbrella 
Acrylic on Canvas 
91cm x 121cm 
Bobin 
Acrylic and Wax on Canvas 
121cm x 91cm 
Jiana Ziab 
Interest in a juxtaposition 
of a variety of historical 
and contemporary 
symbols is the catalyst 
for the visual language 
in the paintings. 
This is intended to 
promote the questioning 
of the unity between 
signs and ideas in both 
art and contemporary 
life. 
Unlilled 
Acrylic on Canvas 
228cm x 152cm 
Unlilled 
Acrylic on Canvas 
122cm x 122cm 
n 
Fine Art Faculty and Staff 
2007-2010 
Caitlin Blackwell 
Marla Botterill 
Norman Colton 
Paul Dreossi 
Joscelyn Gardner 
Tony McAulay 
Gerard Pas 
Diane Poulsen 
Benjamin Robinson 
Gary Spearin 
Anna Wieselgren 
Tara Wittmann 
Visiting Artists 
2007-2010 
John Armstrong 
Max Dean & Peter Lynch 
Sky Glabush 
Robert Kelly 
Alan Michelson 
Roald Nasgaard 
Patricia Smithen 
Kelly Wallace 
Catalogue Committee 
Adam Boyer 
Nyssa Komorowski 
Danny Laranjo 
Johanna Martin 
Mike Thomson 
Special Thanks for Fundraising 
Rachael Farkas 
Abigail Smith 
Kimberly Verge 
Contact 
Dustin Adrian ....................................................................................................  
Olivia Burham ...............................................................................................  
Jessy Donn-Barkley .............................................................................  
Rachael Farkas ............................................................................................  
Christine Fleming ...........................................................................................  
Melise Hill .............................................................................................................  
Clayton King ............................................................................................  
Nyssa Komorowski. ....................................................................................................  
Danny Laranjo ...........................................................................................  
Johanna Martin .............................................................................................  
Andrew McEwan ...................................................................................................  
Robert Merriam ..................................................................................................  
Tyler Nolan .........................................................................................................  
Abigail Smith .........................................................................................................  
Michael Thomson ......................................................................................................  
Sammie Verge ...........................................................................................................  
Jessica Wareing ..........................................................................................  
Amber Warner ........................................................................................................  
Heather Wodhams ...................................................................................................  
Jiana Ziab .................................................................................................................  
" 



2010 Fine Art Graduation Exhibition Catalogue

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Visual Effects and Editing for Contemporary Media 2010 FANS 01175 Visual Effects and Editing for Contemporary Media - Title Modification CVS Validation Letter Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_contemporarymedia_visualeffectsediting_documentation    SUITE 1010, 655 BAY STREET,  TORONTO M5G 2K4  VALIDATION DECISION   We have completed our validation of your proposal for the modification to the title of your Broadcasting Television – Digital Post-Production program to Visual Effects and Editing for Contemporary Media, which was submitted to us on February 24, 2010.  Please accept this as our validation of your proposal. After a review of current usage of this terminology with existing programs in the system and a review of the mapping of program outcomes provided with your application for the title modification, it was determined that the proposed title would be validated.  It is understood this modified title will become effective for the program with the students entering in September 2011.   Please note the existing MTCU code (71903) will change for this program and the program will now be categorized under MTCU code 71901. However, the current APS Number (FANS 01175) will not change for this program.  I have sent your documents on to the Colleges Unit, MTCU for their information and records.    Sincerely,  Tim Klassen February 24, 2010   

FANS 01175 Visual Effects and Editing for Contemporary Media - Title Modification CVS Application

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Business Fundamentals - Entrepreneurship 2010 FANS 01280 Entrepreneurship - Funding Letter Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_business_businessfundamentalsentrepreneurship_documentation Ministry of Training,Colleges and UniversitiesPostsecondary EducationDivisionPostsecondary Accountability Branch9th Floor, Mowat Block900 Bay 5tToronto ON M7A 1L2Tel (416) 325-2839Fax (416) 325-2245E-mail: Peggy.Bram@ontario.caMinistere de la Fonnation at desColleges et UniversitesDivision de I'educationpostsecondaire('~t ">£,iF OntarioDirection de la responsabilisation du secteur postsecondaire9' atage, edifice Mowat900, rue BayToronto ON M7A 1L2Tel (416) 325-2839Telae (416) 325-2245E-mail: Peggy.Bram@ontario.caDr. Howard W. RundlePresidentFanshawe College of AppliedArts and Technology1460 Oxford Street EastP.O. Box 7005 London, OntarioN5Y 5R6PROGRAMCredentialMTCU CodeAPS NumberProgram WeightFunding UnitsProductTuition Fee FactorDurationEffective DateEntrepreneurshipOntario College Certificate40231012801.01.01.01.02 SemestersSeptember 2011The Ministry of Training, Colleges and Universities has assessed your proposal, dated June 25, 2010to offer a program entitled Entrepreneurship. The Credentials Validation Service validated theprogram on June 10, 2010.The approved title, which must appear on the Ontario College Certificate and other information to beincluded on the approved programs list are shown above.?;~Peggy BramTeam LeaderColleges Unit

FANS 01280 Entrepreneurship - Funding Letter

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Business Fundamentals - Entrepreneurship 2010 Business - Entrepreneurship - Business Case Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_business_businessfundamentalsentrepreneurship_documentation 

Business - Entrepreneurship - Business Case

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Developmental Services Worker (Apprentice) 2014 DSA1 Curriculum Modification for 2015-16 Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_communitystudies_devservicesworker_apprentice_documentation 

DSA1 Curriculum Modification for 2015-16

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Occupational Therapist Assistant and Physiotherapist Assistant 2019 OPA1 Curriculum Modification for 2019-20 2020-21 Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_healthsciences_otassistandphysioassist_documentation 

OPA1 Curriculum Modification for 2019-20 2020-21

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Cabinet Maker Apprentice 2016 IWA2 Curriculum Modification for 2017-18 - retired Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_buildingtech_cabinetmakerapprentice_documentation 

IWA2 Curriculum Modification for 2017-18 - retired

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Audio Post-Production 2015 APR1 Curriculum Modification for 2016-17 Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_contemporarymedia_audiopostproduction_documentation 

APR1 Curriculum Modification for 2012-13

Fanshawe College FIRST: Fanshawe Innovation, Research, Scholarship, Teaching Documentation (Approvals etc…) Agri-business Management 2016 FANS 01329 Agri-Business Management - Modification Funding Letter Fanshawe College Follow this and additional works at: https://first.fanshawec.ca/cae_simcoenorfolk_agribusinessmgmt_documentation Dear  Mr Devlin,RE:Ministère de l’Enseignement supérieuret de la Formation professionnelleDivision de l’éducationpostsecondaireDirection de la responsabilisation du secteur postsecondaire7e étage, édifice Mowat900, rue BayToronto ON M7A 1L2Tél (416) 325-4081Téléc (416) 325-2245Ministry of Advanced Educationand Skills DevelopmentPostsecondary EducationDivisionPostsecondary Accountability Branch7th Floor, Mowat Block900 Bay StToronto ON M7A 1L2Tel (416) 325-4081Fax (416) 325-2245Peter DevlinPresidentFanshawe College1001 Fanshawe College Boulevard, P.O. Box 7005London, ON N5Y 5R6pdevlin@fanshawec.caJuly 06, 2016Agri-Business ManagementPROGRAMMTCU CodeAPS NumberProgram WeightFunding UnitsProductTuition Fee FactorDurationEffective Date72715Occupational Cluster Business Management 0.90Semester(s) 0.99September 01, 2016 1.00FANS01329 2Annual Tuition Fee $3544.25 for 2 Semester(s)     The Ministry of Advanced Education and Skills Development has approved your proposal to apply the following changes to  1.10Credential Ontario College Graduate Certificateto the Agri-Business Management program:  · Program Delivery Change – duration ModificationThe approved title, which must appear on the Ontario College Graduate Certificate and other information to be included on the approved programs list are shown above.Joanne BrownManagerColleges UnitYours sincerely,1 APPENDIX A STANDARD TERMS AND CONDITIONS OF COLLEGE PROGRAM FUNDING APPROVAL UNDER THE COLLEGES OF APPLIED ARTS AND TECHNOLOGY ACT, 2002Programs of instruction, regardless of funding source, are governed by the Ontario Colleges of Applied Arts and Technology Act, 2002 (CAAT Act) and O.Reg. 34/03 under the Act. The CAAT Act articulates the mandate of colleges and the authority of the minister to develop Minister’s Binding Policy Directives.Minister’s Binding Policy Directives and Operating Procedures define expectations for the college system, including requirements for program development, funding and implementation.Below is a non-exhaustive list of college compliance requirements that have been extracted from the binding policy directives and operating procedures which pertain to postsecondary programs of instruction.1. Program StandardsWhen a college chooses to deliver a program of instruction for which a program standard exists, the program must meet all the requirements of the program standard . A program standard applies to all programs of instruction in an identified category regardless of the funding source. Prior to graduation, students must achieve all three parts of the program standard.All vocational learning outcomes and the program title identified in a program standard are binding.Colleges will be notified by the Ministry of the development/review, and implementation requirements of new or updated program standards. 2. Admissions CriteriaColleges must remain in compliance with the admission policy. If admissions criteria for an approved program of instruction are modified, the college is required to notify the ministry.3. Student demand, societal need, and labour market demandColleges have a responsibility to develop career-oriented postsecondary programs that are consistent with the colleges’ mandate, overall strategic direction, as well as student demand and societal needs and labour market demand of its local and diverse communities. 4. Tuition Fees Tuition fees for college programs of instruction must be compliant with the Tuition and Ancillary Fees Minister’s Binding Policy Directive.25. Academic Quality Colleges are to make available and publicly post their policy on program quality assurance for programs of instruction.6. Program Nomenclature Program TitleThe approved program APS title articulated in this letter must appear exactly as stated on the Ontario College Credential awarded and in any and all program advertising material.  Program Title ModifierAny program with a title modifier must include additional vocational learning outcomes that support the title modifier.  All modifiers must either be identified in this letter or a subsequent, official program standard release letter, or a formal validation letter from the Ontario Colleges Quality Assurance Service (OCQAS).Colleges cannot make program title modifications or add program title modifiers without first seeking title validation from OCQAS.  Once a college receives validation for the addition of a title modifier from OCQAS, the college must inform the ministry via the Program Funding Approvals and Administration Module (PFAAM).7. Compliance with Credentials FrameworkColleges are responsible for ensuring credentials awarded to students on successful completion of their respective program of instruction are consistent with the Credentials Framework.8. Program Advertising and MarketingAs per Appendix D of the Minister’s Binding Policy Directive, Framework for Programs of Instruction colleges are not permitted to advertise programs until program funding approval has been formally received. All advertising and marketing of college programs must be transparent, accurate and clear particularly on program costs, guarantees and testimonial advertising.Colleges are responsible to ensure college communications, advertising, and marketing is in compliance with Appendix D of the Minister’s Binding Policy Directive, Framework for Programs of Instruction whether undertaken directly by the college or indirectly by persons or entities acting on the college’s behalf or in partnership or other arrangement with the college.9. Regulatory ComplianceAs applicable, the college will inform the Ministry if the program either fails to receive accreditation, or if accreditation is at risk in the future.10. Program ModificationsProgram delivery information forms the basis for program funding approvals and OSAP eligibility.   Colleges may seek to modify the length of the program, hours of delivery, and even instructional settings 3as programs are reviewed and revitalized.  As colleges review and revise existing programs, colleges are required to notify the ministry,  via the Program Funding Approvals and Administration Module (PFAAM), of any significant changes to existing programs. Colleges are also required to inform the Ministry, via PFAAM, of any modifications to program titles, including the addition of a title modifier.Colleges are invited to follow-up directly with ministry staff to clarify if the scope of program changes is significant.College must notify the ministry, via PFAAM, and receive ministry program funding approval for the modification before implementing changes to Ministry-Funded Programs of instruction:I. Changes to the program learning outcomes, resulting in a change of a minimum of twenty-five percent of the learning outcomes;II. Changes to the program learning outcomes resulting in a greater or lesser degree of specialization such that a distinct program is created;III. Changes to the program learning outcomes resulting in a program that no longer meets ministry program standards;IV. The total length of the program increases or decreases by a minimum of twenty-five percent;V. The total hours of the program increase or decrease by a minimum of twenty-five percent; orVI. The instructional settings of the program are modified by a minimum of twenty-five percent.Program duration is captured in enrolment reporting for funding and a college risks program defunding should changes in program duration be made without prior ministry approval.Note: Changes to program titles and learning outcomes as outlined above also require the college to seek validation from OCQAS.11. Program Suspension and CancellationColleges are responsible for informing the Ministry when the Board of Governors decides to suspend or cancel a program approved for funding by providing the ministry with a letter via the Program Funding Approvals and Administration Module (PFAAM).Students enrolled in a program that is being suspended, cancelled or made dormant are required to provide students the opportunity to complete the program within the normal program time period at the college, or to provide students with the opportunity to complete the program at another college. The college is responsible for making the necessary arrangements for students completing the program at another college.A program that has not been in operation for five years (suspended or dormant) will be cancelled automatically by the Ministry and will require re-approval if it is to be re-instated.4

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