What are the interconnections between climate change, sea rituals and traditional ecological knowledge and practices, and how those be explored through applied theatre practices? That’s the focus of the research currently being conducted by Theatre PhD candidate and Vanier ScholarDennis Gupa.
Gupa is currently wrapping up a year of research on the ground—and on the seas—in his native Philippines, which is partially supported through a 2017 CAPI Student Research Fellowship.
Dennis Gupa in the Phillippines
“I have been here in the Philippines for my field work since September 2017. My site is located in Samar-Leyte Region and I am working with local elders in the island community of Guiuan, where the deadliest typhoon of 2013—Haiyan Typhoon—entered,” he writes.
“One of the most relevant activities I organized during this field research was the intentional congress festival, Paddling Visions [which saw] scholars and artists from the Philippines and Canada gather in a four-day congress festival of performances and academic dialogue and issues about climate change, human, ecological and gender violations, and indigenous knowledges.”
Held in May 2018, Gupa’s Paddling Visions sought to expand dialogue on climate justice in the Philippines. “This event is one of the activities that executes and explores my methodologies—participatory/community action research and applied theatre as research,” he writes.
Hear more about Gupa’s work in this short video:
“My heart overflows with gratitude for the participation extended by the communities in engaging them in grounding stories on the impact of climate change,” he says, noting the widespread participation in his research from all walks of life—including elders, women, children, fishermen, government officials, teachers, artists, scholars and others.
When Art History & Visual Studies professor Carolyn Butler-Palmer received an email from the Bank of Canada back in 2017, she didn’t put much stock in it. “To be honest, I thought it was a scam email,” she laughs, “but in fact they wanted to speak to me as an art historian.”
“They knew I had an interest in women and issues of diversity,” she says. “And while they’d already determined Viola Desmond would be on the front side of the bill, they were trying to get different regional perspectives on options for the flip side—including what they ended up with, the Canadian Museum of Human Rights.”
Carolyn Butler Palmer with one of Ellen Neel’s masks in the Legacy Gallery exhibit
Often described as Canada’s Rosa Parks, the 32-year-old Desmond refused to leave her seat in the “whites only” section at the Roseland Theatre in New Glasgow, Nova Scotia, back in 1946. As a result, she was dragged out of the theatre by police and then jailed; it wasn’t until 1954 that segregation was legally ended in Nova Scotia, partly due to the publicity around Desmond’s case.
While over 450 iconic Canadian women met the initial qualifying criteria, that list was then narrowed down to a dozen candidates by an independent advisory council for possible inclusion on the $10 bill; Desmond was eventually selected by the Minister of Finance and the Governor of the Bank of Canada from a shortlist of five (including poet E. Pauline Johnson (Tekahionwake), engineer Elsie MacGill, athlete Bobbie Rosenfeld and suffragette Idola Saint-Jean) in December 2016. “It was long overdue for a banknote to feature an iconic Canadian woman,” said Stephen Poloz, Governor of the Bank of Canada, when the new bill was unveiled in March 2018. (Butler-Palmer says she “had, in fact, already voted for Viola.”)
And while we now know the new $10 bill features the exterior of the Canadian Museum of Human Rights in Winnipeg, as well as an excerpt from the Charter of Rights and Freedoms and an eagle feather representing the continuing struggle for recognition of the rights of Canada’s Indigenous people, the question of what was going to appear on the reverse of the bill was still up in the air during Butler-Palmer’s consultation. But does she like the final design?
“To be honest, I’m not sure I would’ve gone with what they selected—without going into specifics, there were other objects I thought were more favourable,” she says with a chuckle. “But I understand why they went in that direction—it’s a new museum and suits the broader issue of human rights. And the vertical design does have more impact.”
All in all, it was a unique experience for Butler-Palmer, who also teaches an AHVS elective titled “Fakes, Forgeries and Fraud” (returning in January 2019), which deals specifically with art forgery and theft—both of which are popularly associated with money. “It certainly was interesting to be contacted by a federal agency and be asked your professional opinion,” she says.
From the cultural impact of Star Wars to the inside track on making it as a young adult writer, it’s tough to beat Fine Arts when it comes to cool electives. With over 100 electives open to all students on campus, we’ve got something that will boost your creative and critical thinking skills regardless of your faculty or major.
“The announcement didn’t necessarily surprise me because there is a feeling in the public consciousness that video games are addictive and that kids spend too much time on them,” Leach told the Vancouver Sun in this June 21 interview. “My problem is when you label it addiction it conjures up visions of heroin and your 12-year-old kid living on the street and not talking to you anymore. It’s like talking about being addicted to movies when what you’re really talking about is being addicted to pornography.”
A journalist who is also an expert in gaming culture, Leach had just returned from Toronto where he’d organized two symposia on the social power of video games the week before the WHO news broke. He recently launched UVic’s fledgling Digital Storytelling & Social Simulation Lab to further these interests, he has also done a double-blind study about the use of gamification for education when he was director of UVic’s Technology & Society program.
The WHO felt labeling “gaming disorder” as its own unique addiction would allow governments, health care workers and families to be more aware of the risks and better prepared to identify and deal with them. But even though they admitted gaming disorder is rare — estimating three percent of all gamers (at most) are affected — Leach challenges this idea.
“Three per cent is a wild exaggeration,” he told the Sun, noting all the people in the world — including grown men and women — and all the platforms on which they play games. “That would be millions of people. It speaks to the lack of understanding of how predominant interactive games and media is. If you think of how many people play video games, that number must be much lower, something like 0.001 percent.”
According to the WHO, gaming disorder shares many symptoms with substance and gambling problems — which, says Leach, “feeds into media and parental concerns that already exist . . . it shouldn’t be disparaged as a gateway drug to addiction.”
UVic’s campus will be alive with the sound of music this summer as Quartet Fest West returns for another exciting session from July 9 to 19.
The Lafayette String Quartet in rehearsal (photo: Kristy Farkas)
Now in its 11th year, Quartet Fest West is an intensive chamber music workshop, welcoming select students from universities across North America. Originally launched in 1993 by the School of Music’s artists-in-residence the Lafayette String Quartet, QFW offers an unparalleled string quartet experience, including a series of concerts, masterclasses and workshops — all of which are open to the public in UVic’s Phillip T. Young Recital Hall.
This year features string players (plus a pianist!) hailing from Alberta, Texas, Arizona, Vancouver and Victoria. They will spend 10 days working closely together — divided into two quartets and two quintets — to hone their individual and ensemble skills. Alongside the LSQ, guest coaches and performers include their long-time friends and collaborators the Penderecki String Quartet, esteemed local violists Yariv Aloni and Gerald Stanick, and renowned pianist Alexander Tselyakov.
A highlight each summer, QFW is an ideal example of the immersive study and supportive practice that has made the School of Music such an essential part of Victoria’s arts community over the past 50 years.
“The festival is a significant annual event for UVic’s School of Music,” says Susan Lewis, Dean of Fine Arts. “I extend my warm thanks and appreciation to members of the Lafayette String Quartet for their ongoing efforts, commitment, and mentorship of generations of musicians. Together, we strengthen the cultural fabric of the city, the province, the country and, indeed, the world.”
The highly-anticipated QFW concert series kicks off on July 14 with performances by the LSQ and Tselyakov, counted in the ranks of Canada’s leading concert pianists; that program features the beautiful “Viola Quintet in C” by Mozart and the rarely performed piano quintet by Ernő Dohnányi. The Penderecki Quartet will perform music by Beethoven and Kelly-Marie Murphy, as well as the Shostakovich Piano Quintet — joined by Tselyakov — on July 17.
Penderecki String Quartet
The Gala Concert on July 18 — a fundraiser for future QFW student scholarships — brings together the LSQ, PSQ, plus special guests and festival participants. On this program you’ll hear some of the most cherished chamber music literature throughout the ages including works by Vivaldi, Tchaikovsky, Haydn (Michael and Joseph) and more. The festival then culminates with a July 19 concert showcasing the QFW student participants.
All concerts are performed in the Phillip T. Young Recital Hall, located in the B-Wing of UVic’s MacLaurin building. Single tickets ($10-$25) are available at the door for all concerts, as is a festival pass ($60). The public is also welcome to observe daily masterclasses.
UVic is accessible by sustainable travel options including transit and cycling. For those arriving by car, pay parking is in effect Monday to Saturday; evening parking is a flat rate of $3.