From the nation’s capital to one of the world’s leading creative spaces, the career of Department of Theatre alumnus Nathan Medd has gone far and fast since his graduation with a BFA in 2001. Now named the 2019 Distinguished Alumni Award recipient for the Faculty of Fine Arts, Medd has made a name for himself as one of Canada’s brightest young arts leaders.
Back on campus during Alumni Week to attend the Distinguished Alumni Awards night, visit Theatre classes to speak with current students and to hold a public talk about the importance of creative placemaking, Medd took time out of his busy schedule to reflect on his career to date and the state of the arts in Canada today.
Living his dream
A cultural non-profit leader whose work is devoted to developing the performing arts in Canada, Medd is currently Managing Director of Performing Arts for the Banff Centre for Arts and Creativity, the nation’s largest arts training institution and incubator of new works, a position he took up in August 2018. Prior to that, he was the Managing Director of English Theatre at the National Arts Centre, where his team successfully championed Canadian creators and initiated a new national stage for Indigenous performance (launching September 2019).
Nathan Medd (photo: Andrew Alexander)
But prior to those key positions, he was Managing Producer of Vancouver’s Electric Company Theatre, where he produced original works for Vancouver’s 2010 Cultural Olympiad and co-founded Progress Lab 1422, the performing arts creation studio in East Vancouver, in 2009. And before that, he was the Operations and Development Manager for Victoria’s Intrepid Theatre, where he co-founded Metro Studio — still a flagship venue for Vancouver Island — and also held positions with both the BC Arts Council (programs officer and policy analyst) and the Belfry Theatre (front of house manager), where he started right out of university.
“When I left the Phoenix I had an usually clear sense of direction,” says Medd. “Before I turned 30, I knew I wanted to be leading a mid-sized theatre organization, and before I was 35 I wanted to be leading an A-category theatre organization.”
Any way you look at it, moving from graduation to managing the nation’s leading arts centre in just 18 years is quite the career arc. And that doesn’t even mention the Master’s degree in management from Harvard University he recently completed, or the global pilot run of Harvard Business School’s first digital learning program in which he was invited to participate.
“[Theatre alumnus] Ian Case once told me he felt called to the theatre, the way a priest might say they were called to the church, and I’ve caught myself saying that now too,” he says. “Performing arts is definitely a calling. By the time I was about 13, I knew I only wanted to be in a theatre — it didn’t matter if I was in the booth, behind the curtain or centre-stage. It was quite a surprise to my parents.”
It was no surprise to the Qualicum Beach-raised Medd, however, at least once he got involved with the ECHO Players at the local Village Theatre as a young teen. “It was a place where adults treated children like adults and children treated adults like children — everyone was equal, everyone respected each other,” he recalls. “It was a bit bohemian and I’d never been in a club like that before. It didn’t matter how old you were, we were all just grooving on the idea of making a performance.”
Rising to the Phoenix
Medd (centre) returns for the Phoenix 50th anniversary in 2016 with classmates Jeff Glenn (left) & David Schumann
Given his up-island upbringing, and perhaps the fact that he was his high school valedictorian, applying to UVic’s Theatre program was a no-brainer for Medd; what was surprising, however, was his realization that, after four years in the acting program, acting wasn’t really what he wanted to be doing.
“I had a moment in my fourth year where I started to recognize that acting wasn’t my highest and best use in the theatre,” he says with a chuckle. “I was looking forward to a steady paycheque, making the rules and being in a position to work with and hire my friends — to say nothing of the talent I didn’t have to be acting. But I did have a love for organizing other people and produce work.”
For that, he credits the long-running Student Alternative Theatre Company, or SATCo, which was started by the afore-mentioned Ian Case and the late Tim Sutherland and continues to this day. “[SATCo] gave us a lot of space to try out theories and concepts from class with no one supervising us . . . we learned so much through that, and I learned so much about managing theatre through trial and error.”
While Medd may be well known behind the scenes, his Phoenix classmates included a number of people better known for their roles in the spotlight — including Erin Karpluk of CBC TV’s Being Erica fame, Thomas Middleditch (Silicon Valley, The Office), Meg Roe (Onegin, and a frequent face on stage and directing with Bard on the Beach), Annette Reilly (The Chilling Adventures of Sabrina), plus the likes of David Schumann, who is now one of the top trailer editors in Hollywood — many of whom he still sees, whether in person or on screen.
He also points out the value of having a purpose-built facility like the Phoenix building itself. “As I visit more and more schools now, I realize just what a dream the facility is — the three stages are the real asset of the program. A lot of theatre schools across North America have the opposite infrastructure: well-equipped studios but, if they have any performance venue at all, it’s just a ramshackle stage. There’s no facility quite like UVic.”
Medd is a familiar face at conferences and arts gatherings across Canada
As part of the overall Alumni Week activities, Medd will be participating in a free public talk about creative placemaking from 12:45-1:45pm Wednesday, Feb 6, in the Phoenix’s Bishop Theatre. Joining him will be fellow Phoenix alumni and Metro Studio co-founders Ian Case (former Intrepid Theatre general manager, now Director of UVic’s Ceremonies & Events) and Janet Munsil (former Intrepid Theatre artistic director, current MFA candidate in Writing), plus Kevin Kerr, co-founder of Vancouver’s Electric Company and a professor in the Department of Writing.
“My work these past 10 years has been about building infrastructure and altering practices that were built in the 1960s but no longer serve everyone who wants to work in or attend the arts,” Medd explains. “It’s not just a question of physical space, but programmatic space too . . . we’re making space for communities I wasn’t thinking of 10 years ago. With NAC, it was the idea of becoming the living room of the capital: you start with the idea that we’re all artists and we all need a space to be creative.”
He points to next-generational shifts that reflect a new state of mind, as much a sense of place. “Young people get the idea that colonial institutions like the NAC or Banff need to be reversed engineered or disrupted to be relevant and inviting to a wider range of communities than they were originally set up for,” he continues. “And it’s the people who are coming out of school now who’ve never had any other sensibility who will make that change. We’re in a moment where we’re correcting for history — at times, that correction may exclude people who have been in the spotlight for a long time, so maybe someone like Shakespeare needs to be set aside for a generation.”
To best understand the idea of creative placemaking — and the changes in the Canadian arts scene in general — Medd thinks of gardening. “I had a lot of time at NAC to till the soil, and that’s the best analogy for arts management: you spend your days quietly working the soil, then once a year something blooms and it’s glorious.”
The power of place
His new role as Managing Director of Performing Arts at the Banff Centre finds Medd overseeing a wide range of educational programs and residencies, ranging from theatre, dance and opera to classical music, jazz and contemporary music.
The Banff Centre’s iconic location
“It’s really the perfect job for me,” he says. “I’m having a wonderful time learning the ins and outs of other performing arts disciplines and industries and trends. The world of dance is very different from the world of theatre or classical music or jazz — and how they’re different is how they’re each responding to the great questions of our time: intersectionality, climate change, cultural appropriation and sexism.”
Known and recognized worldwide as a leader in creative development, the Banff Centre is an ideal place to have those conversations, says Medd. “Because we care so much about the artistic health of these industries, these are some of the most urgent and compelling work that’s being done today. It’s a great privilege to represent 85 years of tradition in the fine arts, and to represent Canadian culture at events around the world. The big mantra of the Banff Centre is ‘the power of place’—the value of Banff Centre is being here, feeling the power of the territory.”
Howard Jang, the Banff Centre’s vice president of arts and leadership, says he’s “thrilled” by their latest hire. “Nathan is one of the country’s brightest stars in cultural management and his leadership in working with our Performing Arts directors and Arts programs will strengthen Banff Centre’s place as Canada’s leading resource for the advancement of arts and culture.”
Between Banff and his time at the NAC, Medd is intimately aware of the emerging — and authentic — Canadian theatre aesthetics: multicultural, Indigenous, interdisciplinary and site-specific. “We’ve got great spaces all across Canada, but they don’t work for everyone I work with or want to work with. A lot of the work to come is about the underlying assumptions and structures that manage those spaces.”
Advice for the next generation
Medd on the cover of Arts Manager magazine
As the 2019 Distinguished Alumni Award recipient, Nathan Medd now joins the ranks of previous Fine Arts DAA winners, including country music stars Twin Kennedy (BMus ’08), visual artist Althea Thauberger (MFA ’02) director Glynis Leyshon (BFA ’73), author Esi Edugyan (BA ’99), lighting designer Michael J. Whitfield (BA ’67), filmmaker Mercedes Bátiz-Benét (BFA ’02), poet Carla Funk (BFA ’97), musician Paul Beauchesne (BMus ’88), author Deborah Willis (BA ’06), environmental designer Valerie Murray (BA ’78), author Eden Robinson (BFA ’92) and visual anthropologist Andrea Walsh (BA ’91).
As such, does he have any advice for either recent alumni or soon-to-be graduates?
“I’m in no position to give anyone advice, but one thing that worked for me was reckoning with the need to prioritize my career, and the work within, above everything: romance, nutrition . . . everything,” he admits. “I did that out of a fear of not getting a foothold in my chosen industry if I didn’t give it everything I had. But I think if we’re going to spend four years doing something, we owe it to ourselves to give it everything you have. Nothing’s guaranteed.”
That said, he does credit his UVic education with giving him the skills to achieve his chosen goals. “The great value of a fine arts education is gaining the tools of self-expression, self-examination and group process,” he says. “Those skills serve every possible direction you could take in your career, whether you end up in the performing arts or not.”
Looking ahead, Medd accepts that there be more change to come in his life, but feels ready to accomplish whatever task he sets his mind to.
“I’ve been forced way out of my comfort zone every time I’ve made a change, but it’s driven by a conviction that our important artistic institutions need custodians from my generation,” he concludes. “I want to help these institutions work in an evolving, contemporary world.”
The UVic Orchestra concert on February 1 takes its inspiration from Dvorák’s From the New World Symphony “by turning towards the future in presenting new and recently discovered musical ‘worlds’ and landscapes,” says conductor and School of Music professor Ajtony Csaba.
Mozart’s Symphony No. 35 in D Major (Haffner) is the musical point of reference for the first half of the concert. This symphony began as a serenade, commissioned as background music by the — a prominent Salzburg family — for the ennoblement of Sigmund Haffner in 1782. Mozart converted the serenade into the symphony as we know it today, and it was premiered with great acclaim in 1783 in Vienna.
Georg Friedrich Haas composed …è finisci già?, paraphrasing another Mozart composition in D-major: the unfinished Horn Concerto K. 412. The title — translated as “Is that all [you’ve got]?” — quotes one of Mozart’s many provocative annotations in the score that reveals a humorous communication protocol between the composer and soloist.
Also on the program is Music alumnus Max Murray’s new composition, Cântece. Written specifically for the UVic Orchestra, Cântece reflects on the “essential wisdoms imparted by [Mozart]: the evocation and sustain of dramatic precariousness amidst textural transparency.”
Alumnus composer Max Murray
Dvorák wrote his famous Ninth Symphony in 1893 while he was the director of the National Conservatory of Music in New York. While living in America, Dvorák became interested in African-American spirituals, plantation songs of the American South as well as Native American traditions. From the New World — a synthesis of many musical traditions — became a fusion of both the Old World and the New.
Hear more about this program at a special pre-concert talk with Professor Gregor Kokorz (Wirth Institute, University of Alberta), composer Max Murray and conductor Ajtony Csaba. This free pre-concert talk begins at at 6:45pm in room C110 of UVic’s Clearihue building.
From the New World with the UVic Orchestra begins at 8pm Friday, February 1 at The Farquhar in UVic’s University Centre. Tickets are $10-$20 — but are free for any UVic student. You can buy tickets here.
UVic celebrates graduates old and new with our annual Alumni Week, running Feb 1- 8 across campus. From film screenings and fascinating talks to concerts, a curling bonspiel, Vikes basketball and the annual Distinguished Alumni Awards night, there will be over a dozen special events to check out. Better still, most are free, although you may have to register in advance.
And Fine Arts is a big part of Alumni Week this year, as we participate in five different events showcasing the talents of a number of our alumni. Here’s what’s coming up:
Did you know that 1 in 3 UVic staff and faculty are UVic alumni? It’s true, and you can meet many of them as we celebrate our campus alumni and kick off Alumni Week at an exclusive event at Cinecenta. Join us at noon on Feb 1 for a screening of the short film, ‘Til Death, by director and campus alumnus Connor Gaston.
About the film: After losing his soul mate in a fatal bicycle accident, 10-year-old Zachary sets out on a journey to bring Samantha back to life in this magical, modern fairy tale.
Gaston, who holds both a BFA and MFA from the Writing department, is an award-winning filmmaker whose work has screened at film festivals around the world, including the Toronto International Film Festival. Gaston’s first feature film, 2015’s The Devout, earned him five Leo Awards (including Best Picture), the BC Emerging Filmmaker Award at the Vancouver International Film Festival, and a Canadian Screen Award nomination for Best First Feature. He is also a current sessional instructor in UVic’s Writing department.
Pizza, popcorn and soda will be provided at the screening for just $5, plus everyone will receive a free gift! (Tickets at the door.) Following the film screening, there will be a Q&A with the director.
This event runs noon to 1pm Friday, Feb 1, at Cinecenta in UVic’s SUB. Film starts at 12:15pm, so come early to get your pizza!
Victoria-based vocal quintet Fifth Street combines the worlds of pop, jazz and R&B in perfect five-part harmony. The sublime voices of Natasha Penfield, Jilaine Orton, Ryan Narciso, Kenji Lee and Taylor Caswell found a groove together while students and as members of UVic’s Vocal Jazz Ensemble. You’ll enjoy their original a cappella arrangements of pop hits by the likes of Imogen Heap and Justin Timberlake as well as fresh takes on timeless classics.
UVic Music alumni are invited to an exclusive pre-concert reception with tasty hors d’oeuvres, door prizes, plus a special pre-concert appearance by Fifth Street. Hear them in action at 8pm Saturday, Feb 2, in the School of Music’s Phillip T Young Recital Hall, in UVic’s MacLaurin building B-wing. Entrance is by donation.
Distinguished Alumni Awards
Come join UVic’s annual celebration recognizing and honouring Distinguished Alumni Award winners that have been chosen from the faculties, UVic Libraries and Continuing Studies. This year, Fine Arts is honouring Theatre alumnus Nathan Medd —a cultural non-profit leader whose work is devoted to developing the performing arts in Canada.
Now the managing director of performing arts for the Banff Centre for Arts and Creativity — the nation’s largest arts training institution and incubator of new works — Medd was also the managing director of English Theatre at Canada’s National Arts Centre, where his team successfully championed Canadian creators and initiated a new national stage for Indigenous performance.
Join us at 7:30pm Tuesday, Feb 5, in the Songhees Wellness Centre, 1100 Admirals Rd. Free, but registration is required.
Nathan Medd (photo: Andrew Alexander)
Join 2019 Fine Arts Distinguished Alumni Award recipient Nathan Medd for this lively discussion about the ins and outs (and ups and downs) of creative placemaking. From development and gentrification to funding and accessibility for artists and audiences, get ready to “nerd out” about the business of the arts. Joining Medd on the panel will be long-time colleagues Kevin Kerr, Writing professor and co-founder of Vancouver’s Electric Company, Janet Munsil, former Intrepid Theatre artistic director and Metro Studio co-founder (also a Phoenix alumna and current MFA candidate in Writing), and Ian Case, Theatre alumnus, director of The Farquhar at UVic and former general manager of Intrepid Theatre.
In addition to his current position at the Banff Centre for Arts and Creativity, Medd was previously the managing director of English Theatre at Canada’s National Arts Centre. As managing producer of Electric Company, he produced original works for the Vancouver 2010 Cultural Olympiad and co-founded East Vancouver’s Progress Lab performing arts creation studio in 2009. In Victoria, he worked for Intrepid Theatre, where he co-founded Metro Studio — a flagship venue for Vancouver Island — and held positions with both the Belfry Theatre and the BC Arts Council.
This free talk runs from 12:45-1:45pm Wed, Feb 6, in the Bishop Theatre at UVic’s Phoenix Building.
Join UVic Chancellor and CBC Radio’s The Next Chapter host Shelagh Rogers as she has a frank and fascinating live conversation with two-time Giller-prize winning novelist and Writing alumnus Esi Edugyan. The internationally acclaimed author of Washington Black, her latest novel, Edugyan is also the author of the Giller Prize-winning Half-Blood Blues and The Second Life of Samuel Tyne.
Join us at 7pm Thursday, Feb 7, in the Michelle Pujol Room at UVic’s SUB. Copies of Washington Black will also be for sale, courtesy of UVic’s Bookstore. Update: this event is now sold out, although a waiting list is being taken.
UVic is accessible by sustainable travel options including transit and cycling. For those arriving by car, pay parking is in effect. Evening parking is $3.
But wait, there’s more!
While Alumni Week only runs Feb 1-8, our Fine Arts alumni are busy throughout the year with their own creative endeavours. Here’s a quick rundown of some other alumni who are active around town in the next couple of weeks:
The 25th annual Victoria Film Festival features work by both Writing and Visual Arts alumni and students, running throughout the festival. Writing alum Connor Gaston is showing the short film Encore as part of the shorts program “Beautiful Obsessions” on Feb 4. The Safe Space Panorama exhibition runs Feb 2-10 at the Atrium and features work & talks by Visual Arts MFA candidate Levi Glass (talk: 3pm Feb 3), undergrads Laura Gildner (3pm Feb 4),Jordan Hill (3pm Feb 6) and Jake Hrubizna (3pm Feb 8), plus MFA alumni Leah McInnis (3pm Feb 7) & sessional instructor Emily Geen (5pm Feb 5), as well as the 25th anniversary multimedia installation States of Play, curated by recent Visual Arts alumna Gina Luke.
Phoenix alumna & musical theatre teacher Kim Sholinder and the student cast & crew of Victoria High School will perform the Broadway musical Cry-Baby — based on the hit 1990 John Waters film of the same name, which starred a young Johnny Depp! This upbeat, campy musical provides a fun twist on 1950s star-crossed young lovers. Cry-Baby runs Feb 5-9 at Victoria High School, 1260 Grant. Tickets are $10-$12.
The Victoria Arts Council is pleased to be working with Visual Arts MFA alumnus Hjalmer Wenstob on a new solo exhibition. For Ground; Background is a culmination of selected sculptures from over the last four years, as well as new works and installations. For Ground; Background hosts works of question, concern and education, in regards to environment, urban relationships to the land, and treaties. Wenstob is an interdisciplinary artist who specializes in sculpture, installation, and carving; he speaks of three dialects of his work — contemporary, traditional, and community-based.
Through his contemporary dialect, he completed both an undergraduate and master’s degree at UVic, exploring the relationships between cultures and art, and the balance between traditional and contemporary. His work is at times highly political and uses humour and irony to pose difficult questions of respect, reconciliation, and environmental issues. Nuu-Chah-Nulth from the Tla-O-Qui-Aht First Nations on his father’s side, and Norwegian and English on his mother’s side, Wenstob and his family recently opened Cedar House Gallery in Ucluelet, B.C. where he is exploring ways of weaving his contemporary/political work with more traditional materials and styles.
For Ground; Background runs until Feb 16 at the new Victoria Arts Council space at 1800 Store St. Open 11am-5pm Tues-Sat.
Visual Arts instructor & MFA alumnus Todd Lambeth presents Night Moves, a series of paintings that investigates the abstract relationship between space and colour. Influenced by Cubism, hard-edged Modernist painting, comic books and candy wrappers, the colours in these paintings reference the world of advertising and design. These visually stimulating works express the artist’s interest in perceptions of pictorial space and are a direct response to the proliferation of digital imagery and imaging technology.
These paintings explore optical perceptions of space; emphasizing the formal properties of structure and design, Lambeth’s images present the viewer with a sense of visual pleasure. With their bright, welcoming colours and forms the paintings in Night Moves foreground ideas of beauty and express Lambeth’s desire to create optimistic works that distract the viewer from the difficult times in which we live.
Night Moves runs through to March 2 at Deluge Contemporary Art, 636 Yates. There will be an artist talk at 3pm Sat, Feb 16.
Writing alumnus and former longtime Malahat Review editor John Barton has been named the new Poet Laureate of Victoria. Barton has written 26 books and is currently working on his first book of prose; his appointment was reported in this Times Colonist article and this piece from Monday Magazine.
Fowler (in yellow)
The Victoria Theatre Guild offers a lively version of this 2005 Tony-winning show — a clever, charming and sweet-natured musical comedy about six quirky tweens competing in the spelling bee of a lifetime. While candidly disclosing hilarious and touching stories from their home lives, they spell their way through a series of words, hoping never to hear the soul-crushing ding of the bell that signals a mistake. In the end, the youth learn that winning isn’t everything, and that losing doesn’t necessarily make you a loser.
Featuring a fantastic performance by Phoenix alumni Hailey Fowler and an outstanding set by Barbara Clerihue.
Spelling Bee runs until Feb 2 at Langham Court Theatre. Tickets are $25-$35 . . . if you can find one!
There was certainly no shortage of Fine Arts news in 2018, given that we tracked nearly 300 local, national and international media stories about the creative activities of our faculty, alumni, students and staff . . . and those are just the stories we know about.
From our new faculty members—including Rick Leong, Sasha Kovacs, Deborah Campbell, Katharina Clausius and Michael Elliott—to a new batch of websites for our departments of Art History & Visual Studies, Theatre, Visual Arts, Writing and the School of Music, Fine Arts continues to grow and evolve as we move closer to our 50th anniversary in 2019/20.
While it was hard to choose favourites from amongst the many stories that appeared in both traditional and social media, here (in no particular order) are our choices for the top 10 Fine Arts stories from our faculty blog.
Benjamin Butterfield named to the Royal Society of Canada
Benjamin Butterfield (UVic Photo Services)
Three UVic faculty members received the country’s highest academic honour by being named 2018 fellows of the Royal Society of Canada (RSC) in September—and among those joining the distinguished ranks was School of Music professor Benjamin Butterfield.
While Butterfield has won international plaudits as one of Canada’s best operatic tenors, he is equally passionate about his role as head of voice for UVic’s School of Music.
“With a performance career, the more you’re in the game, the more you’ll be asked to be in the game,” he explains. “But my obligation is really to teaching . . . for me, it’s less about pursuing my ‘career’ and more about being here for students who sing, and who want to learn to sing—that’s my day job, that’s my real life, that’s what’s most important.”
Butterfield is now the eighth Fine Arts faculty member to be inducted into the RSC, including Fellows Mary Kerr (Theatre), Harald Krebs (Music), Tim Lilburn (Writing), Joan MacLeod (Writing) and Sandra Meigs (Visual Arts), as well as RSC College member Dániel Péter Biró (Music) and RSC Medal winner Jack Hodgins (Writing, retired).
Read more about Butterfield’s RSC appointment here.
Esi Edugyan wins second Giller Prize
Fine Arts has no shortage of alumni success stories, but it’s hard to top internationally acclaimed Department of Writing alumna Esi Edugyan, who won her second Scotiabank Giller Prize in 2018 for her latest novel, Washington Black.
Edugyan won $100,000 on the 25th anniversary of Canada’s richest literary award, and also earns the distinction of being one of only three authors to twice win the Giller Prize, alongside M.G. Vassanji and Alice Munro.
Washington Black was also nominated for the Man Booker Prize and the Rogers Writers’ Trust Fiction Prize—as was her previous 2011 Giller Prize-winning novel Half-Blood Blues. Indeed, having only published three novels (including her debut, The Second Life of Samuel Tyne), Edugyan’s back-to-back wins for Washington Black and Half-Blood Blues is doubly remarkable, especially when you consider both were shortlisted for the coveted trifecta of fiction awards.
Read more about Edugyan’s Giller win here.
Carey Newman is the new Audain Professor
Carey Newman receiving his Order of BC from
Lieutenant Governor the Honourable Janet Austin and Premier John Horgan in September
When Kwagiulth and Coast Salish artist Carey Newman’s Witness Blanket was unveiled at the University of Victoria in 2014, it was clear the large-scale installation would quickly become a national monument and spark reflection and conversation about residential schools, settler-Indigenous relations and reconciliation. Now, Newman will continue the conversation as the sixth Audain Professor of Contemporary Art Practice of the Pacific Northwest with the Visual Arts department.
“This is breaking new ground for me,” said Newman in June. “I’m looking forward to having the opportunity to convert the experience of mentorship into a more formal educational setting.”
It’s been a big year for Newman: on top of being declared the Audian Professor for the next three years, he was granted the Order of BC, was named the inaugural recipient of the Professional Arts Alliance of Greater Victoria’s Regional Arts Award, played a role in the Aboriginal Canadian Entrepreneurs program with the Gustavson School of Business, received a Saanich150 art commission and debuted his new “Witness Blanket” documentary at the Vancouver International Film Festival.
Read more about Newman’s Audain position here.
Carolyn Butler Palmer advises on new $10 bill
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.”
While it’s no secret now that Canada’s new vertical $10 bill features Nova Scotia civil libertarian Viola Desmond, Butler-Palmer was under a strict confidentiality order for several months starting in summer 2017 while she was consulted by the Bank of Canada about the proposed design. One of a number of experts contacted, Butler-Palmer came to their attention due to the Globe and Mail coverage of her early 2017 exhibit Ellen Neel: The First Woman Totem Pole Carver at UVic’s Legacy Gallery.
“It was a real honour to be asked and to be able to work on such an important change in our currency,” Butler-Palmer said in this recent interview with the Martlet. “I think the change is really reflected too, [particularly] that they changed the orientation as well . . . to signify the change in the way that they represent Viola Desmond on that bill.”
Find out more about Butler Palmer’s involvement in the $10 bill here.
The Drowsy Chaperone a stunning success
Douglas Peerless as the Man in the Chair (photo: Dean Kalyan)
The response to Phoenix’s fall mainstage production of The Drowsy Chaperone, directed by Jacques Lemay, was fantastic. Audiences and reviewers alike praised this production as one of the finest in Phoenix’s 50-plus year history.
“This is one of the best shows staged by the university’s theatre department in recent years and should not be missed,” notes thisTimes Colonist review by Adrian Chamberlain. “Everything about this elegant, detailed production works well: the excellent costumes, set, acting, dancing, choreography . . . . [this is] a truly superior piece of theatre that will undoubtedly be a highlight of the season.”
It was such a hit, in fact, that they ended up adding two additional shows after the entire run was essentially sold out in November!
Read more about the amazing success of The Drowsy Chaperone here.
The Orontes Guitar Quartet welcomed as Visiting Artists
(l-r) Orwa Al Sharaa, Gaby Al Botros, Nazir Salameh & Mohammed Mir Mahmoud in front of UVic’s Fine Arts Building, November 2018. (UVic Photo Services)
The dramatic story of four musicians escaping daily violence in Syria for a fellowship in UVic’s School of Music caught the attention of The Globe and Mail in December, and became one of UVic’s top news stories of 2018.
Alexander Dunn, an internationally renowned guitarist and UVic music instructor for nearly three decades, played a vital role in bringing the guitar quartet to UVic by working for the past 18 months with two US-based organizations—the Artist Protection Fund (APF), an innovative initiative of the Institute of International Education, and the non-profit organization Remember the River.
Now safely in Victoria as the recipients of a prestigious Artist Protection Fund Fellowship grant, the Orontes quartet offer a remarkable message about the power of music, hope and determination. The quartet told the Globe and Mail that their peaceful lives in Syria had been disrupted by the civil war, and violence and terror became commonplace. But when the ensemble started to play together, “we forgot everything because we just focused on what we are doing,” as recounted to The Globe’s arts reporter Marsha Lederman in a December 8 article in the national edition of the newspaper.
Read more about the Orontes Quartet here—and be sure to watch this Globe and Mail video of the quartet playing together.
Colton Hash named Artist in Residence for Ocean Networks Canada
Colton Hash with his full-size sculpture of an adolescent female orca (photo: Ashton Sciacallo)
Victoria-based artist Colton Hash became the inaugural recipient of an Artist-in-Residence program by the Faculty of Fine Arts and Ocean Networks Canada (ONC), a UVic initiative. The new ONC residency will strengthen connections between art and science, and broaden perspectives on major issues ranging from technology and the environment to biodiversity and healthy communities.
A recent graduate of UVic’s combined undergraduate program in Visual Arts and computer science, Hash was selected for the residency from a field of nearly 70 local, national and international applicants. He will hold the position from November 2018 to March 2019 and, following his residency, will provide a public exhibition of the resulting body of work.
“I see this as a great opportunity to collaborate with ocean scientists and experiment with digital media to communicate some of the dynamic processes that play a critical role in coastal waters,” says Hash. “Whether it’s how a kelp forest responds to climate change or how the thawing of frozen methane affects sediment stability of submarine slopes, I hope I can use interactive art to inspire viewers to care more about what is happening beneath the ocean’s surface.”
Read more about Hash’s ONC residency here.
Fine Arts hosts Reconciliation & the Arts forum
There was a capacity audience for the Nov 15 forum at the Baumann Ctr (photo: Fiona Ngai)
The fourth annual Building Reconciliation Forum was hosted at UVic in November and, as part of the two-day event, Fine Arts hosted a panel discussion on First Nations Art Practice & Reconciliation.
Presented in partnership with Universities Canada, the Building Reconciliation Forum brought together close to 250 thought leaders from universities, Indigenous governing bodies and communities, and federal and regional government officials from acorss Canada to consider how universities are answering the Truth and Reconciliation Commission’s Calls to Action.
As part of the Forum, Fine Arts Dean Dr. Susan Lewis hosted a near-capacity panel discussion on First Nations Art Practice & Reconciliation at downtown’s Baumann Centre, featuring a range of local artists, administrators, activists and alumni discussing how Victoria’s arts community can advance decolonization and reconciliation.
Panelists included Visual Arts MFA alumna and the City of Victoria’s inaugural Indigenous Artist in Residence Lindsay Delaronde; the Belfry Theatre’s Indigenous cultural advisor Kristy Charlie and executive director Ivan Habel; Pacific Opera’s director of community engagement Rebecca Hass; Open Space board member and Visual Arts sessional instructor Charles Campbell; Legacy Gallery director Mary Jo Hughes; and Art Gallery of Greater Victoria curator of engagement Nicole Stanbridge.
Also during the forum, the Theatre department hosted Nomad, a musical and visual journey through Inuit history with Inuk singer-songwriter and Order of Canada recipient Susan Aglukark.
Find out more about the First Nations Art Practice & Reconciliation event here.
Bill Gaston wins Victoria Book Prize
Department of Writing professor Bill Gaston won the 2018 City of Victoria Butler Book Prize for his short-story collection The Mariner’s Guide to Self Sabotage (Douglas & McIntyre). Victoria Mayor Lisa Helps and co-sponsor Brian Butler presented Gaston with his $5,000 prize at a gala October 17 event at downtown’s Union Club.
2018 was a strong year for the Writing department at the Victoria Book Prize, given that fellow nominees included professor emerita Lorna Crozier (What the Soul Doesn’t Want), longtime instructor Patrick Friesen (Songen) and longtime Faculty of Fine Arts colleague and Dean’s External Advisory Committee member Maria Tippett (Sculpture in Canada: A History).
Gaston is also one of 10 authors nominated for the prestigious RBC Taylor Prize for his 2018 memoir, Just Let Me Look At You (Hamish Hamilton).
Read more about Gaston’s win here.
Twin Kennedy win Distinguished Alumni Award
Twin Kennedy are now Distinguished Alumni (UVic Photo Services)
It’s only been 10 years since sister duo Twin Kennedy graduated from the School of Music, but during that short decade, the acclaimed country/roots duo already released two albums, toured across North America, moved to Nashville and won the hearts of country radio and fans alike. The sisters headed back to UVic in February to be honoured as the Fine Arts winners of UVic’s 2018 Distinguished Alumni Award—an award that’s doubly special this year, given that it was presented during the School of Music’s 50th anniversary.
Know for their distinctly “Canadiana” country roots sound, seamless harmonies and heartfelt songwriting, Carli and Julie Kennedy (BMus ’08) have been dubbed “the next big thing in country music” by the Nashville Music Examiner and Twin Kennedy’s 2017 winter single “Cold Weather” was chosen by Rolling Stone as one of the “10 new country and Americana Christmas songs to hear right now!”
“We’re very proud of years at UVic,” says Carli. “Not everyone in the popular-music world has a degree, and it’s an important part of our story. To be recognized for that side of our career is a huge honour; it means a lot to us.”
“And we did it together!” laughs Julie.
They now join the ranks of our previous Fine Arts Distinguished Alumni Award winners: visual artist Althea Thauberger (MFA ’02) director Glynis Leyshon (BFA ’73), author Esi Edugyan (BA ’99), lighting designer Michael J. Whitfield (BA ’67), director and filmmaker Mercedes Bátiz-Benét (BFA ’02), poet Carla Funk (BFA ’97), musician Paul Beauchesne (BMus ’88), author Deborah Willis (BA ’06), environmental designer Valerie Murray (BA ’78), author Eden Robinson (BFA ’92) and visual anthropologist Andrea Walsh (BA ’91).
Find out more about Twin Kennedy’s award here.
Support your local tubas!
For 40 years now, tuba and euphonium players from all across Vancouver Island and beyond have been gathering at Market Square in downtown Victoria for one of the city’s most anticipated holiday traditions. TubaChristmas returns to once again raise money for the Times Colonist Christmas Fund, a charity that assists the people most in need in the Greater-Victoria community.
TubaChristmas, as performed by the Victoria TubaChristmas Ensemble, runs from 1-3pm Saturday, Dec. 8, in Market Square, 560 Johnson Street. Donations will be accepted throughout the duration of the event.
Last year, an impressive 101 brass musicians gathered to play an afternoon of favourite carols, and the resulting donations far exceeded those collected in previous years. Tubist and UVic instructor Paul Beauchesne — who will lead the ensemble for the fourth year — has his sights on record-breaking numbers for the 40th anniversary of this beloved event. And this year, local video production company Roll.Focus and CHEK TV are partnering to produce the first livestream of the event.
Paul Beauchesne leading the TubaChristmas ensemble
Beauchesne describes the sound of massed tubas and euphoniums as a “sonic hug,” filling the square with music that will echo through the surrounding streets. Jointly sponsored by Market Square and UVic’s School of Music, TubaChristmas was established in Victoria by the much-loved tubist, Eugene Dowling, who succumbed to cancer in June 2015. Dowling was one of Beauchesne’s tuba instructors, as well as a mentor and friend, and Beauchesne is proud to carry forward the TubaChristmas torch.
TubaChristmas dates back to 1974 where it originated in New York City by the late Harvey Phillips of Indiana University. Concerts now take place in over 200 cities worldwide and this year marks the 45th year for TubaChristmas internationally. The original concept was to honour the late William Bell (1902-1971) — Phillips’ teacher and former tubist with the New York Philharmonic — who was born on Christmas Day, but over the decades it has grown to become so much more.
Don’t miss this once-a-year occurance, which has grown into one of Victoria’s most beloved seasonal events!
Internationally acclaimed Department of Writing alumna and Greater Victoria-based author Esi Edugyan has won the 2018 Scotiabank Giller Prize for her latest novel, Washington Black.
Esi Edugyan wins her second Giller Prize on Nov 19
Edugyan wins $100,000 on this, the 25th anniversary of Canada’s richest literary award, and also earns the distinction of being one of only three authors to twice win the Giller Prize, alongside M.G. Vassanji and Alice Munro.
“I wasn’t expecting to win,” she told the audience as she collected the award & her $100,000 prize. “So I didn’t prepare a speech.” She did, however, go on to say that, “in a climate where so many forms of truth telling are under siege, this feels like a really wonderful and important celebration of words.”
You can congratulate Esi in person at a special Autographing with Esi Edugyan, from noon to 2pm Friday, Dec 7 at Munro’s Books, 1108 Government.
Nominated for the Man Booker Prize, the Rogers Writers’ Trust Fiction Prize, and the winner of this year’s Giller Prize, Esi Edugyan’s Washington Black is a wildly inventive portrayal of a young slave’s flight from Barbados alongside a mysterious inventor.
Edugyan previously won the Giller in 2011 for her sophomore novel, Half-Blood Blues. Indeed, having only published three novels (including her debut, The Second Life of Samuel Tyne), Edugyan’s back-to-back wins for Washington Black and Half-Blood Blues is doubly remarkable, especially when you consider both were shortlisted for the trifecta of fiction awards — not only the Giller but also the Man Booker Prize and the Rogers Writers’ Trust Fiction Prize.
The announcement was made on November 19 at a black-tie dinner and award ceremony hosted by television personality and author Rick Mercer, and attended by nearly 500 members of the publishing, media and arts communities. This year’s longlist, shortlist, and winner were selected by they five-member jury of Canadian writers Kamal Al-Solaylee, Maxine Bailey and Heather O’Neill, along with American writer John Freeman and English novelist Philip Hensher.
Of Edugyan’s winning novel, the jury wrote, “How often history asks us to underestimate those trapped there. This remarkable novel imagines what happens when a black man escapes history’s inevitable clasp — in his case, in a hot air balloon no less. Washington Black, the hero of Esi Edugyan’s novel, is born in the 1800s in Barbados with a quick mind, a curious eye and a yearning for adventure. In conjuring Black’s vivid and complex world — as cruel empires begin to crumble and the frontiers of science open like astounding vistas — Edugyan has written a supremely engrossing novel about friendship and love and the way identity is sometimes a far more vital act of imagination than the age in which one lives.”
Edugyan earned her BA in Writing department in 1999, and later taught some courses for the department as a sessional instructor. She is also married to fellow Writing alumnus Steven Price, who is also an acclaimed novelist and poet.
“I studied with so many great teachers at UVic,” said Edugyan in this 2012 interview upon being named one of UVic’s Distinguished Alumni. “The caliber of guidance was amazing. Patrick Lane was my first great teacher. I found myself following poetry because he was so inspiring. Jack Hodgins, Lorna Crozier, Bill Gaston . . . there was such a high level of instruction.”
Award-winning author and Writing professor Bill Gaston recalls that both Edugyan and Price were in the very first workshop he ran at UVic in 1998. “I’m sure never to say I ‘taught’ her, though,” he says with a chuckle. “I tried to stay out of her way, and not ruin things.”
The four remaining Giller finalists, who receive $10,000 each, include Patrick deWitt (who also lost to Edugyan in 2011) for French Exit, Thea Lim for An Ocean of Minutes, Éric Dupont for Songs for the Cold of Heart, and Sheila Heti for Motherhood.
Media coverage of Edugyan’s win was extensive, of course, with notably pieces running in CBC News, the Globe and Mail, the local Times Colonist and CBC Radio’s All Points West, who interviewed Bill Gaston on Nov 20 but has yet to archive the story.
The Globe and Mail also published this interesting post-Giller piece, commenting on the award’s impact for the Canadian publishing industry. “The greatest relief through the room was that the assembled publicists would not have to battle to sell a 600-page book in translation about a small Quebec town,” wrote analyst Russell Smith. “This one sells itself.”