Instructor & Lehan Lecturer wins $25K award

Congratulations go out to Theatre instructor and 2025 Lehan Family Activism & the Arts Lecturer d’bi.young anitafrika, who has been awarded a $25,000 Johanna Metcalf Performing Arts Prize.

An internationally acclaimed Black-queer-feminist non-binary dub poet, playwright-performer, dramaturge-director and scholar-activist, d’bi’s visionary contributions to theatre, education and leadership have made space for rigorous decolonial practice. You can watch their 2025 Lehan Lecture here.

With over 25 years of trailblazing artistry in plays, albums, books and leadership — their intersectional Anitafrika Method, rooted in Black feminist thought, has revolutionized arts-based practices nationally and internationally — d’bi also recently received a $242,500 Canada Council grant to establish a digital theatre archive, collaborating with Black Womxn Circle and UVic Libraries: KULA. While completing their PhD in London (UK), they have been leading training programs at Toronto’s Soulpepper and Obsidian theatres and here at UVic.

Selected from a field of 15 finalists, d’bi is one of five Metcalf winners: each receives $25,000 and chooses a protégé to receive a separate $10,000 prize: d’bi’s protégé is Sashoya Simpson, a Jamaican-Canadian writer, theatre practitioner and the associate artistic director of Watah Theatre and the Black Theatre School.

The Metcalf Prizes celebrate Ontario’s leading creators in the performing arts and is one of the largest unrestricted prizes for artists in Ontario, celebrating mid-career and early-career artists across multiple disciplines.

Writing grad Kyeren Regehr is Victoria’s newest Poet Laureate

Once again, the City of Victoria’s Poet Laureate position has gone to a Department of Writing alumni.

Writing grad Kyeren Regehr was recently appointed as the City of Victoria’s latest Poet Laureate. Regehr (MFA ’13, BFA ’11 + a Fine Arts Victoria Medal recipient) is an award-winning literary poet and the current artistic director of Planet Earth Poetry, one of Canada’s longest-running weekly reading series. She will serve her term beginning April 2025 and, in addition to curating community events, she will also be hosting The Poet Laureate Podcast.

“I’m honoured to serve as Victoria’s seventh Poet Laureate on lək̓ʷəŋən homelands and look forward to deepening our connection to poetry and one another,” she says.

Kyeren follows in the literary footsteps of previous Poet Laureates John Barton and Carla Funk (plus UVic grad Yvonne Blomer), making our grads three of the seven Poet Laureates since the position was created in 2006. Writing can also boast of having four previous Youth Poet Laureates among the 11 youth who have held the position: Eva Haas, Eli Mushumanski, K.P. Dennis and Aysia Law. (Shauntelle Dick-Charleson is the newest Youth Poet Laureate.)

Regehr is an award-winning poet, writer and the author of Cult Life, which was a finalist for the national ReLit Awards and Victoria’s own Butler Book Prize; her Disassembling A Dancer won the inaugural Raven Chapbooks contest. Her poetry has appeared in top literary journals and anthologies across Canada, Australia and the US, and she has won or been shortlisted for more than two dozen literary contests.

Beyond the page, Regehr’s background in professional dance and theatre gives her poetry an unmistakable rhythm. She once found herself in the finals of the Victoria Poetry Slam completely by accident after encouraging her students to perform. Now, as Artistic Director of Planet Earth Poetry, she continues to champion the literary arts

“We’re delighted to have the talents of Kyeren and Shauntelle representing the City as Poet Laureates,” says Victoria Mayor Marianne Alto. “I look forward to seeing their work inspire and connect residents of all ages through the power of poetry.”

Distinguished Alumni Awards: Tania Willard

We congratulate 2025 Presidents’ Alumni Award recipient Tania Willard, a mixed Secwépemc and settler artist whose research intersects with land-based art practices. A graduate of the Department of Visual Arts (BFA, 1998), the work of Kamloops-born Willard activates connection to land, culture and family, centring art as an Indigenous resurgent act, though collaborative projects such as BUSH Gallery and support of language revitalization in Secwépemc communities. 

“I learned a lot about myself in [UVic’s] art program,” she says. “Four years is enough time to decide whether you are dedicated to art or you aren’t. I made it through that program, and knew it was still something I was passionate about. I also knew I wanted it to serve not only art for art’s sake but to widen it out to think about social engagement, think about activism, think about community—and that was through my Indigenous heritage as a Secwépemc person. In those days, there was a lot of activity on campus in music and art, in activism and in Indigenous rights, and I found my voice through those spaces.”

Currently based on the Neskonlith Indian Reserve, Willard’s artistic and curatorial work includes Beat Nation: Art, Hip Hop and Aboriginal Culture at the Vancouver Art Gallery (2012-2014) and Exposure: Native Art and Political Ecology at the IAIA Museum of Contemporary Native Arts, Santa Fe (ongoing). Her work is included in the collections of the Vancouver Art Gallery, Forge Project NY, Kamloops Art Gallery, Belkin gallery and the Anchorage Museum, among others.

Her suggestion for current students and emerging artists? “Seek out Indigenous professors and students to support you,” she says. “I took Christine Welsh’s class—she was a Métis professor in Women’s Studies—and that was the first time in my life I had had an Indigenous teacher and that was a significant moment for me. And now it’s not as uncommon to have that experience. We have Indigenous faculty, I am Indigenous faculty, but at the time in my high school, my career and everything, I had never had that opportunity and that was important. I would encourage all students to seek out belonging and community and connection.”

An acclaimed career

In 2016, Willard received the Hnatyshyn Foundation’s Award for Curatorial Excellence in Contemporary Art. In 2020, the Shadbolt Foundation awarded her their VIVA Award for outstanding achievement and commitment in her art practice, and in 2022 she was named a Forge Project Fellow for her land-based, community-engaged artistic practice. In 2023 BUSH Gallery was named as a Future Studies recipient from Ruth Foundation for the Arts. Willard is a 2024 fellow with the Doris and Jack Shadbolt fellowship at Simon Fraser University. She is also an assistant professor in the Faculty of Creative and Critical Studies at UBC Okanagan in syilx territories.

“Art can reach people in a way that’s different—it speaks a language that tries to connect with us in our hearts,” she says. “That’s been important for me. I don’t think it’s the only effective means. I think it can work alongside many other methods and practices, but for me it’s been the way that I can commit to because it nourishes, it communicates and it’s relational and it can deal with difficult subjects… [Art] helps me vision different outcomes. It’s a universal problem-solving technique. People use it in the sciences, in the humanities. We need that creativity no matter who we are to help us solve problems and nourish ourselves and grow.”

Speed round!

What I’d do with an extra hour of free time: 

“I would continue to work on basketry, which is also something I do that is relaxing and balances everything out.”

One food I can’t resist: 

“Smoked salmon.”

My go-to karaoke song: 

“I don’t do karaoke very often. However, I recently did karaoke for my friend Peter Morin’s art project, Love Songs to End Colonization. And I did a version of the Violent Femmes’ ‘Blister in the Sun.’ In the past I’ve also done the Clash’s ‘Should I Stay or Should I Go’.”

My secret talent: 

“I won some dance contests when I was much younger.”

Skill I wish I possessed: 

“I wish I could do more construction, build more things… like lovely library-style bookshelves.”

Something great I’ve read recently: 

Let’s Become Fungal!: Mycelium Teachings and the Arts: Based on Conversations with Indigenous Wisdom Keepers, Artists, Curators, Feminists and Mycologists.

One cool thing about where I live: 

“I live on reserve, and I live near the forest edge. I love how the forest takes care of everything. Life, death, food, ecology. I have great respect and continue to learn every day of my life from how the forest takes care of things in a way that contrasts the ways we have to have systems for food, for garbage, for waste, and we build up these separate systems to take care of all that. But the forest innately does that.”

Read more about UVic’s 2025 Alumni Awards here

Distinguished Alumni Award winner: Chari Arespacochaga

Chari Arespacochaga is an acclaimed theatre director and educator at the College of Fine Arts at Florida State University (FSU) where she is the Director of the MFA Directing Program. Her theatrical direction credits include Rent, Kinky Boots (Short North Stage), The 25th Annual Putnam County Spelling Bee (University of California), Amadeus and Stupid Kids (Phoenix Theatre, Victoria), 9 Minutes (for PopUP Theatrics NYC), Rock of Ages, The Full Monty, Disney’s Tarzan, Spring Awakening, Legally Blonde, Altar Boyz and Into the Woods, among others. At FSU, she initiated and designed Performing Climate Change, a course that provides students from different colleges and departments critical and creative ways of approaching the climate crises; and recently directed an acclaimed production of Natasha, Pierre and the Great Comet of 1812.

The recipient of a 2025 Emerging Alumni Award, Chari graduated with an MFA from the Department of Theatre (2015), and her scholarship, artistic work and teaching is centred on theatre as necessary cultural work for social transformation and providing her audience and students new ways of engaging with theatre through the lens and lived experiences of an immigrant BIPOC artist-scholar. 

“My experiences at UVic solidified for me how making theatre coincides with making community,” she says. “It made me realize in concrete, palpable ways how we cultivate our life gets reflected in the work that I do as a theatre director and affects how I set up workplaces for people in making theatre. It also made me think about new ways we need to be creating stories and who else should we be inviting to the table to tell those stories.”

Born in the Philippines (Manila) but currently based in Tallahassee, Florida, Chari is in the process of adapting a series of stories about a culturally diverse group of princesses/superheroines called the Guardian Princesses into musicals for young audiences as part of her commitment to developing new works. Other developmental collaborations include a new musical called Missing and a feminist retelling of Macbeth entitled Em.

A scene from Amadeus, which Chari directed at UVic’s Phoenix Theatre in 2015

Unlearning process

Early influences include Sesame Street, Electric Company, movie musicals and Saturday morning cartoons. “I remember clearly those vignettes in Electric Company where Rita Moreno was running a film set and everything would be falling apart,” she recalls. “She was shooting something about a pirate on a ship and the mast would fall on them. And I thought that was great. Maybe, even then, I could recognize that’s probably stress I can deal with and thrive on.”

One of the key things she’s learned, however, is the ability to unlearn that there’s only one way of doing something. “That there’s only one way to rehearse, that there’s only one way to tell a story . . . I try to unlearn whatever I thought were those absolutes all the time. Some are easier to unlearn than others.”

“You’re teaching in a classroom, and you can prep and prep and you should have a plan, but it’s not about you. It needs to become about the students. I am running a rehearsal, but it’s not about me, it’s about the show. It’s about making the actors feel their best possible selves. It’s about making my creative collaborators, whether they’re designers or stage managers, feel like they have ownership of the show and the story that we’re telling.”

Power of story

Chari has long believed in the power of story to affect an audience. “I was always emotionally available to believing a story and letting it move me,” she says. “I remember crying the first time I watched Dumbo as a toddler. There was always a connection to how stories can move you and make you think about things… Story is a good way to change people’s minds. Even if you don’t change their mind in a moment, there’s enough power in the seed that it might plant so if even three or four people can ask a new question of themselves about how we deal with the world or how we live, I think that’s worth the telling of the story.”

Speed round!

Something that brings me joy: 

“A really good rehearsal. A moment when you recognize, ‘Oh, my students have grown up.’”

One food I can’t resist: 

“Some days it would be Japanese food, some days it would be something Spanish like Jamón or cheese. It’s very hard to resist cheese.”

A sport that I follow: 

“Does shopping count as a sport? Most recently, I was following women’s soccer because the MFA directing candidate I am mentoring was directing The Wolves, and that’s about a young female soccer team, so we were watching a lot of women’s soccer.”

My go-to karaoke song: 

“I’m Filipino and my absolute act of resistance is to not believe in karaoke. When we’re at a karaoke joint, I just say ‘It’s my day off, sorry.’”

Something great that I’ve watched or read recently: 

“I thought Wicked was pretty great. I am right now reading a lot about Sweeney Todd, which I think is a fantastic script and all the research accompanying it.”

Favourite place to travel: 

“New York City always feels like home to me. London is becoming a nice second home, and I have to say wherever the next show takes me becomes a favourite place to travel.”

 Read more about UVic’s 2025 Alumni Awards here

 

Submission call for $1K Student Impact Awards!

Are you a current or graduating Fine Arts student who’s been involved with some community-engaged creative activity between January 1 2024 & May 31 2025? If so, you could qualify for $1,000 via our annual juried, donor-funded Community Impact Awards. 

Since 2021, we’ve awarded over $13,000 to 11 students from across Fine Arts for projects ranging from murals, theatre productions, music performances, art shows, curatorial projects & more. Your activity may include (but isn’t limited to) any exhibit, performance, workshop, publication, curatorial, educational, digital, production and/or administrative role within the regional boundaries of Greater Victoria (Sidney to Sooke).

These awards are looking to highlight the efforts of undergraduate Fine Arts students who have demonstrated an outstanding effort in a community-engaged creative activity in Greater Victoria that went over and above their academic studies.

Read about our previous winners here: 2024, 2023, 2022, 2021.

The fine print

A complete submission package — including the submission form and all supporting materials — must be received by 5pm Friday, May 30, 2025.

This award is open to any current or graduating undergraduate student enrolled in Art History & Visual Studies, Theatre, Visual Arts, Writing or the School of Music. Typically, three students receive awards each year and you must be a Fine Arts major to win: double-majors (ie: Humanities and Fine Arts) will only qualify if they choose Fine Arts as their graduating faculty.

The actual awards will be presented in fall 2025 as part of the annual Greater Victoria Regional Arts Awards, and recipients will be expected to attend. You will receive a physical award with your name on it as well as the funds, which are distributed by UVic’s Student Awards and Financial Aid office.

Helpful tips

To apply for this juried award, you’ll need the following:

  1. A description of the community-engaged creative activity (500 words max), including a title page with your contact information
  2. A letter from an individual or organization explaining how you were involved in this activity (300 words max)
  3. Two letters of endorsement for the project, from different people than #2 (two pages max, written by people unrelated to you)
  4. Your resume, CV or portfolio, noting relevant experience.

When it comes to your supporting material, consider these points:

  • What was the actual impact of your project? How many people did you reach? What kind of feedback did you receive, even anecdotally?
  • What are the benefits of engaging with the community through your arts practice?
  • How did your studies prepare you to engage in this kind of community project?
  • How will this award financially assist you?

What kind of work doesn’t qualify for this award?

  • Any project for which you received a grade as part of your coursework
  • Any student job that doesn’t have a creative element tied to a specific project
  • Anything that falls out of the required date range (2023 or earlier, or later in 2025)
  • Any project outside of Greater Victoria.

Frequently asked questions:

  • What qualifies as “community-engaged creative activity”?
    We’re looking for projects that engage the greater community in some aspect: past winners have been involved with painting murals, local theatre festivals, running sound for an orchestral series, performing live at pop-up installations, leading children’s arts camps, creating and distributing a ’zine, doing volunteer work for an arts group, mentoring with a children’s choir, running a gallery, and applying for and then mounting exhibitions of their own art. If it’s creative, isn’t for a grade and involves people, then it counts.

     

  • I mounted a self-created art project that had limited duration and no official support. Would this qualify?
    It would qualify as long as you have sufficient documentation, can articulate the project’s impact and can find support letters for it.
  • What’s the difference between the support letters?
    One letter speaks to how you were directly involved in the project (ideally written by a supervisor, funder or community partner) while the other two letters speak to the project’s overall impact (could be written by a participant, audience member or other attendee).
     
  • Can it be an on-campus project or does it have to have happened off-campus?
    On-campus projects do qualify, as long as they are not directly related to a course or self-directed study.
     
  • I’m graduating in June: can I still qualify for this award?
    As long as your project fits into the required date range, you qualify.

  • Would a project for a non-Fine Arts course qualify?
    No, this would still be considered course-related work.

  • I applied before but didn’t win. Can I apply again?
    Yes, as long as your project fits the qualifying date range.
     
  • I won this award before: can I apply again?
    No, you can only win this award once.

  • Does a project involving a larger event or organization count?
    Yes: many of our students work or volunteer for the Fringe Festival, SKAMpede, Art Gallery Paint-In, Symphony Splash, JazzFest or Rifflandia, for example. But keep in mind we are looking for students who have made an “outstanding effort”, not simply finding a summer job in the arts.

Questions? Contact fineartsawards@uvic.ca 

Three REACH Award winners in Fine Arts

Congratulations go out to three Fine Arts professors who have been named recipients of UVic’s annual REACH Awards, which recognize outstanding achievement by teachers and researchers who are leading the way in dynamic learning and making a vital impact on campus, in the classroom and beyond.

Excellence in Creativity & Artistic Expression Award

This award recognizes a significant project or body of work that furthers knowledge and awareness through creative or artistic expression. Nominations are encouraged from the creative, visual and performing arts, scholarship on the arts, and research on all aspects of arts and culture.

Department of Visual Arts professor Kelly Richardson creates video installations of rich and complex landscapes that have been manipulated using CGI, animation and sound. Taking cues from 19th-century paintings, 20th-century cinema, and 21st-century planetary research, Kelly crafts artwork that offers imaginative glimpses of the future that prompt careful consideration of the present. She is a core member of the Awi’nakola Foundation—an Indigenous-led, cross-cultural group of knowledge keepers, scientists and artists working together to find effective responses to the climate crisis and educate others through the process. Kelly’s most recent work was featured in Metallica’s 72 Seasons music video.

Harry Hickman Alumni Award for Excellence in Teaching & Educational Leadership

This award bears the name of a distinguished scholar, teacher and principal of Victoria College. He was acting president of UVic and head of the Modern Languages and French departments. This award recognizes faculty members who have demonstrated excellence in teaching and educational leadership.

For two decades, Department of Writing professor David Leach has been a pedagogical innovator, inside and outside the classroom. He has integrated emerging forms of interactive digital media (from iClickers to virtual reality) with student-driven interdisciplinary projects and community-engaged partnerships, publications and productions. As an academic leader, he has shared his knowledge and experience with colleagues in committees at every level of the university and through scholarship and hands-on demonstrations in workshops, lectures, podcasts, papers and public events to celebrate the power and potential of student-centered, project-based forms of collaborative discovery and interactive learning.

Provost’s Advocacy & Activism Awards

The Provost’s Advocacy and Activism Awards in Equity, Diversity and Inclusion recognize the achievements of individuals or groups in the university community (current students, faculty, staff and alumni) who demonstrate dedication to the advancement of social equity through advocacy and/or activism. These awards also celebrate individuals or groups who go beyond the expectations of one’s job, position or responsibility to advance the rights of others.

Associate Professor Kirk McNally’s work within the School of Music embodies the spirit of diversity, equity and inclusion. His efforts to host a diverse range of musicians has fostered a vibrant learning environment for aspiring sound engineers and producers. Kirk has also collaborated with Carey Newman, the Impact Chair in Indigenous Art Practices, on the public art installation Earth Drums, and the Virtual Reality Witness Blanket project. In 2021, Kirk hosted a four-day hybrid workshop which engaged in critical dialogue about representation within the field of music production. These engagements are a snapshot of the unique activism that Kirk brings to his field and his classroom.

Congratulations to all! Read more about the REACH Awards here