Distinguished Alumni Awards: Tania Willard

by | Mar 31, 2025 | Alumni, Award, donor, Graduate, indigenous, News, Visual Arts

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

Sean Holman presents at My Climate Story summit

by | Mar 28, 2025 | climate, donor, Writing

When 20 of the best climate storytellers from around the world present their ideas at the international My Climate Story project on April 10, UVic will be in the room as well: Writing professor Sean Holman was selected out of nearly 100 submissions to share a lightning talk about the ongoing impact of his Climate Disaster Project. Hosted by the Yale Program on Climate Change Communication, the Penn Center for Science, Sustainability & the Media and the Princeton High Meadows Environmental Institute, My Climate Story is a live, online, two-hour climate storytellers’ summit which you can watch for free.

About the Climate Disaster Project

Founded at UVic in 2021, the Climate Disaster Project is an international teaching newsroom that has trained hundreds of students at 13 post-secondary institutions to work on the frontlines of this ongoing humanitarian crisis by creating an extensive archive of eyewitness accounts.

“Educators at post-secondary institutions across Canada and around the world have spent hundreds of hours teaching students how to compassionately help survivors share their stories,” says Holman, UVic’s Wayne Crookes Professor of Environmental & Climate Journalism. “Our students then take that knowledge into the community to co-create a people’s history of climate change that honours the human dignity of their experiences.”

To date, over 300 testimonies have been collected from disaster survivors and shared in local, national and international publications, as well as national radio and television broadcasts. 

About the Climate Storytellers Summit 

Over 20 speakers will present at the Climate Storytellers’ Summit on April 10. Join them live online to hear from people harnessing the power of climate storytelling across ages and stages, topics and time zones. The diverse lineup of speakers includes a journalist, poet, data analyst, healthcare executive, dancer, author, anthropologist, photographer, professor, oral historian, indigenous rights advocate, high school and college students, retired park rangers, and documentary filmmakers, among others.

Each will share a lively five-minute presentation about the ways that climate stories can disrupt business as usual, grapple with history and inspire hope. The summit and its companion documentation and resource hub will offer a platform to present climate storytelling work and to learn and connect with others working in this important space.

Stream the Climate Storytellers’ Summit live on Thursday, April 10. Full details and free registration here.

New exhibit & partnership

In other Climate Disaster Project news, Kamloops-based independent community news outlet The Wren has  published a series of testimonies from climate disaster survivors around the city and as far away as Bolivia, India, Kenya, and Sri Lanka.

Thompson Rivers University journalism professor Jennifer Chrumka has led the co-creation of these 24 testimonies with her students, and also arranged for short text excerpts to be presented as an art exhibition at the Kamloops Art Gallery in April: Fragments from the Frontlines: Voices and Portraits of Survival, featuring photographs from Jess Beaudin.

This is just the latest effort by the Climate Disaster Project to raise the voices of climate impacted communities to make sure their experiences aren’t forgotten and their knowledge is shared locally, regionally, and globally. 

“I don’t think that this is something that anybody can prepare for”, says TRU student Reagan Wilkinson, who shares her experience of 2024 hurricanes Helene and Milton with Climate Disaster Project contributor Hamida Marufu.

 

Distinguished Alumni Award winner: Chari Arespacochaga

by | Mar 27, 2025 | Alumni, Award, donor, Graduate, News, Theatre

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!

by | Mar 25, 2025 | Art History & Visual Studies, Award, donor, School of Music, Theatre, Undergraduate, Visual Arts, Writing

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 

Distinguished Alumni Award: Crystal Clark

by | Mar 24, 2025 | Alumni, Award, donor, News, Visual Arts

Indigenous Community Alumni Award recipient Crystal Clark is a Cree/Dene and Métis mother, an artist and an Indigenous education specialist who has worked within First Nations and public schools. She holds a Master of Educational Technology, Bachelor of Education, Bachelor of Fine Arts, New Media Diploma and a Native Creative Writing and Visual Arts Diploma. Her teaching experience includes working with the Tsimshian Nation in Lax Kw’alaams, BC, O’Chiese First Nation and Sunchild First Nation, AB. 

“I had a unique experience with the University of Victoria back in the 1990s,” she recalls of her time in the Department of Visual Arts, where she received her BFA in 2002. “UVic has a relationship with Penticton First Nations’ En’owkin Centre, founded by [Fine Arts alumna] Jeannette Armstrong… It allowed me a creative way to enter the field of post-secondary, but in a kind way for an Indigenous person to connect with other Indigenous scholars and artists… Fine Arts became a tool to express who I am and how I was feeling in relation to my identity as an Indigenous person trying to navigate society.”

Along with teaching, Clark has gained experience as a vice principal and First Nations Student Success Program coordinator as well as an Indigenous Education Consultant with the Alberta Teachers Association, College of Alberta School Superintendents, Canada Sports Hall of Fame: Indigenous Sports Heroes, National Film Board of Canada and Pearson Education. 

She has received a Prime Minister’s Teaching Achievement Award, Esquao Award for Education Service with the Institute for Advancement of Aboriginal Women and is a two-time Peace Hills Trust Art Award Recipient. Her public has been displayed in downtown Vancouver, Red Deer, Edmonton and Calgary. Her most recent work can be seen at Red Deer Polytechnic’s Indigenous Student Centre.

A bigger world

Born in Treaty 8 Territory in Fort McMurray, Alberta, Clark is currently living in Treaty 6 Territory in Rocky Mountain House, Alberta. 

“It was particularly challenging, the high schools that I went to, moving a lot and not feeling a sense of belonging as an Indigenous person, also going through a lot of family trauma,” she recalls of her early years. “I learned that post-secondary education in a university setting, if designed to nurture and celebrate Indigeneity, was meant for me. I felt like I belonged and was able to connect with Indigenous and non-Indigenous peoples from across Canada and around the world. I felt a sense of belonging. It was an opening to a bigger world that’s out there and that I could make my way in. I felt comfortable.”

One thing that’s helped her over the year’s is what she describes as having a “smudge mindset.” “That’s a term I made up . . . it’s like smudging with sage or sweet grass and what I’m thinking and feeling when I smudge. I can’t always take smudge into every situation I’m in to help me in ways like calming down or being grounded, but I can think those thoughts, like ‘Please help me be patient and kind in this situation, help me see the world in a good way and with kindness and walk in a good way.’ We live in a reactionary society these days, and sometimes it’s important to remind myself to not always jump the gun and to have that sense of patience and gratitude.”

What I’ve learned with age

“Aging has taught me not worrying and not to be as anxious as much about the little things. So, stopping being so hard and critical of myself, and not always worrying about what other people might think. As one of my cousins says comparison can be the killer of joy. I have come to know that I’m valued and needed, and as an Indigenous person that I do belong.”

With aging, however, also comes perspective. “We’re all lifelong learners,” she says. “School can be a beautiful place to expand our minds, practice and learn, but after that it’s the work that you get into where you really start to put what you’ve learned into practice. And that’s where I think you grow the most is learning that you don’t stop learning once you graduate. That’s just the beginning.” 

All my relations

“When I went to En’owkin, the satellite of the UVic campus, I learned a concept from my Anishinaabe friend and poet Vera Wabegijig called ‘all my relations,’ which I’ve always carried with me. In Cree, the concept is called Wahkohtowin. Rather than saying goodbye, you can say ‘all my relations.’ It’s essentially saying that everybody in this world, we’re all connected to each other… not only to each other as humans, but we’re related to the land, the natural world, the sun, the moon, the stars, the water, the air, the trees, the animals and plants. We all need each other to exist. It’s not so much advice, but more of a worldview that’s helped me maintain good relationships with people and the land that I’ve encountered and work with, and in my everyday life to know that we need to all love and respect each other.”

 

Speed round!

Something that brings me joy:

“Nature. I love being out on the land. And art.” 

If I had an extra hour of free time: 

“I always need time to do more art. I think most artists would say that.”

A concert I attended recently:

“The Looney Tunes Symphony in Edmonton.”

 Secret talent: 

“Aging gracefully. Some call it great genes, others call it a mystery—I just call it my secret superpower!”

 One skill I wish I possessed: 

“Being part of a community with so many great examples of living with the land has shown me the beauty of self-sufficiency—something I wish had been part of my upbringing. There’s something deeply fulfilling about knowing how to grow your own food, raise animals, identify indigenous plants and medicines and sustain your way of life. I often find myself longing for that connection, not just to the land but also to my roots—especially the ability to speak one of my Indigenous languages.”

 My go-to karaoke song: 

“Proud Mary” by Tina Turner. I would bring the house down with that song.”

 Read more about UVic’s 2025 Alumni Awards here

 

Distinguished Alumni Awards: Cassandra Miller

by | Mar 16, 2025 | Alumni, Award, donor, Graduate, News, Theatre, Visual Arts

We are thrilled that Cassandra Miller is the recipient of one of the 2025 Presidents’ Alumni Awards. Born in Victoria, Cassandra received her Bachelor of Music in Composition and Theory from UVic in 2005; her brother, the award-winning graphic designer Emrys Damon Miller, is also a Fine Arts alumni (Visual Arts). 

An acclaimed Canadian-British composer who has been living in London, England, since 2018, Cassandra’s composition methods incorporate a unique practice of meditation-based uncontrolled singing to learn about melody and repetition. She uses these vocal exercises together with creative transcription processes to transform pre-existing musical sources (from both within and outside the classical tradition) to magnify their expressive, personal, or fragile qualities.

“Music this uncalculatedly beautiful leaves you almost desperate with gratitude,” wrote Alex Ross of her work in The New Yorker, while The Guardian hailed her “Duet for Cello and Orchestra” as among the top 20 “Best Classical Music Works of the 21st Century.” Over the past year, her works have appeared internationally at the BBC Proms, GöteborgsOperans Danskompani and on tour with the Australian Chamber Orchestra. She has twice received the Jules Léger Prize for New Chamber Music, Canada’s highest honour for composition, and in 2025 she will be a visiting scholar for three months as lecturer at Stanford University.

Endless possibility

“I originally went to UVic to study my instrument—the harp,” Cassandra recalls. “On the first day of classes I took a composition elective and then realized, ‘Oh gosh, this is what I do now.’ It was life changing.” 

She recalls the School of Music as the kind of place where, as far as creativity goes, “anything was possible… You were taught that to be an artist was to be a bit of a weirdo. It was so freeing and so important. I learned about myself… how to be that kind of creative, how to be free and playful by being myself… At the time I just thought that was good education, but afterwards I realized that it was also artistically incredibly unique and important. It was a very special place.”

Over the years, she has been invited as a visiting teacher and lecturer at many institutions including Stanford, Columbia, CalArts, London’s Royal Academy of Music, Birmingham Conservatoire, McGill University, the University of Manitoba and the Orkest de Ereprijs Young Composers Meeting. From 2010 to 2013, she held the post of Artistic and General Director of Innovations en concert, Montreal, and from 2018 to 2020, Miller was Associate Head of Composition at London’s Guildhall School of Music and Drama, leading the undergraduate program.

Cassandra Miller with the BBC Philharmonic at the 2023 Aldeburgh Festival (BPA/The Guardian)

Collaboration and listening

Cassandra says she finds the art and practice of composing “extremely collaborative. On the surface, it looks like I’m sitting at home staring at my computer, but because I’m writing music for other people to play, even the least collaborative project is extremely collaborative. And then there’s the idea of making space for another person, and it’s a skill that I’m continuously learning. Every opportunity to interact with somebody is an opportunity to learn how to listen better. And the other side of that is listening to oneself and making the space to listen to what’s going on inside and what needs to happen and how to make space.”

What I’ve learned

“I’ve learned how to gather around me the support that I need. This was something I learned late in life… I have pretty strong ADHD, and I need to hire an assistant. I need to hire a personal trainer. I need to have a therapist at all times. I also need to keep my family and friends close, and I always need to live with somebody. There’s a lot of things I need that I’m getting better at asking for and putting into place.”

“A friend of mine used the mantra ‘Try less hard,’ and I took it on… It’s about making that space for listening. Often when you’re trying too hard for something, you’re not making the space to listen to what’s really going on. Often the solution is to change a situation or try something a bit differently. But if you’re already trying hard, trying harder usually isn’t the thing that’s going to make it work.”

Speed round!

Something that brings me joy: 

“Bird song… London has parakeets, which are a huge part of the soundscape of the city. They’re an invasive species, but they have this wonderful chatter and they’re very loud at sunrise and sunset. It’s a way to mark the time in the city, and they fly around in these huge flocks and they’re bright green. They’re lovely.” 

One food I can’t resist: 

“My family makes these traditional Lebanese Christmas cookies.  We call them Sticky Fingers because they’re roughly the shape of a finger and they’re dipped in honey, filled with almonds and orange blossom water. And they have little bits of aniseed in the dough.”

Something great I’ve watched recently: 

“A movie called The Cassandra Cat. It’s this absurd, surreal movie from the Czech Republic in the early ’60s. I sort of recommend it, but you have to be in the right mood.”

A cool thing about where I live: 

“London has so many trees in it that it’s classified as a forest.”

Secret talent:

“I am incredibly patient, and I don’t mind waiting, and it’s very extreme. If a friend is three hours late to meet me, no problem. I just love waiting around.”

A talent I wish I possessed: 

“I wish I could dance better. I think it’s an important thing in life. I think life is probably about eating, sleeping, singing and dancing.”

 Read more about UVic’s 2025 Alumni Awards here