Southam Lecturer explores journalism in polarized times

At a time when unity in the face of American threats is crucial, Canadians are increasingly divided. While Americans may be on the brink of civil war, Canadians are sorting ourselves into mutually hostile camps. The fragmentation of our media ecosystem is both cause and symptom. Journalists are being similarly sorted into opposing camps, reporting starkly different stories to divided audiences even as the industry shrinks.

As this year’s Harvey Stevenson Southam Lecturer, award-winning political journalist Stephen Maher will examine the role reporters play in an increasingly fractured society, arguing that in order to keep faith with a shrinking audience, mainstream journalists need to question their own biases.

All are welcome to hear his free public talk, Journalism in Polarized Times, running from 7-8:30pm Wednesday, October 8 in room A104 of UVic’s Bob Wright Building.

Rise of the algorithm

As Stephen Maher explains, one of the main shifts that has led to the dramatic decline of the mainstream media is the rise of algorithmic social media.

“Before Facebook, everyone consumed their news from outlets with a shared sense of news values. Since the rise of the social platforms, the old outlets lost their monopolistic role as clearing houses for advertising,” he explains. “The platforms took the revenue but don’t fulfill a journalistic function. In order to maximize user attention, the platforms prioritize emotional content —  particularly anger.”

Read more of Maher’s insights on current journalism in this October 6 interview in The Tyee, written by Writing professor Deborah Campbell.  

Maher well knows of which he speaks: he’s been writing about Canadian politics since 1989 for the likes of the Globe and Mail, Toronto Star, Maclean’s, Walrus, Time and the Chronicle Herald, Postmedia News, Times of London and others. He has often set the agenda on Parliament Hill, covering political corruption, electoral wrongdoing, misinformation and human rights abuses.

But putting emotion ahead of facts has led to an increase in what sociologists call “affective polarization,” says Maher, where people have become more intensely identified with their partisan community . . . and hostile to other communities.

Misinformation & regionalism

Add to this both the pandemic, when misinformation became more widespread, and a sense of regionalism — especially a rural-urban divide — and you’ve got the groundwork for what he describes as “a powerful emotional reaction to what many people see as an assault on traditional values.”

While this has created a ground-up phenomenon not being led by political parties, Maher says it’s clear that vote-seeking politicians are taking advantage of this shift in the opinion environment, making Canadian politics more ideological and less traditionally oriented. Apply that to the media landscape, and Maher feels news outlets are now able to tailor their content to narrower communities, helping to intensify this divisive process — think Fox News or True North News — so that Canadians increasingly find themselves in “information silos”.

But, he warns, “we should note that journalists, like other Canadians, undergo this same processes as non-journalists.”

The annual Harvey Stevenson Southam Lectureship — named after UVic alumnus Harvey Southam — is made possible by a gift from one of the country’s leading publishing families. 

Inaugural JRSP residency showcases new sculptural work

A sculptural installation by Canadian artist Siobhan Humston will be on view exclusively at UVic from October 9-14, showcasing the results of a new artist-scholar residency created in association with the Jeffrey Rubinoff Foundation and UVic’s Faculty of Fine Arts. The inaugural recipient of this new creative collaboration, Humston is just completing her six-week residency at the Jeffrey Rubinoff Sculpture Park on Hornby Island.

“It’s always hard to imagine what may come from working in a new place,” says Humston, who has held a number of international residencies. “As an artist, the JRSP presents a surprise physicality to me — even though my resulting work may not be large, I feel like it has taken a lot of energy and space to produce, which reflects on the expansive nature of the park itself.”

Selected in May 2025 from a field on nearly 60 international artists to be the first UVic/JRSP Artist-Scholar, Humston has spent her time at the sculpture park developing new work combining themes involving music, synesthesia and humanity’s entanglement with the natural world. The resulting exhibit will open with an artist talk starting at 4 p.m. Thursday, October 9, in room 103 of the Fine Arts Building, followed by a 5 p.m. exhibit opening in UVic’s A. Wilfrid Johns Gallery (MacLaurin Building A-wing). The exhibit will run daily through October 14, with Humston also engaging with Fine Arts classes.

Humston has been working with tangible aspects of Hornby Island’s natural environment as a sculptural medium, as well as more traditional tools like graphite and pigments, while also recording ambient sounds integrating Rubinoff’s monumental steel sculptures found across the [note size] site.

“Walking the fields and forested areas, drawing and photographing his sculptures, working in Jeffrey’s barn studio and reading his texts have all been deeply inspiring,” she says.

JRSP curator Karun Koernig notes that, “Humston’s work quietly co-mingles the natural and human worlds. Particularly compelling for us was her ambition to integrate a soundscape into her residency, resonating deeply with Rubinoff’s profound connection to music.”

Previous residency work by Siobhan Humston 

In addition to creating new work, Humston says highlights of her residency have included learning about Rubinoff’s creative life and spending an extended time at the park itself. “The combination of being on the land at this time of year, listening to the ravens conversing, seeing these massive, beautiful sculptures at different times of day in changing weather . . . it’s all been so exciting and nourishing.”

Humston’s art has been exhibited in over 70 solo and group exhibitions in commercial, artist-run and public galleries, and is held in private and corporate collections in England, Europe, Australia and North America. She has a studio on the shores of Lake Huron in Ontario.

New competition prize for music students

Let’s say it’s 1912 and you’re a young, musically inclined girl who enjoys whistling . . . but your father says it isn’t “ladylike“ to whistle: what do you do? If you’re Eleanor Gray, you embrace the song in your heart and pursue singing lessons instead.

Fast-forward 113 years and that lifelong love of music has now become the foundation for the School of Music’s new $40,000 Eleanor Gray Memorial Piano & Voice Duo Competition Prize — an addition to the overall $2 million bequest, created by donor Douglas Gray (LLB) to honour his mother. 

Eleanor Gray was a talented pianist, singer and Royal (then Toronto) Conservatory of Music alumna who ensured that all five of her children were also part of the RCM piano program. A lifelong singer and pianist, Eleanor remarkably sang in a choir and played piano for church services up to the age of 100, stopping only before her passing at 101. 

Beginning in the 2025/26 academic year and running through 2028, the Eleanor Gray Prize will be earmarked for School of Music students who take part in an annual art song competition for piano and voice, with cash prizes awarded for the duo winners in both first ($1,500 each) and second place ($1,000 each).

A portion of this bequest will also go towards the existing donor-funded Collaborative Piano Endowment, which ensures that our 63 Steinway pianos remain concert-ready — a huge benefit to our status as the only All-Steinway School in Canada, thanks to the efforts of critically acclaimed pianist and professor Arthur Rowe. “Maintaining our excellent instruments is crucial, so these funds will help ensure the longevity and excellence of our Steinways,” says Rowe.

Marion Newman leads a voice recital (photo: Beth Bingham)

A piano and voice competition prize is ideal for our School of Music, given the enviable reputation of our Voice program — anchored by the likes of tenor Benjamin Butterfield, soprano Anne Grimm, mezzo-soprano Marion Newman and acclaimed vocal coach Kinza Tyrrell, plus an ever-increasing number of alumni stars like Isaiah Bell, Josh Lovell and Newman herself.   

Had Eleanor Gray been a student a century later, her infectious enthusiasm, intellect and energy would have made her an ideal student at our School of Music. Given her deep appreciation for piano and voice duets, as well as her encouraging attitude and natural caring and warmth for others, we’re sure Eleanor would appreciate this new competition prize. 

A longtime resident of Victoria who truly loved life and lived it to the fullest, Eleanor was always young at heart and was full of joy. She now rests in Ross Bay Cemetery, ensuring her spirit remains close to the city she so loved. 

Climate professor receives $2.5 million grant to document stories globally

Fires rage, floods devastate, storms surge: every day we hear about the impacts of climate change, with ever-increasing casualty counts and infrastructure damage tipping into the billions. But all too often, climate politics and media reporting favour the voices of experts over victims, resulting in a lost opportunity to act on the first-person experiences of climate-change survivors.  

Now, a new initiative led by the University of Victoria will close that critical gap in narrative and knowledge, thanks to a six-year, $2.5-million Social Sciences and Humanities Research Council Partnership Grant announced last week. 

From Catastrophe to Community: A People’s History of Climate Change will train 500 post-secondary students and professional journalists to document the experience of 1,000 survivors around the world and share their wisdom. 

“Climate change isn’t a threat tomorrow. It’s a trauma today,” says UVic Department of Writing professor Sean Holman, who is director of From Catastrophe to Community. “And when someone lives through that kind of trauma, they need a different climate story where they feel seen in their experiences and know the harm caused to them will be repaired — both now and in the future.”

Listen to this interview with Sean Holman on CBC Radio’s All Points West about his new $2.5 million grant. and how the power of storytelling can help and heal communities. 

Supporting community recovery

The project will result in the creation of documentaries with APTN Investigates, news features, an anthology and a travelling museum exhibition that will launch at Winnipeg’s Canadian Museum for Human Rights and the Museum of Vancouver. In the process, the From Catastrophe to Community team will develop new trauma-informed, human-rights-based storytelling practices to support the recovery of communities impacted by climate change and other humanitarian crises.  

“This partnership grant is an example of the UVic’s broad leadership in climate action,” says Alexandra D’Arcy, UVic associate vice-president of research. “Across campus, our researchers are working to tackle the global problem of climate change, which is also a profoundly local problem, as extreme weather events impact our loved ones and our ecosystems.”    

Climate change is increasing the frequency and intensity of weather-related disasters, such as the 2021 Lytton Creek fire that destroyed 90 percent of the buildings in Lytton, Canada. (Photo: Phil McLachlan)

 

 

From Catastrophe to Community was awarded to Holman and a team of researchers, curators, journalists and artists, including co-directors at the Museum of Vancouver, Simon Fraser University, Trent University, the University of Denver Colorado, the University of Stirling, the Université du Québec à Montréal, and York University. On-campus partners include Fine Arts professors David Leach (Writing); Joel Ong, Kelly Richardson and Paul Walde (Visual Arts); Patrick DuWors (Theatre); plus Sarah Marie Wiebe (UVic Public Administration).

“Each part of our society needs to work together to confront the traumatic impacts of our warming world,” says Holman. “And that’s exactly what From Catastrophe to Community is doing: bringing museums, news outlets, theatre companies, post-secondary institutions, research agencies and survivors together to help us to realize a more just and equitable future that honours the human dignity of disaster communities.”

From Catastrophe to Community will document the experiences of climate disaster survivors such as retiree Sônia Ferreira, whose home in Atafona, Brazil, is slowly being destroyed by coastal erosion. (Photo: Aeson Baldevia)

$4 million in partner contributions

Organizations from Brazil, Malawi, Africa, the UK, the US and other countries to be selected by project partners at Covering Climate Now and Journalists for Human Rights are part of From Catastrophe to Community. Collectively, these 27 partners have committed more than $4 million in matching contributions to the project. From Catastrophe to Community builds on the success of the award-winning Climate Disaster Project a teaching newsroom founded at UVic by Holman in 2021 in their role as the Wayne Crookes Professor of Environmental and Climate Journalism, funded by visionary Vancouver business leader, humanitarian, and philanthropist Wayne Crookes.  

To date, the Climate Disaster Project has trained more than 250 students in trauma-informed journalism techniques and with the assistance of post-secondary partners in Canada and around the world  co-created more than 320 verbatim narrative packages of climate survivors worldwide.

Highlights in the past year alone include a series of survivor narratives published in The Guardian during 2024’s COP29 UN Climate Change Summit, the creation of the award-winning verbatim play Eyes of the Beast: Climate Disaster Survivor Stories with Neworld Theatre (which ran inVictoria and Vancouver), and the presentation of survivor narratives at cultural institutions including UCLA’s Sci Art Gallery, the Royal BC Museum and the Kamloops Art Gallery.  

Here’s a full list of partners in From Catastrophe to Community:

  • Aboriginal Peoples Television Network
  • Alberta Council for Environmental Education
  • Art and Global Health Africa
  • British Columbia Centre for Disease Control
  • Canadian Museum for Human Rights
  • climateXchange
  • Covering Climate Now
  • Humber Polytechnic
  • Journalists for Human Rights
  • Kwantlen Polytechnic University
  • MacEwan University
  • Methodist University of São Paulo
  • Mount Royal University
  • Museum of Vancouver
  • Room Up Front
  • Royal BC Museum
  • Simon Fraser University
  • Thompson Rivers University
  • Trent University
  • The Reach Gallery Museum
  • University of British Columbia Press
  • University of Denver Colorado
  • University of Northern British Columbia
  • L’Université du Québec à Montréal
  • University of Stirling
  • University of the Fraser Valley
  • York University

Sean Holman wins BC journalism award

Congratulations go out to UVic Writing professor & Climate Disaster Project founder Sean Holman on being named the 2025 recipient of the Jack Webster Foundation’s Bill Good Award.

Presented annually by Western Canada’s preeminent journalism foundation, the Bill Good Award goes to a BC individual or organization that makes a significant contribution to journalism in the province, or addresses a community’s needs and benefits via journalism — which describes Holman’s work to a tee.

“I’m honoured and humbled the Jack Webster Foundation has, to my surprise, named me as this year’s Bill Good Award winner,” says Holman, who is both UVic’s Wayne Crookes Professor of Environmental & Climate Journalism and a UVic alumni himself. “I’ve devoted my life to journalism because of the harms it can repair . . . . As the founder of the Climate Disaster Project, I’m working with my colleagues and students to support the recovery of climate-impacted communities around the world by documenting and investigating their stories.”

Recognizing community & cooperation

Described by the Webster Foundation as a “tenacious journalist and journalism educator”, Holman’s win comes on the heals of the Climate Disaster Project’s own 2023 award from the National Newspapers Association and the CDP’s 2024 documentary theatre project Eyes of the Beast winning silver in the “Environmental & Climate Change” category at the Canadian Association of Journalists Awards.

“When the Climate Disaster Project won a National Newspapers Award in 2023, judges applauded the trauma-informed approach to journalism, as well as the structure of the project and its many partnerships,” noted the Webster Foundation in Holman’s award citation. “They said it was a model of cooperation that can be replicated in other newsrooms as they shrink.”

Holman admits that his devotion to journalism “has come at both professional and personal cost. But that cost has been worth it because I know these past 27 years of public service have made a manifest difference in the lives of the sources and survivors who have placed their trust in me.”

A remarkable year

The 24/25 academic year has seen a remarkable amount of high-profile activity for the Climate Disaster Project, including:

  • presenting the world premiere of Eyes of the Beast: Climate Disaster Survivor Stories, a creative collaboration with Vancouver’s Neworld Theatre, debuting at UVic’s Phoenix Theatre in September before being remounted for a  Vancouver run in June 2025
  • collaborating with influential UK media outlet The Guardian to publish a series of internationally focused climate-survivor testimonies timed to COP29, the UN climate change summit
  • creating a partnership with Brazil’s O Globo newspaper
  • appearing at UCLA’s Sci Art Gallery in an installation by Canadian media artist Joel Ong (who joins our Visual Arts department in 2025)
  • releasing a set of survivor testimonies by Thompson Rivers University students, part of an exhibit at Kamloops Art Gallery
  • presenting a two-day workshop as part of the UVic Legacy Gallery exhibit, Fire Season
  • seeing Holman selected as one of just 20 speakers at the international My Climate Story 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
  • applying for a $2.5 million SSHRC Partnership Grant for “From Catastrophe to Community: A People’s History of Climate Change”.

“We are entering a new era of disaster, where our seasons will become increasingly defined by the traumatic events they bring, and we need to learn how journalism can help us survive those traumas together,” says Holman.

The Webster Award was announced on July 2, and will be presented at a gala dinner and evening on  November 3. Along with Holman, journalism industry icon Keith Baldrey was named the 2025 Bruce Hutchison Lifetime Achievement Award recipient, and broadcaster/podcaster Laura Palmer earned the 2025 Shelley Fralic Award.

A scene from 2024’s Eyes of the Beast (photo: Hélène Cyr)

Climate Disaster Project play wins award

Congratulations go out to the Climate Disaster Project on winning Silver in the “Environmental and Climate Change” category at the Canadian Association of Journalists Awards on June 1 for Eyes of the Beast:Climate Disaster Survivor Stories, a documentary play about the experiences of British Columbians during the extreme fires, heat and flooding of 2021. This co-production with Neworld Theatre marks the first time a play has ever been recognized for reporting excellence at these prestigious annual journalism awards.

The timing is perfect too, as Eyes of the Beast will be remounted June 18-22 at Simon Fraser University’s Goldcorp Centre for the Arts in downtown Vancouver — but they won the CAJ award for the show’s world premiere at UVic’s own Phoenix Theatre back in September 2024.

“This award comes just as we approach the four-year anniversary of the extreme heat, fires, and floods in Western Canada the play portrays,” says Climate Disater Project founding director Sean Holman, UVic’s Wayne Crookes Professor of Environmental and Climate Journalism.

“It’s also a testament to the 117 people who worked to bring it to the stage, including our partners at Neworld Theatre, our students at the University of Victoria, the University of British Columbia, Kwantlen Polytechnic University, Mount Royal University, MacEwan University, and First Nations University of Canada, and — most importantly — the survivors who worked with them.”

Eyes of the Beast creative team (@helenecyrfotos)

About the play

Adapted from the award-winning journalism of the Climate Disaster Project — an international newsroom based out of UVic’s Writing department but now with over 35 educational, media and cultural partners worldwide — Eyes of the Beast is a verbatim production pulling from hundreds of testimonies of people across Canada who have lived through climate change together. It was created through the efforts of a number of UVic alumni, including Beast director and Neworld artistic director Chelsea Haberlin plus co-creator Sebastien Archibald.

As with when it debuted at UVic, each performance of the Vancouver run of the play will be followed by a facilitated talkback, featuring a BC or Vancouver political leader, who will engage with the audience and reflect on ways to support impacted communities.

The Vancouver premiere of Eyes of the Beast is co-created by Sebastien Archibald, Gavan Cheema, and Kelsey Kanatan Wavey.

Performance Details

Eyes of the Beast runs 90 minutes (including intermission and facilitated talkback) at SFU’s Goldcorp Centre for the Arts, Fei and Milton Wong Experimental Theatre. General admission $10. Performances run 7:30pm June 18-21, plus 2pm matinees on June 21-22.

Neworld managing director Alen Dominguez (right) with artistic director Chelsea Haberlin (left) plus CDP managing editor & Writing alum Aldyn Chwelos + Sean Holman (Kimberly Ho)