Visual Arts joins new downtown studio

by | Apr 2, 2026 | Faculty, Graduate, indigenous, News, Research, Visual Arts

We’re excited that UVic’s Visual Arts department is part of Victoria’s newest collective studio and gallery space: The Hourglass. Developed by Vancouver Island Visual Arts Society (who also run downtown’s ambitious 80-artist Rockslide Gallery), with support from the City of Victoria’s Storefront Activation Program, Hourglass is an 8,500-square-foot space housed in the former Volvo dealership at Yates and Cook, now repurposed to house 18 art studios and an exhibition space.

Visual Arts professors Heather Igloliorte (Canada Research Excellence Chair in Decolonial & Transformational Indigenous Art Practices) and Joel Ong (Canada Research Chair in Emergent Digital Art Practices), along with three graduate students, will have dedicated studios in the Hourglass.

“Having studio and presentation space at the Hourglass studios gives us a place to create and a place to connect,” says Visual Arts chair Megan Dickie. “We’re excited to build stronger ties with the Victoria arts community and to see MFA students working alongside our new faculty.”

Visual Arts will also maintain a small project space in the building to share work by students, instructors and community members: the first public presentation was the group exhibition The Work Yet to Come, which ran March 27-29 and featured the work of eight early-career Indigenous student artists.

One of the grad student studios

Like so many arts spaces in Victoria — including the bustling Rockslide itself — the Hourglass location is destined to be short-lived, as the property is slated for redevelopment into a 21-storey mixed-use tower over the next few years. But until then, it will serve as the city’s latest innovative arts space.

Follow the Hourglass here

Gregory Scofield at national repatriation event

by | Mar 23, 2026 | Art History & Visual Studies, Faculty, indigenous, Undergraduate, Writing

After more than a century in the Vatican collection, a Métis model dog sled from the 1920s was repatriated on February 25, with Writing professor Gregory Scofield as the lead expert on the identification and return of the model to its community of origin.

The story was carried across a number of national news outlets, notably including CBC, the Globe & Mail and the Canadian Press. Scofield (far left) was pictured in the national coverage alongside (from right) Sherry Ferrel Racette (University of Regina), Victoria Pruden (Métis National Council), Governor General Mary Simon, His Excellency Whit Fraser, and the Honourable Marc Miller, Minister of Canadian Identity & Culture.

The model sled — made from leather, wood and glass beads — was one of thousands of items sent to Rome in 1925 by missionaries around the world for an exhibit organized by Pope Pius XI. Now, after decades of calls for their return, the sled was one of 62 items repatriated to Indigenous Peoples from the Vatican last year.

“We’re not simply opening a box. We’re welcoming something very special home,” said Pruden during the ceremony. “We’re beginning a new chapter, a chapter that’s grounded in relationship, kinship and connection.” Métis officials say they’ll be working with experts — including Scofield — to determine which community the sled came from.

“Seeing this artifact in its rightful place is a potent reminder that the work of reconciliation is worthwhile and produces tangible results,” noted the Governor General at the event. Watch a video of the unveiling here.

Repatriating and teaching beadwork

As a Red River Metis of Cree, Scottish and European descent, award-winning poet and memoirist Gregory Scofield practices traditional 19th century Cree-Metis floral beadwork and is an acknowledged expert in the field. He also connects it through his teaching by offering a course on Indigenous women’s resistance writing and material art, which combines hands-on learning in traditional Cree-Metis beadwork with readings, films and writing practice centered on resurgence and resistance.

“Because everything happened for me at that kitchen table . . . I wanted to be able to bring that mental, emotional and tactile experience to students, who really have very little understanding or knowledge of Indigenous history or the impacts of colonial violence toward Indigenous women,” he explains. “I teach my students how Indigenous women used beadwork as a way to resist colonial violence, as a way of maintaining and preserving identity—but also as a way of telling stories. It’s beadwork as a form of resistance.”

Another form of resistance is Scofield’s history of repatriating beadwork pieces — a practice which began years ago when he noticed a beaded pocket-watch holder in a Royal BC Museum display mislabeled as “Victoriana,” when he recognized it as a piece of 19th century Cree-Metis beadwork. He holds many such pieces in his own collection.

“I often refer to myself as an ‘unintentional curator’ because a lot of specifically Cree-Metis pieces are folded into other First Nations or Victoriana exhibits, because curators haven’t any idea about us as a people and our unique artforms,” he says. “By misidentifying them, the stories and geography are stripped away, and communities are stripped of their identity too.”

Ever the poet, Scofield sees this as more than just repatriation. “It’s about giving these pieces their stories back.”

 

Orion guest artist Hulleah Tsinhnahjinnie

by | Feb 25, 2026 | Art History & Visual Studies, Events, Faculty, Graduate, indigenous, Orion Series in Fine Arts, Research, Visual Arts

All are welcome to hear visiting Orion Series visiting artist Hulleah Tsinhnahjinnie, a professor at the University of California, speak on “The Concreteness of Imagination”: 6:30pm Thursday, March 12 in room A162 of the Visual Arts Building. Free & open to all. This talk is presented by our Art History & Visual Studies department.

She’ll also be leading the 2-day workshop Printing Resistance on March 10 & 11 (10am–5pm) at the Taqsiqtuut Indigenous Research-Creation Lab (room A134) in our Visual Arts building.

For the workshop, you’ll get to design an image for printing based on social issues based on protest, activism & Indigenous resistance + learn a grassroots technique used in protest movements. You’ll keep their printing press after the workshop. Register here. 

Hulleah J. Tsinhnahjinnie is a Professor in the Native American Studies Department, and Faculty Director of the Gorman Museum of Native American Art at University of California Davis, known for photography, social commentary and video. Her presentation will include recent photo projects and portraits.

Tsinhnahjinnie’s work is held in several collections including National Museum of the American Indian (New York and Washington DC), Museum of Modern Art (New York), Eiteljorg Museum (Indianapolis), Fred Jones Jr. Museum of Art (Norman), Museum Volkenkunde (Leiden, Netherlands), International Centre of Bethlehem, Dar Annadwa Addawliya (Bethlehem, Palestine) and the National Museums of Scotland (Edinburgh).

Tsinhnahjinnie was born into the Bear clan of the Taskigi Nation, born for Tsi’naajinii of the Dine’ Nation, adopted into the Eagle House of Metlakatla, adopted into the Killer Whale Fin House of Klukwan.Hunka to Muriel Antoine of Mission South Dakota. For the past 22 years, Tsinhnahjinnie has been living and working on Wintun land, located in Northern California.

Makareta & Moana: mentor & mentee,
Tūranganui-a-Kiwa (2026), Hulleah J. Tsinhnahjinnie photo

Bringing Regalia to Life Community Feast

by | Feb 25, 2026 | Art History & Visual Studies, Faculty, indigenous, Theatre, Visual Arts

AHVS professor Mique’l Dangeli with a piece of new regalia (photo: Claudia Phillips)

Have you ever seen Indigenous regalia danced into life? On March 5, the Indigenous dance group Git Hayetsk (People of the Copper Shield) will be performing in the Indigenous Law wing of the Fraser Building, where they’re debuting new choreography and handmade regalia. The group is led by Ts’msyen artist Dr. Mique’l Dangeli, Indigenous Arts professor with Art History & Visual Studies, and her husband, Nisga’a artist  Mike Dangeli.

All are welcome to this free “Bringing Regalia to Life Community Feast“, running 6 – 8pm Thursday, March 5, in UVic’s Fraser Building Community gathering space (B121) in the  Indigenous Law wing. 

For the past 20 years, Mique’l and Mike have shared the leadership of this intergenerational multi-Nation dance group, whose members’ home communities are in Southeast Alaska and Northern BC. Git Hayetsk has performed nationally and internationally at private and invited ceremonies, and at public arts events. Most of their dancers have grown up in the city, and their participation in the Git Hayetsk is the primary way they have connected with and practiced their culture.

Since moving to Victoria in 2024, Mike and Mique’l have welcomed Nisga’a and Ts’msyen families into the Git Hayetsk by holding weekly dance practices in UVic’s Fine Arts building and Metchosin’s Pearson College. The majority of their new members are UVic students or alumni, and this is the first time they have ever danced their people’s songs and dances in their lives.

With her work at UVic, Dangeli emphasizes the connection between performing and visual arts: for her, there’s no disconnect between the two. “This is a part of not only my research, but my research creation,” she explains, saying art and dance has been a part of her life since her early school age. This connection between performance and visuals is also reflected in Git Hayetsk through the dancing, drumming, and wearing of original regalia.

To make it all happen, they’ve been using two new campus resources: the Taqsiqtuut Indigenous Research-Creation Lab and the Indigenous Law wing in the Fraser building.

Why perform in the Law building?

On the surface, it seems unconventional to perform in the Indigenous Law wing, but Dangeli says it’s actually the perfect place for Git Hayetsk. “It’s a beautiful space that we’ve really found a home within,” she says. Prior to the building’s completion in Fall 2025, there was no dedicated on-campus space for dance groups like hers to practice; until recently, Git Hayetsk practiced either in the lobby of the Fine Arts building or the theatre at Pearson College in Metchosin.

Although the acoustics of the Fine Arts lobby were great, the dancers found the tile and concrete flooring hard on their joints and became uncomfortable when dancing for longer periods of time. The new wing, Dangeli says, is a much better fit. “They have a beautiful gathering space that’s a community hall … it’s essentially a long house inside of the law building.” Additionally, Dangeli explains that the wooden architecture is a better fit for their cultural practices. “It’s actually the most appropriate place for us to practice on campus and to hold this event.”

Making regalia in the Taqsiqtuut lab

Not only is the new Indigenous Law wing an amazing on campus resource, but so is the Taqsiqtuut lab. Every weekend for the past four months, Mike and Mique’l have hosted regalia-making workshops for Git Hayetsk members to work on their handmade regalia, with the support of First People’s Cultural Council. “We’re grateful for the Taqsiqtuut Indigenous Research-Creation Lab’s support of this work, because we wouldn’t have a place to gather and create without them,” says Dangeli.

Their regalia features dance aprons, tunics and collars, all made from leather with a fringe that enhances the movement of both the dancer and the regalia. “Each design is unique to the person wearing it and is a reflection of their family and their rights,” Dangeli explains. “We are matrilineal and our identities are defined by who our mothers and who our grandmothers are. This is an expression and an assertion of their matrilineal line and their identities.”

Maintaining cultural connections through art

An essential part of Git Hayetsk is the community and cultural connection it fosters. Many members were unable to engage with their traditional dances due to the 20th century Potlatch bans criminalizing Indigenous song and dance. “It’s not just taking the songs that survived the Potlatch ban — which are very few,” Dangeli points out, “but it’s also about ensuring that we’re creating people who have independence within our culture.”

This independence involves owning their own regalia, reclaiming their languages and experiencing the songs and dances that are their hereditary rights. Git Hayetsk members spend  four to six hours together every weekend, making regalia and dancing. Dangeli says these activities have “created stronger bonds between my dancers” and built additional trust as they assist each other when making regalia. “It’s been really beautiful to see the artistic gifts that emerge in each one of our dancers.”

Working in the Taqsituut lab

A never-before-seen performance

This particular event stands out in several ways for Git Hayetsk. showing and dancing their regalia for the first time is culturally important to the group. “For our people,” says Dangeli, “it’s the beginning of the life of that ceremonial belonging. So, we’re literally bringing these items to life in front of everybody.”

Some dancers are also trying out a new task in this performance, shifting roles within the group:  a handful of dancers are also drumming, another first for this performance.

At the Community Feast on March 5, they will also have Nisga’a/ Ts’msyen filmmaker Nick Dangeli showing an excerpt of his film — made with the support of the Taqsiqtuut Lab — which documents the dancers coming together as a community to make regalia. This event is also supported by UVic’s Indigenous Storyteller-in-Residence series.

Additionally, they’re doing new choreography that highlights new skills and emphasizes the importance of the space the group is performing in. Dangeli explains that the dancers who’ve been with them for a while are comfortable with the basics, so she crafted new choreography that is specific to the Indigenous Law wing. Moreover, she’s gotten to create choreography that will highlight with their youngest dancers. “Which is so fun for the little hyper things,” she laughs.

—Claudia Phillips

T’uy’t’tanat Cease Wyss speaks at Activism & the Arts lecture series

by | Feb 13, 2026 | donor, Events, indigenous, Research, School of Music, Visual Arts

Save the date for our annual donor-funded Lehan Family Activism & the Arts Lecture Series: this year, we present ethnobotanist, artist and community-based educator T’uy’t’tanat- Cease Wyss speaking on the topic of “Diaspora of Ancient Technologies and the Future Herstory of IndigiFuturisms”.

Technology has been part of humanity since the earth was formed, yet many people have lost their connectivity to “temexw” or “earth” and have attempted to find their way through digital technologies. But the connections have always been there on both ends of the technological spectrum: how we play and create today reflects this, and how we interact is our connection to the beginning.

All are welcome to join us for this free public talk in UVic’s gorgeous new Indigenous Law Wing: 5pm Wednesday Feb 25, in room B142 of the Fraser Building.

T’uy’t’tanat-Cease Wyss (Sḵwx̱wú7mesh/Sto:Lo/Hawaiian/Swiss) is an Indigenous matriarch and interdisciplinary artist who works with digital media, writing, performance and land-based remediations in her multi-disciplinary arts practice. A community-engaged public artist, Indigi-Futurisms developer and ethnobotanist/permaculture designer, for more than 30 years her works have focussed on sustainability, permaculture techniques and Coast Salish cultural elements, including themes of ethnobotany, Indigenous language revival, Salish weaving and digital media technology. She currently holds the MST Fieldhouse artistic residency in Vancouver’s Stanley Park.

Wyss is currently working on bridging the healing sounds of plants and fungi with Indigenous languages, and creating conversations between them all using biosonification with modular synthesizers. During her time on campus, she will also be visiting various classes and engaging with our students.

Wyss and her IM4 Media Lab — which cultivates Indigenous innovation at the intersection of tradition and technology — will also be holding a ReciprociTea & VR Workshop from 1-4pm Tuesday, Feb 24, in UVic’s Taqsiqtuut Indigenous Research-Creation Lab in the Visual Arts building. Come experience her storytelling told through a ceremony of tea and seen through an oculus lens.

Previous guests in our Activism & the Arts series include Charles Campbell, Gord Hill and d’bi.young anitafrika, and you can watch their public talks here.

Join us for student wellness day Feb 9

by | Feb 5, 2026 | Art History & Visual Studies, Events, indigenous, School of Music, Theatre, Undergraduate, Visual Arts, Writing

Feeling stressed or overwhelmed? Need a break between classes? Don’t miss Fine Arts Student Wellness Day, running 8:30am-4:30pm Mon, Feb 9. Everything’s free! Activities and events will be happening around the Fine Arts complex, so drop in for whatever best works for your schedule.

Here’s a quick breakdown of what’s going on:

Drop-in activities (all day)

  • Wellness Info Fair (Fine Arts lobby)
  • Adult colouring pages (Fine Arts 108)
  • Comedy on loop (Fine Arts 106)
  • DIY puzzles (Fine Arts 115)

Timed activities (various locations)

  • Morning bird walk: 8:30 – 9:30am (Finnerty Gardens)
  • Dog café/pet therapy: 11:15am – 12:30pm (Fine 
Arts 104) with Pacific Animal Therapy Society
  • Nature journaling: 12:30 – 1:30pm (Finnerty Gardens, meet at Multifaith Centre) with Angela Wood
  • Somatic Sanctuary: 1:00 – 1:20pm (Fine Arts 108) 
Qi Gong movement with Catherine Harding
  • Dance/movement session: 1:00 -3pm (Theatre 136) 
with DJ Codex (Christine Walde, Fine Arts Librarian)
  • Art meditation: 1:30 – 4:30pm (Visual Arts 146)
  • Yoga For Meditation: 3:30 – 4:20pm (Multifaith Centre)

Wellness Info Fair (Fine Arts lobby)

  • Healthy snacks table
  • DIY gratitude messages
  • Wellness messages & reminders
  • Office of Student Life info & campus resources