Learning With Others: Karla Point

When it came time to hire a new Indigenous Resurgence Coordinator (IRC) for the Faculty of Fine Arts, we didn’t have to look very far: just down the Ring Road to the Faculty of Law, in fact. 

Karla Point—whose traditional Nuu chah nulth name is Hii nulth tsa kaa—is now the second person to hold this position, following Lindsay Katsitsakatste Delaronde (currently pursuing her PhD with our Theatre department). A life-long learner with strong ties to UVic thanks to both her BA (Humanities, 2003) and LL.B (Law, 2006), Karla was previously the cultural support liaison with UVic Law. 

“When I read the description for this job, I thought, ‘This is me—this is where I belong’,” she says. “The idea of sharing knowledge, learning with others and working with artistic people really appeals to me.”

Engaging her creative license

In addition to her position with the Faculty of Law, Karla has been a reconciliation agreement coordinator with the Sts’ailes Nation, a First Nations program coordinator with Parks Canada, and a treaty negotiator and elected councillor for the Hesquiaht First Nation

“I know I can do something for this job, but this job can also do something for me,” she says. “It’s such a huge contrast to the law—law is so set, but here you’re encouraged to have creative license. There’s so much we can share and collaborate on to ultimately come up with a model that’s a blend of Western and Indigenous knowledge.”

Exploring resurgence initiatives

As the IRC, Karla will support and guide Fine Arts on ways to decolonize existing curriculum and methodologies, incorporate Indigenous perspectives and pedagogies into our curriculum, and develop and implement a variety of resurgence initiatives—including outreach to local communities and student recruitment.

“When I thought about all the different jobs I’ve had and the different people I’ve worked with, I felt like I had what it took to indigenize a curriculum,” she says. “To do a good job, it has to be really collaborative . . . if everyone starts at the beginning together, then we know what the journey is—and it will be successful and well-received.”

Education as a healing journey

Karla will work with university staff, faculty and students while consulting with Elders, Knowledge Keepers and community partners, ensuring her work as the IRC aligns with Indigenous community aspirations for post-secondary education—a topic close to her own heart.

“I’ve had a really hard time with education . . . school and institutionalized education was always a real struggle,” she admits. “But when I went to college, I really appreciated the world of knowledge.”

After attending the Christie Indian Residential School on Meares Island for 15 months in the 1960s, Karla’s parents withdrew her and her brothers; she then attended 25 public schools in 10 different towns, but never graduated from grade 12. “My parents were residential school survivors who were always looking for the geographic cure,” she explains. “They never found it.”

Her own journey to post-secondary began as an adult at Camosun College, eventually culminating in both a diploma and her UVic degrees. “While I was on my educational journey, I was also on my healing journey.”

Welcoming “Auntie Karla”

The mother of three children and grandmother to nine, Karla looks forward to building relationships with the Fine Arts community. “Even though I’m here to develop resurgence initiatives and help Indigenous students, I don’t discriminate: I’ll help any student who comes through the door,” she says. “When I was a cultural support liaison with Law, I was ‘Auntie Karla’ for the Law students—so I’d love to be Auntie Karla for all the Fine Arts students.”

After spending the summer familiarizing herself with the new position and the Faculty in general, Karla will be ready for the return of students in September.

“I’m really excited about this position and feel very welcomed,” she says. “I think I’m going to enjoy it here.”

Beadwork as resistance

When it comes to beadwork, a design is created bead by bead, row by row: it’s much the same in writing, where poems and stories are created word by word, line by line. But for award-winning poet, memoirist and University of Victoria writing professor Gregory Scofield—also a traditional Cree-Metis beadworker—the two art forms are intimately connected through his creative practice and teaching.

As a child, Scofield recalls how he would sit with his auntie at her kitchen table while she was beading, learning Cree and listening as she shared family and traditional stories. “As I listened and learned, I became interested in beadwork and creating something—so I’ve always linked the act of creativity to storytelling,” he explains. “There’s something quite sacred about listening and working with your hands at the same time.”

Current awareness of beadwork

With archaeological evidence dating back thousands of years before European contact, the practice of Indigenous beadwork has never stopped—yet is flourishing in contemporary media, and the exhibit On Beaded Ground at UVic’s Legacy Gallery until September 18, 2021.

“There’s definitely more awareness and appreciation of beadwork,” he says. “But it’s important to keep in mind that it isn’t just a homogenous Indigenous expression: people work in the mediums of their own nations.”

Cree-Metis floral beadwork

As a Red River Metis of Cree, Scottish and European descent, Scofield practices traditional 19th century Cree-Metis floral beadwork. An example of his own work is seen here on the right: a Cree-Métis panel/fire bag using all traditional materials. 

“Towards the end of the 19th century, there were huge changes for Indigenous and Metis people . . . there were incredible obstacles, and communities ended up completely impoverished. Women were sewing as supplemental income to support their families, and a lot of those pieces ended up in the tourist trade.”

All of this unites in Scofield’s 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.”

Repatriating beadwork

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 (seen in photo above). 

“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.”

Gregory Scofield: fast facts

  • Scofield traces his ancestry back to the fur trade era and the Metis community of Kinosota, Manitoba. In March 2021, he was named a recipient of the Order of Gabriel Dumont, one of the Métis Nation’s highest civilian honours. He has donated many pieces of repatriated beadwork to organizations like the Gabriel Dumont Institute of Native Studies and Applied Research.
  • One of Scofield’s poems—“The Sewing Circle”, from his 2011 collection Louis: The Heretic Poems—is permanently installed at the Batoche National Historic Site, where Louis Riel was defeated during the North-West Rebellion of 1885.
  • Scofield’s first memoir, Thunder Through My Veins, was selected for CBC’s 2021 Canada Reads longlist. The author of nine books, he is also the recipient of the Dorothy Livesay Poetry Prize and the $25,000 Latner Writers’ Trust Poetry Prize, given to an accomplished mid-career poet.
  • Scofield has just released wapihkwanîy: A Beginner’s Guide to Métis Floral Beadwork (with co-author Amy Briley) through the Gabriel Dumont Institute. “I’m so proud of this book, and to be able to share all my aunty taught me,” he says.
  • See beautiful examples of Scofield’s own beadwork via his Instagram page: @metisboi.
  • Earlier this month, Gregory Scofield participated in “Kitchen Table Talk: The Beauty of Beading” as part of Legacy Gallery’s On Beaded Ground exhibit.

This story originally appeared as part of UVic’s monthly KnowlEDGE feature in the Times Colonist newspaper on June 27, 2021. KnowlEDGE is a continuing series highlighting the research and creative practice of UVic professors and graduate students.  

Banting Fellow & Vanier Scholar named in Fine Arts

Fine Arts researchers and creative practitioners Taylor Brook and Troy Sebastian are among UVic’s recipients of the prestigious Banting Postdoctoral Fellowships and Vanier Canada Graduate Scholars,

“Congratulations to Taylor and Troy,” says Acting Dean Allana Lindgren. “Having a Banting Postdoctoral Fellow and a Vanier Scholar in the Faculty of Fine Arts is an honour.”

Together with Canada’s federal granting agencies, Innovation, Science and Economic Development Canada announced the results of the 2020-2021 Banting Postdoctoral Fellowships and Vanier Canada Graduate Scholarships competitions on July 15.

“Both Taylor and Troy are highly talented and accomplished young artists/scholars, so it is very satisfying to see the excellence of their creative work and research recognized at the national level,” says Lindgren. “I am confident that their expertise, creativity, and aspirations will enrich our community.”

Taylor Brook

School of Music composer Taylor Brook is one of four UVic recipients of the Banting fellowships. The federal program is designed to build world-class research capacity by recruiting top-tier postdoctoral researchers at an internationally competitive level of funding.

The two-year Banting fellowships are worth $70,000 per year. They are open to both Canadian and international researchers who have recently completed a PhD, PhD-equivalent or health professional degree and other eligibility criteria. UVic’s other three recipients are Kristina Barclay (Biology and Anthropology), Simon Blouin (Physics and Astronomy), and Gillian Kolla (Canadian Institute for Substance Use Research).

A Canadian composer who writes for the concert stage, video, theatre, dance and robotic instruments, Brook’s compositions have been performed by ensembles and soloists worldwide. A 2020 Guggenheim Fellow, he has won numerous SOCAN Young Composers awards, including the 2016 grand prize, and holds a Doctor of Musical Arts from Columbia University.

 

Brook’s music is often concerned with finely tuned microtonal sonorities, combining his interest in exploring the perceptual qualities of sound with a unique sense of beauty and form. Current projects include a new concerto grosso for the San Francisco-based Del Sol String Quartet with the Partch Ensemble and a concert-length piece for the NYC-based TAK Ensemble.

As part of his SSHRC project, he will be writing a new composition for the Aventa Ensemble, to be performed in 2023.

“I am thrilled to begin my research at the University of Victoria as a Banting Fellow. My research will develop a novel framework for cross-cultural musical analysis that overcomes limitations engendered by Western musical notation. I hope to build a greater understanding of tuning and temperament as an expressive force in music as well as contribute to a broader effort in musicology, composition and music theory to decolonize the curriculum in higher education.​”
—Taylor Brook

SSHRC Banting Postdoctoral Fellowship

Troy Sebastian | nupqu ʔak·ǂam̓

Department of Writing alumnus and instructor Troy Sebastian is one of three UVic researchers named as Vanier Scholars in the annual competition by the Government of Canada.

The scholarships are earmarked for social sciences and humanities, natural sciences and/or engineering and health. Vanier scholars, who receive $50,000 funding each year for three years, demonstrate leadership skills and a high standard of scholarly achievement in graduate studies. UVic’s other two recipients are Dorothea Harris (Educational Psychology and Leadership Studies) and Lucie Kotesovska (English).

A Ktunaxa writer from ʔaq̓am, Sebastian’s research and creative practice focuses on memoir, Indigenous masculinities, Canadian military history, Ktunaxa nation building and Ktunaxa language revitalization. His proposed PhD program is a special arrangement between the Department of Writing and the Faculty of Graduate Studies.

 

“My Vanier scholarship will focus on celebrating who we and our history in our ancestral homelands by researching the life and service of a Ktunaxa veteran who was killed in action during World War II,” says Sebastian.

A graduate of UVic’s Writing MFA program and an instructor with the department, Sebastian was selected for the 2020 Writer’s Trust Rising Star program, is a recipient Hnatyshyn Foundation’s Reveal – Indigenous Arts Award and is also a graduate of the Banff Centre’s Indigenous Writers program.

His writing has been longlisted for the 2019 Writers’ Trust Journey Prize, both the 2020 CBC Poetry Prize and 2018 CBC Short Story Prize, and he has been published in Best Canadian Stories 2019, The Walrus, Ktuqcqakyam, The New Quarterly, Quill and QuirePrairie Fire and The Malahat Review.

“My research and artistic practice centres on Ktunaxa language, storytelling, morality and ethics, and is dedicated to the empowerment of the Ktunaxa Nation’s vision statement: ‘Strong, healthy citizens and communities, speaking our languages and celebrating who we are and our history in our ancestral homelands, working together, managing our lands and resources, within a self-sufficient, self-governing Nation.’”
—Troy Sebastian | nupqu ʔak·ǂam̓

Vanier Canada Graduate Scholar

Writing MFA Kim Harvey wins GG Award for Drama

On June 1, Syilx & Tsilhqot’in playwright & director Kim Senklip Harvey became the first Indigenous woman to win the Governor General’s Literary Award for Drama for her play Kamloopa: An Indigenous Matriarch Story (Talon Books)—less than a week after receiving her MFA in Writing from UVic.

“I am delighted and energized to learn that Kim has received the 2020 Governor General’s Literary Award for Drama,” says Acting Dean of Fine Arts, Allana Lindgren. “Kamloopa ​resonates—particularly at this moment—with courage and hope. I deeply admire Kim’s artistic voice and look forward to following her promising career.”

Amplification of power

“It’s always been about the amplification, it’s always been about the fact that I just want people to read a play with characters of women who are full and funny and sexy and particularly brave and courageous in figuring out what it means to be Indigenous in this era,” says Harvey in her acceptance speech.

“I wrote Kamloopa to ignite the power that was within Indigenous people . . . to ignite journeys with Indigenous women that allow us to be exactly who we are in all of fullness and all of our fallibility and all of our fucking brilliance.”

Brilliant & irreverent

“Brilliance” is also a word the Governor General’s jury panel— Catherine Banks, Andrew Moodie and Kenneth T. Williams—used to describe Harvey’s work in their citation.

“The brilliance, the irreverence, the fire of Kamloopa sweeps us into the world of three Indigenous women on a mind-bending quest. The audience is seduced by the love, humour and depth of these matriarchs as they embrace and celebrate who they are in the world and with each other. A play that will encourage you to re-evaluate your relationship with Canada.”

Kamloopa had its world premiere in 2018 with a three-city tour under Harvey’s own direction. Kamloopa was subsequently nominated for eight Jessie Richardson awards, winning the 2019 Jessie for “Significant Artistic Achievement for Decolonizing Theatre Practices and Spaces”. Kamloopa was also the first Indigenous play in the history of the Jessies to win Best Production and was the 2019 recipient of the Sydney J Risk Prize for most outstanding emerging playwright. Kamloopa was published by Talonbooks in the fall of 2019.

Indigenous theorist

An Indigenous theorist, cultural evolutionist and an award-winning writer and director whose work focuses on igniting Indigenous power by creating comedic and joy-centered narratives that nourish her people’s spirits, Harvey also hosts a podcast that explores these same topics: The Indigenous Cultural Evolutionist.

She has worked across Turtle Island as a performer (highlights include the national tour of Where the Blood Mixes and the world premiere of Children of God at the National Arts Centre in Ottawa) and has participated in the Banff Residency  “Writing in a Racialized Canada”, which brought together Canada’s most exciting emerging BIPOC writers. She was then appointed as one of two artists to take part in the National Theatre School’s inaugural Artistic Leadership Program, which aims to steward in the next generation of artists to lead the major artistic institutions in this country, and participated in the Rumble Directors Lab as well as the Banff Playwrights Lab.

Harvey continues to work on innovating new methodologies for engaging and creating Indigenous stories that honours the multi-dimensionality of having our ancestors tell stories with us. She is the innovator for the Fire Creation Methodology and Salish Plateau Earthing.

Media coverage

Harvey’s GG win has been attracting a fair bit of attention, with her speaking to CBC Radio’s As It Happens in this June 1 interview. As she says to host Carol Off, her award-winning play Kamloopa shows “the power and perseverance and tenacity” of Indigenous Peoples.

“Our plight and pain is often what the narratives are structured around, but that’s not my life,” she says.

Her win was also covered in these articles by CBC Books, Vancouver Sun, Quill & Quire, Georgia Straight and others.

“I think something quite mystical is happening right now, with [fellow Governor General’s Literary Award winner] Michelle Good being from Kamloops and Kamloopa winning,” Harvey told the Vancouver Sun. “I believe this is the time to bring attention to Indigenous peoples’ lives and our stories. And to celebrate the resistance and the continued living of Indigenous peoples.”

Next steps

Harvey is currently working on the development of two television series: her Salish love story, On the Plateau, and the adaptation of her play, Kamloopa. She is also completing her first prose and poetry book, Interiors: A Collection of NDN Dirtbag Love Stories, and is in pre-production to film a musical feature of her next artistic ceremony, Break Horizons: A Rocking Indigenous Justice Ceremony.

She will also be starting her PhD at UVic Law in the fall of 2021.

“Everyone in the Faculty of Fine Arts is incredibly proud of Kim,” says Acting Dean Allana Lindgren. “Watch out! I am confident that this young woman is going to shake up theatre and society with her wise words.”

 

Dennis Gupa: from sea rituals to applied theatre and science

Dennis Gupa in February 2021. (Photo: John Threlfall)

The idea of artists working with scientists is nothing new to Dennis Gupa.

A PhD candidate in UVic’s theatre department, Gupa is also the current artist-in-residence with Ocean Networks Canada (ONC), a UVic initiative. He sees the artistic residency, launched by the Faculty of Fine Arts and ONC two years ago, as a natural fit with his doctoral focus on Indigenous sea rituals, climate change and sustainable ecology.

While Gupa’s term at ONC will wrap up this spring, he’s also finishing his doctoral work in applied theatre under the supervision of theatre professor Kirsten Sadeghi-Yetka, whose experience in community-engaged research includes projects in Indigenous language revitalization through theatre with children in the Downtown Eastside in Vancouver, young people in Brazilian favelas, young women in rural areas of Cambodia and students with special needs in schools in The Netherlands.

As with any applied theatre practitioner, Gupa also wants to use the tools of theatre and drama to help bring about social change and build a sense of community—and, in his case, to attempt to grapple with the gravity of global warming especially in the island nations of the world.

Strengthening connections between art and science

Sharing stories is exactly what Gupa has in mind with the ONC initiative: recently repositioned as an opportunity for Fine Arts graduate students, the ONC artist-in-residence program exists to strengthen connections between art and science, and ignite cross-disciplinary exchanges around the major issues facing oceans today.

“This residency program comes at a time of crisis in ocean sustainability,” ONC chief scientist Kim Juniper. “Science-art collaborations such as this one bring together the insight and power of two ways of looking at the world, and will hopefully lead to new understanding and greater benefits for our ocean and our future.”

While the pandemic is complicating Gupa’s original idea to create an immersive, ONC data-fueled performance experience involving the Filipino diaspora community—including playwright Karla Comanda, classical singer Jeremiah Carag, Philippine-based composer Darren Vega and Vietnamese-Canadian actor Thai-Hoa Le—Gupa is still hopeful about uniting these two worlds during his spring 2021 residency.

“How can we share our stories with the scientists, and what does that mean to them to listen to immigrants?” Gupa ponders. “How does our history of exile connect with the history of climate disaster? We’ve never really tapped into that or discussed it in a scientific space.”

For Gupa, the ONC residency is less a challenge and more a cumulative opportunity between his artistic and academic pursuits.

“There’s a lesson in fluidity that this water is teaching me and I’d like to bring that to the fore in my work … it’s not just a fascination, but water is so embodied in my work as an artist. It’s beautiful but it’s also dangerous. We cannot wait any longer for inclusive and deeper collaborations to make things better for all living things in this earth—both seen and unseen.”

Ces Bersez, Dennis Gupa, & Francis Matheu in “Murupuro/Island of Constellations” at Prairie Theatre Exchange in 2018. (Photo: Migrante Manitoba FB web page)

Social justice for the seas

“When we think of the water, I think of social justice,” Gupa adds. “As an archipelagic country surrounded by water, the Philippines have been suffering from ocean disasters due to climate change: resources are depleting, coral are bleaching, fish are dying and the waters are warming so the fish don’t have food. So what do they do? They migrate, just like Filipinos—fish are the first climate refugees.”

Gupa has also been looking at how climate change has impacted Canadian Filipino diaspora communities, with whom he created and then toured a highly collaborative theatrical production in 2018 (Victoria, Vancouver, Winnipeg).

Gupa performing the mask of Imelda Marcos during his production of “Murupuro”. (Photo: Fiona Ngai)

Applied theatre, traditional knowledge and climate crisis

Having grown up in the Philippines, Gupa has witnessed firsthand the threat of extreme weather events. With his country being a former colony—extending across 7,600 islands and known for its maritime history, marine diversity and Indigenous population—the parallels between the Philippines and Vancouver Island are clear to Gupa. He says this is probably the reason he decided to do his grad studies at UVic.

“By looking at the experience and knowledge of local people—who have been experiencing these climatic events for so many years, but are not really given a lot of opportunities to tell their stories—we can learn from their knowledge and wisdom,” he says. “Our poetries and songs renew our kinship with the ocean.”

Gupa’s research focuses on traditional ways of knowing, as well as storytelling and applied theatre, and how these elements can be drawn into important discussions and dialogue in support of social justice, community participation and climate action.

A youth theatre project in 2015 co-directed by Gupa for a rural high school “glee club” in the Philippines. (Photo: The Perfect Grey | ASEAN Center for Biodiversity)

And he very much believes in bringing people together to share stories. Gupa says, “I create interdisciplinary work with a kinship among knowledge disciplines. One of the fascinating functions of an artist is being an interlocutor, bringing people together to share our stories.”

He conducted field work in the Samar-Leyte region of the Philippines, working closely with local elders on the island community of Guiuan, where the super typhoon Yolanda in 2013—one of the deadliest on record—first made landfall.

Interdisciplinary conversations on global issues

In addition to collaborating with ONC at UVic, Gupa was a visiting graduate research fellow at UVic’s Centre for Studies in Religion and Society in 2019/20 and a recipient of a 2017 student research fellowship from the Centre for Asia-Pacific Initiatives at UVic. He is also a Vanier Scholar.

“Scientists spend hours in their labs thinking about their work, similar to what theatre and performance artists do in their rehearsal spaces,” he says. “We’re all exploring and searching for meaning; this kind of interdisciplinary conversation simply lets us be better adjusted to global issues.”

Gupa also spent a decade at the University of the Philippines Los Baños where, in addition to teaching theatre, he was named the first head of the Office of Arts and Science Fusion Program.

In 2011, Gupa received a grant from the Asian Cultural Council (established by John D. Rockefeller III) for six months in as the director-in-residence with Ma-Yi Theatre Company in New York City.

His collaborative work has also won support from the British Columbia Arts Council, the Canada Council for the Arts, World Bank Manila Office/Australian Agency for International Development, ASEAN Centre for Biodiversity and the Dharmasiswa Scholarship through the Indonesian government’s Ministry of Education, among many others.

Gupa has an MFA Directing (Theatre) degree from UBC and an MA (Theatre) from University of the Philippines.

Gupa wearing a traditional Filipino malong at a local beach in Victoria. (Photo: John Threlfall)

Follow the social media feeds of both Fine Arts and ONC for developments on the artistic residency this spring.

Orion Series presents Drew Hayden Taylor

The Orion
Lecture Series in Fine Arts

Through the generous support of the Orion Fund in Fine Arts, the Faculty of Fine Arts, University of Victoria, is pleased to present:

Drew Hayden Taylor

Playwright, novelist, filmmaker, journalist

“Canoeing Down the River of Contemporary Storytelling”

12:30 – 1:30 pm (PST) Thursday, April 1, 2021

 

Free & open to the public via Zoom

Presented by UVic’s Department of Theatre
For more information on this lecture please email: theatre@uvic.ca 

The changing face of Indigenous literature 

Drew Hayden Taylor is an award-winning playwright, novelist, filmmaker and journalist. Born on the Curve Lake First Nation, he has done everything from performing stand-up comedy at the Kennedy Center in Washington D.C. to serving as Artistic Director for Canada’s premiere Indigenous theatre company, Native Earth Performing Arts.

Having written 20 plays with over 100 productions, Drew is currently working on the second season of his APTN documentary series, GOING NATIVE, as well as finishing up two plays, a novel, and a book of essays on Indigenous futurisms.

In his lecture, Drew will talk about the changing face of Indigenous literature, its origins, its trajectory, and his unexpected journey through it.

About the Orion Fund

Established through the generous gift of an anonymous donor, the Orion Fund in Fine Arts is designed to bring distinguished visitors from other parts of Canada—and the world—to the University of Victoria’s Faculty of Fine Arts, and to make their talents and achievements available to faculty, students, staff and the wider Greater Victoria community who might otherwise not be able to experience their work.

The Orion Fund also exists to encourage institutions outside Canada to invite regular faculty members from our Faculty of Fine Arts to be visiting  artists/scholars at their institutions; and to make it possible for Fine Arts faculty members to travel outside Canada to participate in the academic life of foreign institutions and establish connections and relationships with them in order to encourage and foster future exchanges.

Free and open to the public  |  Seating is limited (500 Zoom connections) |  Visit our online events calendar at www.uvic.ca/events