We’ve all heard the old proverb: “What we don’t know can’t hurt us.” But, as the research of emerging acoustic ecologist Kaitie Sly shows, what we can’t hear might indeed be hurting us.
Kaitie Sly in front of her interactive map
Graduating in June with a master’s in music and a specialization in music technology, the Vancouver Island born-and-raised Sly has developed a research creation project focused on the impact of inaudible human-generated sound in Greater Victoria. By creating an interactive map of the region, she has highlighted specific areas showing the location of infrasonic and ultrasonic noise.
“The point is to communicate the significance of these frequencies in our everyday lives by allowing people to experience and hear the inaudible noise that’s around us all the time,” she explains.
The sounds of silence
Infrasonic sounds exist below the human ability to hear (20 hertz and less), while ultrasonic sounds soar above our listening range (20 kilohertz and up). And while there are naturally occurring frequencies of both infrasonic (thunder, strong winds, earthquakes) and ultrasonic (tropical rainforest, bats, mice), we’re more likely to encounter them through human-generated activities like aircraft, wind turbines and ventilation systems (infrasonic) and industrial tools, wireless chargers and vehicle parking sensors (ultrasonic).
“You may hear the audible frequencies, but there’s a lot of sound happening above or below that,” she says—and therein lies the problem. “Developments in neuroscience indicate that sonic stimuli can significantly affect the human body without our awareness, which is why I wanted to study infrasonic and ultrasound specifically. There’s this assumption that what we can’t hear can’t affect us—but my research suggests that, depending on different frequencies and pressure levels, these sounds actually produce significant effects on human well-being.”
An easy comparison, says Sly, is the carbon monoxide detector. “Carbon monoxide is odorless and tasteless but it’s very dangerous, so we’ve created carbon monoxide detectors to protect ourselves. But why haven’t we done the same thing for these types of inaudible frequencies? If you have a headache, you won’t automatically attribute it to inaudible sounds—but that’s worth questioning that if you live near a highway, wind turbine, industrial centre or anti-loitering device.”
Consider wind turbines, which are known to produce infrasonic sound. “A lot of people who live near wind turbines have experienced adverse health effects—insomnia, anxiety, hypertension, panic attacks—but the turbine industry says infrasonic sound is below the audible threshold, and therefor of no consequence,” she says. “More research is needed to explore the connection between inaudible sounds and health concerns.”
Tools of the trade
Sly in the field
Sly uses a specific high-definition omnidirectional microphone that records both the infra- and ultrasonic ranges, then runs those recordings through software that reveals a spectrogram analysis of the resulting sound.
Her map project focused on data collection and analysis over a four-month period, using field recordings of specific Greater Victoria locations: the airport, the McKenzie interchange, a construction blasting site in Colwood and an antiloitering mosquito device in Sidney. The resulting map uses an interactive ripple effect to display the type and intensity of the inaudible sounds.
“One of the scary things about infrasonic sound is that we can’t really protect ourselves from it: even if we use hearing protection, it won’t stop it from having an effect on our bodies, as the soundwaves impact the entire organism,” she explains.
As an acoustic ecologist, Sly hopes to raise awareness about the impact a soundscape can have on both humans and the wider ecosystem. “Acoustic ecologists work with urban planners or landscape architects to be more aware of both the adverse and beneficial effects sound can have on our health and well-being,” she says. “It’s a field where you’re trying to find ways to harmonize humans with their acoustic environment.”
Ultimately, says Sly, we all need to be more aware of what we hear—and don’t hear—around us. “It’s not just about the risks; sound can have a very beneficial impact on our life. Whatever your profession, think about sound in everything you do.”
June 14 is convocation day and the Faculty of Fine Arts is very excited to welcome 224 new graduates to our alumni family! Here is a quick glimpse into our diverse group of graduates:
Together with the new class of grads, you are part of an expansive network of over 8250 alumni. Given that you’re graduating on the cusp of Fine Arts celebrating our 50th anniversary as a faculty, there are many reasons to stay connected.
We are always interested in hearing about alumni accomplishments—please do keep in touch as your career develops, and let us know if you have any events or honours to celebrate.
We had another creatively inspiring year in Fine Arts. Here are just a few of the highlights:
Nathan Medd (photo: Andrew Alexander)
A cultural non-profit leader whose work is devoted to developing the performing arts in Canada, Nathan Medd (BFA ’01) is currently Managing Director of Performing Arts for the Banff Centre for Arts and Creativity, the nation’s largest arts training institution and incubator of new works. This year, he was honoured with the 2019 Distinguished Alumni Award. Read more
Celebrated novelist and Writing grad Esi Edugyan (BFA ’99) soared to new literary heights this year by becoming only the second author in Canadian history to win two Giller Prizes — first for 2011’s Half Blood Blues and now for 2018’s Washington Black, which is also currently in development as a limited run TV series. Read more
Laura Gildner in her studio
Graduating Visual Arts student Laura Gildner was shortlisted for the Lind Photography Prize, mounted a solo photography exhibit at Vancouver’s Polygon Gallery and staged work at the Art Gallery of Greater Victoria. She also won the Victoria Medal for the highest undergraduate GPA in the faculty. Read more
Members of the School of Music’s Vocal Jazz Ensemble were thrilled to have the opportunity to sing the music of iconic rock band Queen when the Victoria Symphony presented their Best of Queen concert this spring. Read more
Using her paintings as inspiration, graduating Visual Arts MFA Claire Scherzinger teamed up with School of Music students to create the new science-fiction podcast project Arca-45672. Scherzinger used her paintings as inspiration for the nine-episode sci-fi audio drama, which cracked the top-100 arts podcasts on iTunes Canada its first week. “The reason I do what I do is I’m interested in the future and thinking about the future,” Scherzinger told CBC Arts in this interview. “How can we use metaphors to think about how we exist today as colonizers, as destroyers of the environment? That’s really important to me.”
Kirk McNally (School of Music) oversaw the installation of the new CREATE Lab and recording studio for music technology students, dedicated to the art and science of listening. Read more
Carey Newman (Visual Arts) made history twice this year by seeing his Residential School memorial sculpture The Witness Blanket entered into the permanent collection of the Canadian Museum for Human Rights, and in seeing the piece designated as a living entity that honours the stories of the survivors. Read more
Bill Gaston (Writing) won the City of Victoria Butler Book Prize for his story collection, A Mariner’s Guide to Self-Sabotage — one final honour before he retires at the end of this academic year. Read more
Cast of The Drowsy Chaperone
Jacques Lemay (Theatre) led the student team behind The Drowsy Chaperone to create a smash hit show that resulted in a sold-out, held-over run — and one of the most popular Phoenix shows in recent memory! Read more
Carolyn Butler-Palmer (Art History & Visual Studies) consulted on the new $10 bill featuring Canadian civil rights leader Viola Davis, which means you can see the influence of our faculty whenever you get one of the new bills. Read more
Our generous donors gave over $1.8 million in 2018/19, with 45% of that coming from Fine Arts alumni. Overall, we distributed $709,621 to students last year via donor-funded scholarships and bursaries.
Theatre student Emma Leck became the inaugural recipient of the Spirit of the Phoenix Award, named for the late Phoenix student Frances Theron.
With the 50th anniversary of the Faculty of Fine Arts coming up in 2019/20, we would love to hear your thoughts on how we can continue to engage with our alumni in significant ways. Convocation is a day for making meaningful memories—we hope that the culmination of your student years marks the start of our new relationship as alumni and colleagues.
Whether it’s jellyfish in space, sloths in the water, hidden Hawaiian birds’ nests, shell money in Papua New Guinea, or a catch-and-release community aquarium on Vancouver Island, the world of water conjured up by Hakai Magazine is rich, complex and highly readable.
The online magazine is dedicated to exploring science, the environment and society from a uniquely coastal perspective—and it’s powered by an energetic team of UVic alumni, including a computer engineer, a marine biologist, an anthropologist, a historian, a composer and a writer.
Hakai Magazine was started up by two UVic grads and launched in April 2015. “Nobody else was doing this, focusing on an ecosystem that ties half the world’s population together,” says editor-in-chief Jude Isabella (MA ’13).
Hakai: rhymes with “sockeye”
Hakai’s alumni editorial team: Garrison (far left), Isabella (2nd from right)
Part of the Tula Foundation—which also finances the Hakai Institute, a scientific research centre based out of a former fishing lodge on Calvert Island (about 400 kilometers north of Vancouver)—Hakai Magazine remains editorially independent. Both the magazine and the institute are named for the Hakai Pass, located within the Hakai Lúxvbálís Conservancy, one of the largest protected marine areas on Canada’s west coast, and made possible by BC tech entrepreneur, multimillionaire and Tula founder Eric Peterson and his wife. Dr. Christina Munck—who received an Honorary Doctorate of Science from UVic in 2017.
The ad-free online magazine mixes long-form, science-based journalism aimed at a general readership with news and video features into one glorious digital package that is updated weekly, filling a gap for readers—and writers—left in the cold.
But it’s not like Isabella simply stepped into her job as Hakai’s editor-in-chief. She was managing editor of the popular Canadian children’s science magazine YES Mag before it was unexpectedly shut down in 2012. Indeed, prior to a prescient conversation between Isabella and Tula’s Peterson, Hakai Magazine didn’t even exist.
“I was working on my book [and UVic thesis] Salmon: A Scientific Memoir during the first few years of the Hakai Institute, and I kept crossing paths with Eric and Christina,” recalls Isabella. “We had zeroed in on the same scientists who were doing really great work on the coastal margin, and they liked what I’d been writing for The Tyee. But it was getting hard to get your story told when there are fewer outlets to tell it.”
In 2014, Isabella was visiting the Hakai Institute while writing a story for the UK’s New Scientist magazine and was talking to Peterson about the number of media outlets that were shutting down. “Most of my own freelancing was for American and British publications at the time,” she says. And although the Tula Foundation had supported other writing initiatives in the past (“they believe in journalism as a cornerstone of democracy”), it was still a surprise to Isabella when Peterson proposed a new venture. “He said, ‘Let’s start our own mag’—or something like that—so I said, ‘Sure, if you’re serious, I’ll get a proposal to you’.”
Who ya gonna call?
Her first call was to long-time colleague Dave Garrison, publisher of YES and KNOW for over 16 years. “Who else was I going to go to?” she chuckles. “He’s a great organizer and a great publisher; you really need someone who’s good at the process side of things to get a magazine off the ground.” They quickly put together a pitch “and pretty much the day after they read it, [Peterson and Munck] said, ‘Let’s do it!’”
Garrison—who started his publishing career as a Martlet co-editor in 1994—was working for the Victoria-based activity-listing site, Chatterblock, at the time, but didn’t hesitate at the idea of starting up another magazine. “It’s rare to have the opportunity to start something from nothing,” he says.
With Garrison and Isabella filling out the slots of publisher and editor-in-chief, they quickly recruited Shanna Baker (BA ’06) as senior editor, Adrienne Mason (BSc ’88) as managing editor, Tobin Stokes (BMus ’89) as manager of social media and marketing, plus Shannon Hunt (BA ’90, MA ’93) as proof-reader—meaning half of the current Hakai editorial team are UVic alumni.
Garrison and Hunt had already enjoyed success starting up the children’s science publications YES and KNOW together—and received UVic Distinguished Alumni Awards in 2006 to recognize their achievements. Mason had been managing editor of KNOW (aimed at younger children), so along with Isabella, much of the new team already had years of experience in producing science news together.
History inside and out
Hakai’s “Death of a Modern Wolf”, written by former UVic student JB MacKinnon, won a National Magazine Award
Based out of an open-concept office on the ground floor of Victoria’s historic Customs House overlooking the Inner Harbour, the Hakai team exemplify both the ethos and concept of the magazine itself: passionate, coastal people who are working together to tell important stories that could potentially change the world.
“Christina and Eric believe in journalism, so we were given a job to do and we’ve done it well,” says Isabella. “We aim high . . . if you don’t have to worry about constantly fundraising, you can put all your efforts into making excellent product.”
Excellent is right: over the past four years, Hakai Magazine has won over 25 Canadian and international awards not only for what they publish (including two prestigious National Magazine Awards) but also for their chosen medium (17 online and digital publishing awards).
Now on his third magazine start-up, Garrison clearly feels Hakai offers something special. “Hakai is more of a calling, almost a creative pursuit,” he says. “Anything can be called a business, in the sense of pulling people together and getting things done, but we’re not trying to make money; we’re just trying to put our stories in front of as many readers as possible.”
And it seems to be working. Freed from the limitations—and expenses—of a traditional print product, Hakai Magazine is attracting a global readership: 2018 saw a monthly average of 95,000 visitors, up from 39,000 per month when they launched in 2015. Seventy percent of their readers hail from Canada and the US, with the UK and Australia the next biggest audience, followed by India, Germany, France, Philippines, New Zealand and the Netherlands. “In fact, Google Analytics reports at least one visitor from 237 different countries in 2018,” says Garrison, “so arguably we had a visit from every single country in the world.”
The magazine has also earned fame for their puns, with headlines like “Hey, Beacher, Leave Those Fish Alone,” about reckless beachgoers in California who disturb little fish called grunion—because who says getting informed can’t be fun? Readers can also expect professional-quality videos and comics on subjects like a “Cuttlefish Brawl.”
As sea levels and temperatures continue to rise, the idea of creating an accessible, sustainable, paper-free magazine dedicated to coastal peoples and science worldwide seems less of a risky idea and more like a necessity. No surprise, then, that Hakai Magazine was the brainchild of two UVic graduates—and that the magazine regularly features UVic research.
“All you can do is put the stories out there,” says Garrison. “Raising awareness makes a difference.”
Whether it’s Queen recording their iconic title track in Bohemian Rhapsody or Will Ferrell’s hilarious “More Cowbell” sketch on Saturday Night Live, what happens in the recording studio has long been mythologized in popular culture. It’s also at the core of Kirk McNally’s research.
The School of Music music technology professor is fusing his professional background as a recording engineer with a new archive of unexplored recordings to build a better understanding of the relationship between musicians, engineers and music producers.
A set of multi-track audio recordings donated to UVic in 2014 formed the basis for McNally’s initial research into the intricate relationship between technical skills and musical output in the studio. By analyzing these recordings, McNally identified exactly what decisions were made in the studio, and how they affected the creative process of producing the final album—findings he now shares with students.
Kirk McNally in the School of Music’s Create Lab, with music student Ayari Kasukawa (UVIC Photo Services)
A temple and a laboratory
Revered as both a temple and laboratory by scholars, the recording studio is historically the place where the best musicians, producers and engineers create the soundtrack to our lives. But this activity has seen little critical evaluation.
“What I’m looking to better understand is the way those relationships—verbal, musical or technological—are communicated, and how the decisions made in the studio are played out to the listener,” says McNally. It could be as simple as asking for another take, or as surprising as a recording error that creates a great sound.
“There’s a long history around the exhibition of sketches that come before the creation of a recognized masterpiece, but that’s never been done for music. By listening to the final album, we don’t know what came before or what was thrown out, or if certain changes were made because of a marketing plan. That’s where my interest lies.”
But hearing what happens is only half of the equation. The rest involves activating that knowledge in the School of Music’s new Create Lab: a dedicated, state-of-the-art recording studio where McNally and his students explore the role of sound recording engineers and music producers.
Enter the new Create Lab
Completed in early 2019, the half-million-dollar Create Lab is booked 15 hours a day by student composers, musicians, engineers and sound artists in the undergraduate Music and Computer Science program—unique in Canada—and with Master of Music Technology students.
“Mindy, Body & Spirit” by Carey Newman
“It all comes down to listening,” says McNally. “Our job as engineers is to communicate something—either through technical or verbal means—in a way that’s understood by the person on the other side of the glass. That’s the importance of having a space where you can understand exactly what the sound is.”
Victoria residents may also be familiar with one of McNally’s projects outside of the studio: he consulted on the audio component of the spectacular cedar sculpture “Mind, Body and Spirit” by local artist and UVic Audain Professor Carey Newman, which fills the ceiling of Pacific Opera Victoria’s Baumann Centre and serves to acoustically enhance the space for music-making.
Fusing professional experience with academic research
Working with a team of International collaborators, McNally will explore how “aha” moments during studio recordings are identified, critically evaluated and correlated to what we hear in the final mix. Prior to joining UVic’s School of Music in 2004, McNally was a recording engineer at Vancouver’s iconic Warehouse Studio. Over the years, he has worked with R.E.M., Bryan Adams, Foo Fighters, Sloan and many others.
“By listening to the final album, we don’t know what came before or what was thrown out, or if certain changes were made because of a marketing plan. That’s where my interest lies,” says McNally, who recently received a research grant from the Social Sciences and Humanities Research Council to continue his research.
The research will also take him to the newly established EMI Music Canada Archive at the University of Calgary, where he will explore the multi-track recordings and support material for two albums by ‘80s Vancouver band The Grapes of Wrath: Now and Again and These Days.
McNally is interested in why those Grapes of Wrath albums have become Canadian classics. “From a Canadian perspective, what is a Canadian sound? Is that actually a thing or is just a sales pitch?” he wonders. “These Days was mixed at Abbey Road Studios in London, and it does have a referential Beatles sound—but why? Was that only because they were in that space, or was it always part of the plan?”
The EMI Music Canada Archive spans 63 years of the EMI label, including 40,000 recordings and two million documents by The Beatles, Elton John, Kate Bush, Anne Murray, Buffy Sainte Marie and thousands of others. “This archive includes important information never previously available to researchers,” he says.
Back to the studio
Ken Scott (left) in-studio with Paul McCartney
Fusing research and application, his current project will culminate in two high-quality recording sessions at Leeds Beckett University in May—including one with legendary engineer/producer Ken Scott, who worked with the likes of The Beatles, David Bowie and Pink Floyd.
By revealing what happens in the recording studio, McNally believes future generations will be equipped to better understand the creative process and consumers’ response to how music is promoted and marketed.
This story originally ran in a slightly different form as one of UVic’s KnowlEDGE research features in the Times Colonist on April 28.
The UVic Wind Symphony is joined by special guests for their season finale concert on March 29. Featuring solos by trumpet legend Jens Lindemann and School of Music trumpet professor Merrie Klazek, the evening finale—a concerto for wind symphony and jazz quartet—will star Music instructor Wendell Clanton on alto saxophone.
“Something Borrowed, Something Blue” offers an eclectic program featuring contemporary pieces that have borrowed from other composers or take their inspiration from jazz and Latin music.
UVic’s Wind Symphony (photo: Fiona Ngai)
With works by Shostakovich, Hindemith, Gershwin, Mackey and world premieres by UVic student Deborah Baynes and Esquimalt High School student Julian Glover—both commissioned by the UVic Wind Symphony—this concert presents some of the most innovative and exciting pieces written for the genre.
The UVic Wind Symphony, conducted by Steven Capaldo, is recognized as one of the leading wind ensembles in the Pacific Northwest. Recently, as the featured ensemble at the Okanagan Music Festival, the Wind Symphony performed concerts to over 800 students, parents and teachers. If you can’t make the concert, you can listen to it live here.
Trumpeter Jens Lindemann is hailed as one of the most celebrated soloists in his instrument’s history and is the first classical brass player ever to receive the Order of Canada. As an internationally recognized virtuoso and multiple Juno and Grammy nominee, he has performed in every major concert hall in the world and has an extensive discography in a multitude of styles ranging from solo and chamber to jazz and contemporary.
Trumpet legend Jens Lindemann
Lindemann is also the recipient of numerous international awards including the Prague Spring Festival, the Ellsworth Smith, ARD in Munich, was recently named “International Brass Personality of the Year” (Brass Herald), and is the only trumpeter to win the Grand Prize in the 60-year history of the Canadian Music Competition.
Presented as part of the Orion Series in Fine Arts, Lindeman will also offer a short performance featuring classical and jazz repertoire followed by a Q&A session at 11:30am Thursday, March 28, and lead a masterclass with School of Music brass students at 1:30pm on Friday, March 29.
This Wind Symphony concert will present some of the most innovative and exciting wind ensemble pieces written for the genre. Don’t miss it!
The UVic Wind Symphony’s finale concert, “Something Borrowed, Something Blue,” starts at 8pm Friday, March 29 in The Farquhar at the University Centre. Tickets range from $5 to $20 and are available from the UVic Ticket Centre (250-721-8480) and at the door. Tickets are also complimentary for all UVic students!
It’s neither a surprise nor an exaggeration when UVic describes Ideafest as being about “ideas that can change everything.” This eighth-annual, week-long festival of research, art and innovation runs March 4-9, both on- and off-campus, and offers more than 40 public events designed to inform and engage with thought-provoking and culturally engaging events. And Fine Arts is participating in eight different events this year.
“Ideafest connects research to community. It allows UVic researchers and artists to share knowledge in different ways to appeal to a wide range of audiences,” says David Castle, UVic’s vice-president research. “We invite the public’s engagement so they can better understand how research impacts their own lives and that of society.”
As always, Fine Arts is once again an active Ideafest participant, hosting four separate events of our own and participating in four others across campus. All are free, unless otherwise noted: you can view the full Ideafest schedule here, which is searchable by day or category, but here’s our list of events.
Eva-meta art exhibit
The Visual Arts department’s Drawing 300 class continues its tradition of staging an outdoor drawing exhibition near the Fine Arts building for the duration of Ideafest. Led by Drawing 300 instructor David Gifford, students this year are interpreting meta-drawing and encounters with “aboutness, the recursive and the beyond.” Drawing 300 makes an outdoor exhibit of pictures about pictures. Prepare to have your assumptions challenged!
The Eva-meta exhibit runs Monday-Friday, March 4-9, outdoors in the Visual Arts building courtyard.
Research Reels Video Showcase
Get a taste of the amazing research and creative activity taking place at UVic, as told by our talented students, faculty and staff. A juried collection of short videos highlighting UVic research and how it’s having an impact on our lives and our world will be showcased for one night only. Prepare to be amazed and inspired! Hosted by Lara Lauzon (School of Exercise Science, Physical and Health Education) and juried by Jay Cullen (School of Earth and Ocean Sciences), Cody Graham (Filmmaker and multimedia producer) and Katrina Pyne (Hakai Magazine).
Among the entries this year are short films created by current students Peter Ojum, Leah Tidey and Chen Wang, plus recent alumnus and current Artist in Residence at Oceans Network Canada, Colton Hash (also last year’s Research Reels winner). Their films cover topics ranging from applied theatre practice and choral research to the research and creative practice of Visual Arts professor Kelly Richardson, and her current IMAX video installation commission from the XL Outer Worlds project, celebrating the 50th anniversary of the IMAX camera — a Canadian invention! Be sure to attend and vote for our faculty’s films in the viewer’s choice category!
Research Reels: Video showcase runs 5-6:30pm Tuesday, March 5, at Cinecenta in UVic’s SUB. And there will be free popcorn!
Write On: A Night Out with New Writers
Meet the next generation of Canadian Literature as MFA students from UVic’s legendary Department of Writing read (and perform) from ground-breaking graduating manuscripts in fiction, poetry, playwriting and creative nonfiction at this lively (and licensed) literary cabaret. Hosted by Writing professor Maureen Bradley, graduate student readers include Vaughn Gaston (fiction), Taylor Houghton (fiction), Janet Munsil (playwriting), Tom Prime (poetry) and Miles Steyn (creative nonfiction). Watch for guest appearances by faculty mentors.
Doors open at 6:30 pm
Write on: A night out with new writers runs 7-8pm Tuesday, March 5 at the Copper Owl Bar & Lounge, 1900 Douglas Street (above Paul’s Motor Inn).
Meet the next generation of leading Canadian researchers at UVic’s Jamie Cassels Undergraduate Research Awards (JCURA). Awards go to exceptional undergrad students to carry out research in their field of study. The JCURA research fair will feature over 100 of these inspiring projects, ranging from the effects of meditation on memory retention, to improving emergency water treatment in refugee camps. Fine Arts participants include Hannah Bell (Theatre), Kai Conradi (Writing), Jamie Crystal (Music), Kim Dias (Writing), Pascale Higham-Leisen (AHVS), Sarah Kapp (AHVS), Trevor Naumann (Music) and Lee Whitehorne (Music). Just click on their individual names to read a brief of their research projects.
The JCURA symposium runs 11:30am – 3pm Wednesday, March 6, in the Michele Pujol Room (A121) of UVic’s SUB.
UVic Author Celebration
Each year, UVic faculty, staff, students and alumni publish an incredible amount of intellectual content, reflecting a wide range of research, teaching, personal and professional interests. Join UVic Libraries for this annual celebration of books written by UVic — including Writing professor Bill Gaston, who will be reading from his recent memoir, Just Let Me Look at You: On Fatherhood, and recently retired Writing instructor Patrick Friesen, reading from his latest poetry collection, Songen. Hosted by Jim Forbes, Director of Campus Services, other readers include History professors Jason M. Colby, reading from his Orca: How We Came to Know and Love the Ocean’s Greatest Predator, and Lynne Marks, reading from her Infidels and the Damn Churches: Irreligion and Religion in Settler British Columbia.
The UVic author celebration runs 2-4pm Thursday, March 7 at the UVic Bookstore.
Hear, Hear: Best Seats in the House
Experience the beauty of an orchestra from the inside out at this unique rehearsal of the UVic Orchestra, where seats for visitors will be interspersed among musicians to provide an unforgettable opportunity. Immerse yourself as never before in the works of Tchaikovsky and Debussy. Feel the magic of being in the midst of it all. Hosted by School of Music conductor and professor Ajtony Csaba and featuring the student musicians of the UVic Orchestra.
Hear, hear runs 3:15-4:15pm Thursday, March 7 at The Farquhar in UVic’s University Centre building.
Voice in Motion
Can the impact of dementia be reduced through singing and socializing? An interdisciplinary research team at UVic — including School of Music professor emeritus Mary Kennedy— is studying the impact an intergenerational choir may have on health outcomes for people living with dementia and their caregivers, as well as the impact on perceptions of dementia for participating high school students. Hear about the researchers’ findings and observations, then listen to this joy-filled choir share their music. Hosted by UVic School of Nursing professor Deb Sheets, presenters include not only Mary Kennedy but also Erica Phare-Bergh (Choir Director), Stuart MacDonald (Department of Psychology) and Andre Smith (Department of Sociology). With thanks to project partners Island Health, St. Andrew’s Regional High School, St Aidan’s United Church, the University of Victoria’s School of Nursing, School of Psychology and School of Sociology.
Voices in Motion runs 4-6pm Thursday, March 7 at St. Aidan’s Church Sanctuary, 3703 St. Aidan’s St. Note: registration is required for this free event: register here.
Other Faces of Nihonga
An expansion of the current Legacy Gallery exhibit,Translations: The Art and Life Of Elizabeth Yeend Duer-Gyokushō玉蕉, Ideafest welcomes Vancouver-based contemporary artist Cindy Mochizuki for a collective embroidery and listening experience focusing on the racialized effects on women of Japanese descent in British Columbia. Visitors will work together with Mochizuki to embroider an image informed by historical references to Japanese Canadian women during and after World War II, while listening to audio recordings of interviews of Japanese Canadian women exploring issues of race, class, citizenship, nationhood and diaspora.
Other Faces of Nijhonga runs 4-8pm Friday, March 8, and 11am-3pm Saturday, March 9, at the Legacy Art Gallery, 630 Yates St.
Translations continues to April 6, also at the Legacy Gallery, and showcases the movement of ideas, aesthetics, politics and people between England, Japan and Victoria by looking at the life and work of Anglo-Japanese artist Elizabeth Yeend Duer (1889–1951). Born a British citizen in Nagasaki to an Englishman and a Japanese woman, Duer studied Nihonga, a traditional Japanese-style painting, with the renowned painter and teacher Atomi Gyokushi. 跡見 玉枝. Duer took on the artistic identity of Gyokushō 玉蕉. She immigrated to Victoria in 1940 and is among the remarkably few people of Japanese heritage who were not interned during World War II. Instead, she Japanized her new environment by producing Nihonga-style paintings of local indigenous wildflowers while her own identity was being anglicized.
This exhibit is co-curated by Art History & Visual Studies professor Carolyn Butler Palmer, Mikiko Hirayama (University of Cincinnati) and Janice Okada (BA, MM St). This is a project of the Williams Legacy Chair in Modern and Contemporary Art of the Pacific Northwest.
Other Ideafest events that will have appeal for Fine Arts followers include the Re-imagining Justice: Art, Law & Social Change exhibit (March 4-8), Latin American Muralism and Identity (March 5), the Express Your Thesis performance (March 6), and the Three-Minute Thesis competition (March 7). But again, be sure to view the full Ideafest schedule.