Board of Directors

  • Director | Pronouns: she/her/hers

    Carmen Aguirre is a Chilean-Canadian, award-winning theatre artist and author who has written and co-written over twenty-five plays, including Chile Con Carne and Other Early Works, The Refugee Hotel, The Trigger, Blue Box, Broken Tailbone, and Anywhere But Here, as well as the #1 international bestseller Something Fierce: Memoirs of a Revolutionary Daughter—winner of CBC Canada Reads 2012— and Mexican Hooker #1 and My Other Roles Since the Revolution. She is currently writing an adaptation of Euripides’ Medea, commissioned by Vancouver’s Rumble Theatre, Moliere’s The Learned Ladies for Toronto’s Factory Theatre, and Fire Never Dies: The Tina Modotti Project for Vancouver’s Electric Company Theatre. Her digital piece for Ontario’s Stratford Festival entitled Floating Life will premiere in spring 2021. Reframed, an outdoor performance piece about online discourse, conceived and co-created with The Electric Company, premiered in October 2021, commissioned by Ottawa’s National Arts Centre for its Grand Acts of Theatre initiative.

    Carmen is a Core Artist at Electric Company Theatre, a co-founding member of the Canadian Latinx Theatre Artist Coalition (CALTAC), and has over eighty film, TV, and stage acting credits, including her award-winning lead role in the Canadian premiere of Stephen Adley Guirgis’ The Motherfucker with the Hat, and her Leo-nominated lead performance in the independent feature film Bella Ciao!. She looks forward to starring in Cecilia Araneda’s debut feature film, Intersection, and in the Canadian premiere of Melinda Lopez’s one-woman show Mala, at Arts Club Theatre. Carmen is a 2020 Siminovitch Prize finalist, the most prestigious theatre award in Canada and a graduate of Studio 58.

  • Director | Pronouns: she/her/hers

    Selena Couture is a white settler scholar and Associate Professor (Drama) at U of Alberta in Treaty 6 territory / Métis Region No.4. She writes about history, performance and relationships to land: deconstructing settler colonial whiteness and possession while foregrounding the maintenance of Indigenous places through performance.

    Publications include, Against the Current and Into the Light: Performing History and Land in Coast Salish Territories and Vancouver’s Stanley Park and On this Patch of Grass: City Parks on Occupied Land (with her partner and daughters).She is a co-director of the Ecologies research cluster with Hemispheric Encounters and part of the Kule scholar cohort focusing on Climate Resilience in the 21st Century. She was an alternative school teacher in Vancouver for 20 years before studying for her doctorate in theatre at UBC. She also sits on the board of Solid State Community Industries.

  • Director | Pronouns: they/she/he

    Kimberly Ho 何文蔚 is a Chinese-Canadian interdisciplinary artist and arts administrator based on the unceded ancestral lands of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and Tseil-waututh peoples, known as Vancouver. Growing up in a working class immigrant family, Kimberly’s work is nourished by collaborative processes and organically aims to be non-hiecharcial. In their artistic practice, they seek to explore their Hakka diaspora through the physical body and food culture, framing new media as a dimension of queer futurisms, and immersive art as a site of liberation. 

    Kimberly’s creative output spans across mediums, including theatre, photography, visual arts, new media, fashion styling and writing. Their work tou saang zhu 土生豬 was presented as part of the group exhibition (Re)Visions at the Art Gallery at Evergreen, and Massy Art Gallery. As a filmmaker, their experimental dance film Dumplings / 餃子 received a Honourable Mention for Best Short Film at Festival of Recorded Movement. Kimberly was also the recipient of Vancouver Asian Film Festival’s inaugural Richard K. Wong Film Fund and winner of the People’s Choice Award for Best Short Film for their participatory documentary To Make Ends Meat 心頭肉. Their acting credits included Theory at Rumble Theatre’s Tremors Festival, the world premiere of House and Home at Firehall Arts Centre, and No More Parties, featured in film festival platforms including Toronto International Film Festival, Sundance Film Festival and was one of seven films selected to represent Canada for Telefilm’s Not Short on Talent program at Clermont-Ferrand.

  • Secretary-Treasurer | Pronouns: she/her/hers

    Sadira Rodrigues is an educator, curator, writer, and arts administrator. From social-profit enterprises such as artist-run-centres and public galleries to museums, grant funding, and higher education, she has assembled deep knowledge of the arts and culture sector in Canada and beyond.

    She is committed to working across disciplines and has been fortunate to engage with artists and organizations in dance, theatre, music, and the visual arts. She has been the recipient of numerous grants to support both her curatorial and academic research activities. In addition to institutional roles, she has kept an independent curatorial practice, organized conferences and cultural events, lectured, and participated on numerous society boards. As a settler-immigrant, her work is committed to examining decolonization and Canadian cultural institutions. She is currently the Director/Curator of the Sunshine Coast Arts Council, and Co-Director of Coppermoss, a retreat space on the Sunshine Coast that considers decolonial acts, land-based pedagogy, and creative practice.

  • President | Pronouns: she/her/hers

    Camilla Tibbs is the Executive Director at Gateway Theatre in Richmond. Camilla grew up partly in the UK and partly in Vancouver, switching countries at fairly regular intervals until recently. 

    Her arts management experience includes working as the Executive Director of the Vancouver Writers Fest, the General Manager of Touchstone Theatre and Co-Producer of the PuSh Festival (prior to its launch as an independent society), plus positions in the marketing and fundraising departments of the Arts Club Theatre Company, the London Symphony Orchestra, and the Vancouver Chamber Choir. She has served as the President of the Jessie Richardson Theatre Awards Society, Vice President of the Touchstone Theatre board, and a member of the Women’s Leadership Circle Advisory at the Vancouver Board of Trade.

  • Director | Pronouns: he/him/they/them

    Johnny Trinh is an interdisciplinary, community-engaged artist whose practice includes: spoken word,
    theatre, music, movement, creative technology with an emphasis on social media and online performance.
    Johnny identifies as a Queer Non-binary Asian artist, and has research focus on Queer Asian Diaspora.
    Johnny is interested in self as performance, and performance of self in relation to building community,
    especially when community seems inaccessible. Johnny is also dedicated to the continual application and
    creation of consent based, decolonizing, and trauma-informed practice when engaging with community to
    create art.

  • Vice President | Pronouns: he/him/his

    Johnny Wu is a bilingual Taiwanese-Canadian interdisciplinary, international performer and creator. As a graduate from Simon Fraser University with a double major in Theatre performance and Criminology, his work seeks to investigate humanity through exploring social justice via storytelling. Johnny believes that storytelling, on stage or screen, is a craft rooted in compassion — inviting participants to submerge themselves into the circumstance and experience the joys and traumas first hand to understand diverse lived experiences from an empathetic mind, critical to the catalyzing of social change. Understanding is the key to change, and storytelling is the hand that turns the key.

    Johnny has trained nationally and internationally with mentors from schools such as Yale, Columbia, NYU, Carnegie Mellon, York University, and National Theatre School, as well as many other independent studios. His theatre credits include The Pink Line: Pain Held Tight presented at the Queer Arts Festival, These Violent Delights presented at the Summerworks Performance Festival, Movement consulting for Animus Anima//Anima Animus presented at The Public Theatre in New York City, Creative consulting for Portrait of my DNA presented at the PuSh Festival. His film and TV credits include Bunny Man placed first in the 10-minute short category and voted as Fan-Choice for best Overall Short at the Mighty Asian Filmmaking Marathon hosted by Vancouver Asian Film Festival. The film screened at 13 international festivals, including the Asian American International Film Festival, Diversion International Shot Film Festival, Cinequest Film & Creativity Festival, CAAM Fest. He can also be seen in CW’s Legends of Tomorrow and Kung Fu.