This episode is a lot of fun. When I arrived at No 9 Gardens near Kingston, Tanya Kalmanovitch and her dog Finn were ready to go for a soundwalk on a sunny June 26th 2024 at 7.15am.
My previous conscient conversation with Tanya was recorded remotely in June of 2011 (see e53 kalmanovitch – nurturing imagination) where we talked about music, ethnomusicology, arts education, the climate emergency, arts policy and how artistic practice can nurture imagination.
Our second conversation, equally as engaged and dynamic (but this time in person, and outdoors), picked up on some of these themes with a focus on the impact of Tar Sands Songbook, a documentary theatre play that tells the stories of people whose lives have been shaped by living in close proximity to oil development and its effects.
I had the pleasure of seeing Tanya perform the Tar Sands Songbook at Carleton University (with thanks to Ellen Waterman) in Ottawa and wanted to ask Tanya how it went, and in particular, what it’s like to tour a show about climate change through art, in Alberta.
Tanya wears many hats: she is a violist, an ethnomusicologist, and author known for her breadth of inquiry and restless sense of adventure, including an interest in improvisation, social entrepreneurship, and social action, such as being the mission circle lead of the Sectoral Climate Arts Leadership for the Emergency organization or SCALE which by now, regular listener will know : a network of artists, cultural practitioners, and arts organisations committed to addressing the climate emergency and environmental injustice.
As we walked in the wet fields of No9 gardens I love how Tanya doesn’t hold her punches:
The field where we walked was mushy so you’ll hear of that rich dampness in the recording and our boots and running around of Finn the dog. You’ll also hear, near the end of our conversations children’s entertainer Mr. Rogers, where Tanya sings :
I like you just the way you are, Tanya. Thanks for the full circle walk. We had a lot of fun and so did Finnigan.
Note: I inserted 5 second silences throughout the recording to give some space to the soundwalk.
Excerpts from this episode: