C’est comme dire qu’on fait de l’art, mais c’est un art qui, tout d’un coup, juste comme ça, est déposé. On n’essaie pas de le montrer, mais plutôt, on essaie de vivre quelque chose et de faire vivre des choses avec les gens et donc, sans être dans la zone de médiation culturelle, mais d’être dans une zone d’expériences, d’échanges et donc que je ne contrôle pas, comme, par exemple, au théâtre, une bulle dans lequel je contrains le spectateur à regarder et à focaliser uniquement sur ce que je suis en train de lui raconter. Comment on peut se raconter la planète, comment on peut se raconter l’expérience terrestre quand on partage un lieu entre branches, glaise, pansement de réparation, des traces de la terre sur une toile ou soi-même couchée sur la terre? Peu importe, tous les éléments que l’on pourrait apporter comme traces possibles d’une expérience partageable et de là , tout d’un coup, naît des images de notre partage de l’écologie.
daniel danis, balado conscient, 4 juin 2021, Québec
Daniel Danis est l’auteur d’une vingtaine de pièces de théâtre, dont sept pour le jeune public. Ses pièces de théâtre sont traduites en plusieurs langues et présentées dans le monde. Les textes Cendres de Cailloux, Le chant du Dire-Dire, Kiwi, Le langue-à -langue des chiens de roches, le roman-dit, Terre Océane, se méritent de nombreux prix au Québec, au Canada, en France et en Allemagne. Parallèlement à l’écriture, Danis a entamé des explorations en art multidisciplinaire et en art durable.
Un jour en 2019 Daniel me téléphone au Conseil des arts du Canada et me dit ‘il faut faire quelque chose, maintenant!’. Il me parle des problématiques tel les conflits entre les peuples et les désastres terrestres qui obligent les humains à repenser leur lien social entre eux et le partage du territoire redessiné par la nature, etc.
Daniel m’invite à un panel sur l’art durable dans le cadre du festival Mois multi à Québec le 9 février 2020, avec, entre autres Loïc Fel et Benedicte Ramade. Je reconnais en Daniel un chef de fil en matière d’art et d’environnement au Québec.
J’ai beaucoup apprécié notre échange, dont cet extrait sur les ondes (le son) :
Pour moi, une manifestation de l’art doit émettre des ondes et ça ne se voit pas, ça se ressent et donc ça demande à l’être – ceux qui participent avec moi dans mes projets ou moi-même sur l’espace que je vais manifester ces objets là – d’être dans une porosité de mon corps qui permet qu’il y ait des ondes qui se produisent et forcément, ces ondes-là , mélangé à la terre et que tout un ensemble, on est en coopération. C’est sûr que ça a un effet invisible qui est l’onde et qui est l’onde du partage, du partage, même pas du savoir, c’est juste le partage de notre existence sur terre et comment être des coopérants?
Je remercie Daniel d’avoir pris le temps d’échanger avec moi et de partager sa passion pour le théâtre, de l’art qui dure et le rôle grandissant de l’artiste dans la crise écologique.
Vous trouverez de plus amples informations sur Daniel https://fr.wikipedia.org/wiki/Daniel_Danis
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(traduction)
It’s like saying that we make art, but it’s an art that, all of a sudden, just like that, is offered. We don’t try to show it, rather, we try to experience something and to make people experience things and therefore, without being in the zone of cultural mediation, but to be in a zone of experiences, of exchanges and therefore that I don’t control. For example, in the theatre, a bubble in which I force the spectator to look and to focus only on what I am telling them, how can we tell ourselves about the planet? How can we tell ourselves about our terrestrial experiences, where we share a place between branches, clay, repair bandages and traces of the earth on a canvas or ourselves lying on the earth? No matter, all the elements that one could bring as possible traces of a shareable experience are present, and from there, all of a sudden, images of our shared ecology are born.
Daniel Danis, conscient podcast, June 4 2021, Québec
Daniel Danis is the author of some twenty plays, including seven for young audiences. His plays have been translated into several languages and presented around the world. The texts Cendres de Cailloux, Le chant du Dire-Dire, Kiwi, Le langue-à -langue des chiens de roches, and the novel Terre Océane have won numerous awards in Quebec, Canada, France and Germany. In parallel to his writing, Danis has begun to explore multidisciplinary art and sustainable art.
One day in 2019, Daniel calls me at the Canada Council and says ‘we have to do something, now!’ He talked to me about the conflicts between peoples and earthly disasters that force humans to rethink their social ties with each other and the sharing of territory redrawn by nature, etc.
Daniel invites me to a panel on sustainable art at the Mois multi festival in Quebec City on February 9, 2020, with, among others, Loïc Fel and Benedicte Ramade. I see in Daniel a leader in art and environment in Quebec.
I really enjoyed our exchange, including this excerpt on the air (the sound) :
For me, a manifestation of art must emit waves and it is not seen, it is felt and therefore it requires the being – those who participate with me in my projects or myself on the space that I will manifest these objects there – to be in a porosity of my body that allows that there are waves that occur and necessarily, these waves the, mixed with the earth and that a whole set, we are in cooperation. It is sure that it has an invisible effect which is the wave and which is the wave of sharing, of sharing, not even of knowledge, it is just the sharing of our existence on earth and how to be co-operators?
I would like to thank Daniel for taking the time to talk with me and share his passion for theatre, for art that lasts and the increasing important role of the artist in the ecological crisis.
You can find more information about Daniel at https://en.wikipedia.org/wiki/Daniel_Danis
The post é48 danis appeared first on conscient podcast / balado conscient. conscient is a bilingual blog and podcast (French or English) by audio artist Claude Schryer that explores how arts and culture contribute to environmental awareness and action.
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About the Concient Podcast from Claude Schryer
The conscient podcast / balado conscient is a series of conversations about art, conscience and the ecological crisis. This podcast is bilingual (in either English or French). The language of the guest determines the language of the podcast. Episode notes are translated but not individual interviews.
I started the conscient project in 2020 as a personal learning journey and knowledge sharing exercise. It has been rewarding, and sometimes surprising.
The term ‘conscient’ is defined as ‘being aware of one’s surroundings, thoughts and motivations’. My touchstone for the podcast is episode 1, e01 terrified, based on an essay I wrote in May 2019, where I share my anxiety about the climate crisis and my belief that arts and culture can play a critical role in raising public awareness about environmental issues. The conscient podcast / balado conscient follows up on my http://simplesoundscapes.ca (2016–2019) project: 175, 3-minute audio and video field recordings that explore mindful listening.
Season 1 (May to October 2020) explored how the arts contribute to environmental awareness and action. I produced 3 episodes in French and 15 in English. The episodes cover a wide range of content, including activism, impact measurement, gaming, arts funding, cross-sectoral collaborations, social justice, artistic practices, etc. Episodes 8 to 17 were recorded while I was at the Creative Climate Leadership USA course in Arizona in March 2020 (led by Julie’s Bicycle). Episode 18 is a compilation of highlights from these conversations.
Season 2 (March 2021 – ) explores the concept of reality and is about accepting reality, working through ecological grief and charting a path forward. The first episode of season 2 (e19 reality) mixes quotations from 28 authors with field recordings from simplesoundscapes and from my 1998 soundscape composition, Au dernier vivant les biens. One of my findings from this episode is that ‘I now see, and more importantly, I now feel in my bones, ‘the state of things as they actually exist’, without social filters or unsustainable stories blocking the way’. e19 reality touches upon 7 topics: our perception of reality, the possibility of human extinction, ecological anxiety and ecological grief, hope, arts, storytelling and the wisdom of indigenous cultures. The rest of season 2 features interviews with thought leaders about their responses and reactions to e19 reality.
my professional services
I’ve been retired from the Canada Council for the Arts since September 15, 2020 where I served as a senior strategic advisor in arts granting (2016-2020) and manager of the Inter-Arts Office (1999-2015). My focus in (quasi) retirement is environmental issues within my area of expertise in arts and culture, in particular in acoustic ecology. I’m open to become involved in projects that align with my values and that move forward environmental concerns. Feel free to email me for a conversation : claude@conscient.ca
acknowledgement of eco-responsibility
I acknowledge that the production of the conscient podcast / balado conscient produces carbon. I try to minimize this carbon footprint by being as efficient as possible, including using GreenGeeks as my web server and acquiring carbon offsets for my equipment and travel activities from BullFrog Power and Less.
a word about privilege and bias
While recording episode 19 ‘reality’, I heard elements of ‘privilege’ in my voice that I had not noticed before. It sounded a bit like ‘ecological mansplaining’. I realize that, in spite of good intentions, I need to work my way through issues of privilege (of all kinds) and unconscious bias the way I did through ecological anxiety and grief during the fall of 2020. My re-education is ongoing.
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