conscient podcast

• e235 lallan – art from the soil

  My advice to artists would be drop every garb that you have, drop every piece of knowledge that you think you have. Head to the jungles, head to the rural places. We are living in a time of crisis. We need artists more than the scientists. We need artists more than the healers. We need artists more than anything because arts connect everybody. We need songs, we need stories, we need pictures, we need circles, we need Ubuntu to prosper. Traditional Western ways of, colonized ways of working will not save us as a species. They're not going to help us. They're only going to destroy. And the traditionally arts ecosystem exists like that everywhere in the world. Now we know that it's been going on for hundreds of years. We need to destroy that as artists and we need to head to where our roots are, which is in the soil. And our arts come from there.I met Lallan (Anirudh Lallan Choudhry) at the Sunshine Himalayan Cottage facility in the Tirthan Valley, Himachal Pradesh, India. The managing host of this facility, Panki Sood, introduced us. Lallan, is a multi-disciplinary artist and socially engaged artist who practice is ‘rooted deep in working with the earthen, on a severe lookout for the conditions which enable genuine co-authors within communities, forming narratives through extra-human design and enquiry’. He is the founder of Baadii, a rural art-house in Himachal Pradesh where he currently lives and is also working on community arts projects at Sunshine Himalayan Cottage with Panki and his team, which you’ll hear about in a few minutes. I want to thank Panki for introducing us and Lallan for this first conversation. Note: You can hear his latest musical production, Kyun, here). Below is a rough translation of the lyrics :Why is the world caught up in making excuses stillWhy are the machines continuously pumping smoke in the airBy whose permission did we dump all the garbage in the sea And who are the idiots building these dams trying to tie free rivers What is all this and why is this evenWhat is this world that humans are desiring? If everything is one day bound to be left here on the groundThen what is the use of constant fighting, over and over again?And why is it that we fill bombs and continue to drop them on our very own children? We are intoxicated by the notions of borders and religionAnd continue to revel in the blashpemy of it all So why is this evenThat destruction and more destruction is the only thing we want?  Those who can be quiet and just listen, where are they?Why are my torchbearers full of greed who want to sell the world?Those who divide the we into you and meWhy has everyone chosen them to lead?Those who dry down the rivers and erase forests Whar are they doing in everyone's share of the earthWhy are the deprived, still deprivedWhat kind of progress is this? Wherever you see, its filled of smokeWhat kind of a fire of hatred have they fueled  Douse it, douse it, douse itLet us breathe, of whatever breath is left Whatever little is left of life  Might also die, if you do not stop!Show notes generated by Whisper Transcribe AI:Action pointsEmbrace traditional wisdom by learning from rural communities and their sustainable practices.Create art that addresses socio-political issues and promotes cultural movements.Build community art spaces that foster collaboration between artists, naturalists, and local populations.Highlight the cultural importance of ecological regions through art and storytelling.Negate purely aesthetic work in favor of art that drives social and ecological change.Story PreviewImagine an artist who champions rural wisdom, bridging ancient traditions with contemporary art to spark cultural and ecological movements. Discover how Lalan is building vibrant arts ecosystems in the Himalayas, proving that art can be a powerful catalyst for change.Chapter Summary00:00 The Call for Artists01:29 Setting Up an Arts Ecosystem03:25 Learning from Rural Communities06:30 Art as a Medium of Connection08:06 The Journey of a Self-Taught Artist10:01 Creating Impact Through Community Art12:28 Current Projects and Future AspirationsFeatured QuotesWe need artists more than the scientists. We need artists more than the healers… because arts connect everybody.The traditionally arts ecosystem exists like that everywhere in the world…We need to destroy that as artists and we need to head to where our roots are, which is in the soil.How can you as an artist live and create work in a rural so called remote setting where nobody even expects a doctor or an engineer to even work. So how can you make art there? Behind the StoryLallan’s journey from documentary filmmaker to socially engaged artist is rooted in a deep connection to rural communities and a desire to address pressing ecological and cultural issues. His work challenges the dominance of Western artistic models, advocating for a return to traditional wisdom and collaborative art practices that empower local voices. *END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

  --------  

  15:01

  --------

  15:01
• e234 emily marie séguin – a sense of community

  Alongside the responsibility of holding people accountable and calling out what they see as unjust, I think that there's also an element of hope with artists, even when we're maybe a little bit melancholic, or even when we're in heavier periods in our lives, the act of creating denotes hope, because why would you create something if you didn't believe that it was going to lead to something? Why would you put energy into something if you didn't hope that it would nurture either a change or a feeling of belonging or something that'll bring people together and that will create a sense of community?My conversation with Emily Marie Séguin, a Franco-Ontarian 2-spirited performer, musician, theatre creator and visual artist of settlers and Anishinabe descent who creates work to recognize those who walked before her, and to support those who will after her. I wanted to speak to Emily because she is member of Éclore, a collective that builds bridges between artistic, environmental and activist communities, bringing people together and building hope for a fairer, more sustainable future. I had already spoken with Léa Vandycke, about Éclore, in episode 164 of balado conscient, and so Emily is about to tell us, in English, the story of Éclore from her point but she will also talk about her own work and vision as an indigenous artist, such as her G’zaagiin maleńki – I promise you a forestproject. I also had a French language conversation with Emily, see balado conscient épisode 168.Show notes generated by Whisper Transcribe AIAction pointsDiscover the mission of Éclore and how it fosters collaboration between artists, scientists, and activists.Explore the role of art in advocating for social causes, environmental protection, and Indigenous sovereignty.Learn about Emily’s project, G’zaagiin maleńki – je te promets une forêt and its goal of connecting young people with the sounds and importance of nature.Understand the significance of Indigenous voices in land-based solutions for a just and sustainable world.Gain actionable steps for artists and cultural workers to engage in advocacy and support grassroots movements.Story PreviewImagine a world where art, environmentalism, and activism intertwine, creating a tapestry of hope for a sustainable future. Emily Marie Séguin, a passionate Two-Spirit artist, shares her journey of bridging these worlds through her work with Éclore and her dedication to honouring the land.Chapter Summary00:00 The Duality of Art: Accountability and Hope01:23 Introducing Emily Marie Seguin03:44 The Birth of Éclore: A Collective for Change07:15 Art as a Reflection of Nature11:43 Taking Action: Empowering Artists and Cultural WorkersFeatured QuotesThe act of creating denotes hope, because why would you create something if you didn’t believe that it was going to lead to something?I think that the fight towards a more just and sustainable world, especially in a land-based context, needs to include Indigenous voices.Without hope, we wouldn’t do anything, we wouldn’t act, we wouldn’t continue to fight.Behind the StoryEmily’s involvement with Éclore stems from a deep-seated passion for plants, nature, and advocating for social justice. Inspired by the vision of Éclore's founders, she joined the collective to help build a community that serves as a resource for artists and fosters conversations across diverse disciplines, all united by a common goal of protecting the land and promoting sovereignty. *END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

  --------  

  15:01

  --------

  15:01
• e233 andrew freiband – care as artistic practice

  If we start to pay attention to what we pay attention to then we start to naturally slow down. We disconnect from the urgency, the crisis, and we start to realize that care, and I don't just mean care for one another, although that's a piece of it, but care also for our surroundings, care for our time, care for those nearest to us. That is where it begins. That is valuable work that is not recognized. I think that is what we can do on a day-to-day basis. That over a long term becomes artistic practice and becomes culture.My conversation withknowledge producer, artist, facilitator and director of the Artists’ Literacies Institute, Andrew Freiband. Our conversation was recorded, via Zoom, on April 18, 2025. My previous conversation with Andrew was on conscient podcast e13 in 2020 called weaving art into action, when we both participants in the Creative Climate Leadership course USA. Five years later, I was happy to discover that Andrew, informed by the work of British artists and writer  Alana Jelinek, continues to weave art into action, notably with through his Systems Thinking for Socially Engaged Artists project, a seminar and dialogic discussion activity that introduces artists to basic concepts of systems science so we fleshed this out and Andrew and also talked about how the arts can be more useful to the near term and long-term future of our species. Show notes generated by Whisper Transcribe AIAction pointsRecognize the value of artists’ unique knowledge and perspectives beyond just their art.Understand artists as systems thinkers who can connect various systems, including economic and power systems.Challenge the notion that art should not be useful and embrace its potential for practical application.Pay attention to what you pay attention to, cultivating care for surroundings, time, and relationships.Consider the long-term cultural impact of artistic practices, which can outlast political and social structures.Story PreviewImagine a world grappling with mass grief during a pandemic, where traditional rituals are impossible. Discover how artists stepped up to create new ways to mourn and connect, revealing the profound value of art beyond aesthetics.Chapter Summary00:00 The Power of Attention01:01 Revisiting Conversations02:50 Art in Crisis: The COVID-19 Response05:15 Creating the Artist’s Grief Deck07:16 Rethinking the Role of Artists10:07 Navigating Systems and Agency12:21 The Intersection of Art and Activism13:50 The Slow Work of CultureFeatured QuotesIf we start to pay attention to what we pay attention to, we start to naturally slow down.Artists are valuable not for the art, but valuable for what they know and how they know it.Artists attention is enormously valuable…maybe the key currency of being an artist that we pay attention.Behind the StoryDuring the height of the COVID-19 pandemic, disaster relief agencies faced a challenge they weren’t equipped for: mass grief in isolation. Recognizing artists’ historical role in creating rituals, they sought help in developing new tools for mourning. This led to the creation of the Artist’s Grief Deck, a project highlighting the practical and connective power of art. *END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

  --------  

  15:01

  --------

  15:01
• e232 meghan moe beitiks - angles of consequence

  Even being confronted with something that is weird or uncomfortable: it’s character growth. You have to ask the question: why is this person doing this weird thing? It's a good exercise in empathy, to be perfectly honest. Why is this person doing this thing? Why does that make me uncomfortable? What, what is it about my perception that has shaped this experience for me? I feel like those are really essential questions for us to be constantly asking ourselves, especially in an age where there's a lot of discord, a lot of dissent and a lot of disagreement. And the better we understand ourselves, the better we're able to engage with humans who are different than us.My conversation with Meghan Moe Beitiks, assistant professor in theatre at Concordia University in Montreal. Meghan Moe is an artist and designer working with associations and disassociations of culture, nature and structure. Our mutual friend Ian Garrett thought we might get along. We did. Our conversation focused on Meghan Moe’s Angles of Consequence project, a season of site-specific performances with Canadian performers to create work with reflected sunlight in key sites of climate advocacy and destruction in Québec. Meghan Moe and I had tea in Montreal. It was a very, enlightening, conversation. Show notes generated by Whisper Transcribe AI:Action pointsRecognize art’s crucial role in processing emotions and spreading information during crises.Explore the use of reflected sunlight in art to highlight climate change issues.Support Indigenous resistance against fossil fuel expansion as an effective climate action.Consider the impact of positionality (literal and cultural) on our perspectives.Utilize resources like Canada Green Tools to calculate and reduce the carbon footprint of events.Story PreviewImagine art that dances with the sun, revealing hidden truths about our planet’s climate crisis. Megan Moe’s ‘Angles of Consequence’ uses reflected sunlight in powerful performances, sparking dialogue and demanding action.Chapter Summary00:00 The Power of Empathy01:05 Introducing Megan Moe01:31 Angles of Consequence03:08 Art as a Tool for Understanding04:35 Reflected Sunlight and Climate Change07:09 Indigenous Resistance and Environmental Impact09:49 Collaborating with NatureFeatured QuotesWe also need moments of digestion…to absorb and understand what we’ve experienced and what we’ve learned.The sun is not going to show up on your time. It doesn’t care whether you’re giving a performance.Being able to witness that up close and consider what that human is doing in relationship to your own humanness, I feel like makes us all clearer, more grounded and better.Behind the StoryMegan Moe’s project, ‘Angles of Consequence’, emerged from pandemic isolation and a fascination with reflected sunlight. It evolved into a series of site-specific performances addressing climate change in Québec, highlighting both the destructive forces of fossil fuels and the powerful resistance of Indigenous communities. The project aims to create an open-access guide, encouraging global engagement with sunlight performance art. *END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

  --------  

  15:00

  --------

  15:00
• e231 kelly wilhelm – what can we contribute?

  Part of the answer to that question lies in the arts and culture understanding the role it can have in a time of collapse or crisis, and to understand that itself is not in crisis. I think that's a big point because we hear a lot right now around the crisis that is happening in cultural institutions and in the arts. And in fact, the crisis that is happening is in our world, right? It's an ecological crisis, it's a world order crisis, it's a humanitarian crisis. The arts themselves have a lot to contribute to these moments in terms of meaning, belonging, helping us to process those crises. But the arts themselves are not in a crisis. What we can do, though, is place ourselves within those larger crises and ask the question, what can we contribute that's of meaning and value to people as they experience these other things that are really significant in the world that we're living in right now.My conversation with consultant and strategist in public policy, arts, culture and creative industries, Kelly Wilhelm, who currently leads the Cultural Policy Hub at OCAD University in Tkaronto. Kelly is a long-time friend and colleague with whom I have had many passionate conversations about art, culture, leadership, life and how to have fun through it all. This conversation was no exception.  We talked a lot about precarity in the arts sector but also its resilience. You’ll hear me refer to Kelly’s A New Project on Precarity and Sustainability article in the recording.  I love the way Kelly always finds a way to ask good and timely questions.Episode notes generated by Whisper Transcribe AIAction pointsChallenge traditional leadership models in arts organizations to foster inclusivity and relevance.Advocate for the arts and culture in broader public policy discussions, including areas like AI.Examine the financial conditions and precarity affecting individual artists and creators.Re-evaluate the not-for-profit model in the arts to identify sustainable governance structures.Promote collaboration between arts organizations and other sectors to contribute to democratic processes and public good.Story PreviewWhat if the arts aren’t in crisis, but are actually a crucial part of the solution to global challenges? Kelly Wilhelm challenges conventional thinking and inspires us to reimagine the role of cultural institutions in today’s world. This episode dives into leadership, equity, and the resilience of the arts sector. Chapter Summary00:00 The Role of Arts in Crisis01:16 A Conversation with Kelly Wilhelm02:25 Connecting Cultural Institutions to Communities04:53 The Changing Role of Cultural Institutions06:08 Rethinking Leadership in the Arts08:51 The Cultural Policy Hub at OCAD University10:51 Addressing Precarity in the Arts SectorFeatured QuotesThe arts themselves have a lot to contribute to these moments in terms of meaning, belonging, helping us to process those crises.We need to be much more flexible in how we think about structure and how we think about how we deliver that meaning.How do we ensure that these institutions are led, that they… are reflective and meaningful to the people that they are there to serve.Behind the StoryKelly Wilhelm’s journey began with a concern about the disconnect between cultural institutions and the communities they serve. Beginning her career in Toronto in the late 1990s, Kelly saw the contrast between the work show and stories told in public art galleries and museums, and the diverse communities outside their doors. She became determined to bridge this gap. Her work at the Cultural Policy Hub at OCAD University is an example of her commitment to equity, relevance, and the power of the arts to create meaningful change. *END NOTES FOR ALL EPISODESHey conscient listeners, I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back.In parallel with the production of the conscient podcast and its francophone counterpart, balado conscient, I I publish fee ‘a calm presence' Substack see https://acalmpresence.substack.com.Your feedback is always welcome at [email protected] and/or on social media: Facebook, Instagram, Linkedin, Threads, BlueSky, Mastodon, Tik Tok, YouTube and Substack.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 8, 2025

  --------  

  15:01

  --------

  15:01

More Arts podcasts

Trending Arts podcasts

About conscient podcast

conscient podcast: Podcasts in Family