Speaking on “The Future of Orchestras”.

Music Now! at Scholes Street Studio

7pm — "Saxophone Surprise"with Jessica Jones-Tenor Sax; Tony Jones-Tenor Sax

8pm — Bill Cole-Didjeridu,Sona,Hojok; Larry Roland-Bass; Tiffany Weitien-Drums; Ras Moshe Burnett-Tenor sax & Soprano Sax

9pm — Sandra Sprecher-Piano; Bonnie Kane-Alto Sax & Flute

10pm — Music Now! with Ras Moshe Burnett; Tanya Kalmanovitch-Viola; Katie Down-Flutes; Eriq Robinson-Electronics; Dave Miller-Drums

$20 / Refreshments and light snacks available

The Listening Dyad: A tool for discovering and defining your authentic voice 

This session uses listening dyads (structured, paired discussions in which participant exchange the roles of dedicated listener and speaker) to uncover, define and articulate the essence of our personal, artistic and professional stories. In pairs, participants will first take turns responding to a series of prompts that elicit the key experiences, values, relationships and goals that shape them as artists and people; then mirror one another’s responses to identify what matters most — the “nut graf” that distills a story to its essence. Participants who complete this session will learn a powerful tool for focused listening and storytelling that can be used to engage audiences, craft compelling communications (marketing materials, mission statements, personal essays, pitches, speeches) while, at the same time, building inclusive communities in the classroom. 

Taking place at the same time, and in the margins of, the United Nations Permanent Forum on Indigenous Issues (UNPFII18), the Tracking Change Global Knowledge Symposium brings together academic and community researchers from across three countries, seven academic institutions and sixty local and Indigenous communities and organizations. These project participants and champions are meeting to share results, discuss good practice and plan a path for ongoing research. We invite interested attendees of the UNPFII18, and others, to join us on the evening of May 2nd, 2019 for a unique documentary play, with music, about our complex and sometimes unseen relationship with oil.

The Westerlies Present Second Sundays

Tanya Kalmanovitch, viola

Luke Stewart, bass

Benefit performance for Biodiversity for a Livable Climate and Better Future Project. With Ted Reichman, accordion.

Developmental working of the Tar Sands Songbook presented by En Garde Arts’ Uncommon Voices series at Brooklyn Commons. Monday April 1 at 7:30 p.m. With Andrew Boudreau, piano and accordion.

Spoken word performance of my essay, 'How Quitting Music Made Me An Artist' with live, improvised musical accompaniment. Produced by New England Conservatory student Emma Gies and her EM Grant-winning project, Under Our Skins that dispels race and gender stereotypes though oral history and musical improvisation.

Reading at a private home in Concord, MA. Details to follow.

The 'Tar Sands Songbook': Music, memory and autoethnography in climate research

By now, the figure of the scholar/performer/activist is a familiar in ethnomusicology, but its gaze is often fixed on a distant place. As research processes and products, 'autoethnography' and 'research-creation' describe methodological and epistemological interventions. They challenge canonical practice by augmenting the kinds of questions we ask, the kinds of places in which we look for answers, the kinds of information we capture, and the kinds of perspectives we acknowledge in our research. In this paper, I discuss how autoethnography and research-creation shape my work on the Tar Sands Songbook, a multimedia theatrical performance that animates my research on the social-environmental impacts of oil development in my hometown of Fort McMurray, Alberta, Canada. In my lifetime, rapid development of the Athabasca Oil Sands has transformed Fort McMurray into "the largest and most destructive industrial project on earth". This paper examines how I use my knowledge as an ethnographer, performer and citizen to drive a critical exploration of a challenged landscape and its diverse population. I discuss how my dual citizenship (at once, a native of a working-class, northern Canadian mining town and a citizen of an urban American intellectual and artistic elite) qualify my fieldwork in a place marked by sharp racial, class and political divides. Broad scientific consensus on the human causes of global warming has not effectively mobilized public action. This paper augments the literature on climate change communications by exploring how music, memory and performance invite a broader public into imaginative and intellectual encounters with climate research. 

Reading in a private salon. Email me for details.

Featured speaker at a round table on gender, culture and jazz at The New School.

A reading of the Tar Sands Songbook sponsored by New England Conservatory's Intercultural Institute and Music 2050 Working Group.  With Anthony Coleman, piano. Free and open to the public.

Soup and Sound #110–Music & Words Night

Set one: Denman Maroney and Lisa Karrer

Set Two: Tar Sand Songbook reading

DENMAN MARONEY and LISA KARRER have worked together in many contexts over three decades. Their projects and collaborations include: Maroney’s 2017 performing residency at the Stone, and his 2012 historical chamber work Claudius Smith (with video and vocals by Karrer); Endangered Opera at Galapagos in 2000 (featuring works by Karrer, Maroney and David Simons); Karrer’s 1999 duo piano concert at Greenwich House (featuring Maroney and Jerome Kitzke); The Birth of George (the 1997 chamber opera by Karrer and co-composer Simons), and ensembles such as Gamelan Son of Lion, Dark Matter, and the Simons-Karrer Band.  

For Soup & Sound Karrer and Maroney will present a diverse set of acoustic works for voice, keyboard and hyperpiano, with special guests percussionist DAVID SIMONS and bassist RATZO HARRIS joining them on several pieces.

Soup & Sound--292 Lefferts Ave. Brooklyn, NY b/n Nostrand & Rogers. $20 suggested donation. Soup & Sound is a program of Continuum Culture & Arts, Inc. a non-profit 501(c)(3) organization.

Pianist and composer Gabriel Zucker is hosting us as part of his  series at the Brooklyn Navy Yard venue.

1. Set One:  [Switch~ Ensemble]
2. Set Two: Kalmanovitch Maneri Duo
3. Set Three: Nina Dante and Gabriel Zucker.

Performing an except from the "Tar Sands Songbook" at the CI Opening Night concert. 

Tanya Kalmanovitch, spoken word & fiddle

Hankus Netsky, accordion

Freedom Music Festival presents Kalmanovitch Maneri Duo with Högberg & Dahlgreen  and Rafaelov/ 

Set 1: Jaimie Branch / Tsecher Holmes / Karen Ng
Set 2: Kalmanovitch Maneri Viola Duo
Set 3: Val Jeanty

Sharing the results of my workshop with Katie Pearl. With Andrew Boudreau on piano.

As guest faculty at the League of American Orchestras' Essentials of Orchestra Management training program, I'll be leading a session called "The Future of Orchestras". 

Recording with Wadada Leo Smith, Gwen Laster, Stephanie Griffin, Jason Kao Hwang and Hardedge.

A festival/symposium curated by David Rothenberg and Nicola Hein

Improvisation, the spontaneous creation of music live, has paradoxically benefited tremendously from the value placed on recording performances, so past improvisations can be meticulously praised and studied. Now that recordings stream endlessly everywhere for free, and their value to some has plummeted to zero, how does this relationship proceed?

Featuring 30 minute sessions from George Lewis, Fred Moten, Tanya Kalmanovitch, Dafna Naftali, Andrew Drury, Hans Tammen, Sarah Weaver, David Grubbs, Ally-Jane Grossan, Nicola Hein and David Rothenberg.

An illuminating work of documentary theater, The Tar Sands Songbook asks us to reconsider our unseen relationships with oil. Creator Tanya Kalmanovitch knows these relationships all too well. Born in Fort McMurray, Canada, near the site of the Athabasca Oil Sands, the world’s largest bitumen reservoir, she made her decision to become a musician as a teenager because “it had nothing to do with oil.” Fort McMurray has since become a flashpoint of international clashes over energy, the environment, and the economy. Kalmanovitch's polyphonic piece weaves together a chorus of actors' voices with an original, improvised score. The words of indigenous activists, engineers, heavy equipment operators, elders, oil patch workers, scientists, and those of her own family fuel discussions of our past and the powerful forces that shape our future. 

I'm presenting a talk on the Tar Sands Songbook to Dr. Niko Higgins' seminar, "Ecomusicology: Music, Activism and Climate Change". 

New duo recording in the works. I recognize that I mainly record in duos. I see no reason to stop the trend. 

An illuminating work of documentary theater, The Tar Sands Songbook asks us to reconsider our unseen relationships with oil. Creator Tanya Kalmanovitch knows these relationships all too well. Born in Fort McMurray, Canada, near the site of the Athabasca Oil Sands, the world’s largest bitumen reservoir, she made her decision to become a musician as a teenager because “it had nothing to do with oil.” Fort McMurray has since become a flashpoint of international clashes over energy, the environment, and the economy. Kalmanovitch's polyphonic piece weaves together a chorus of actors' voices with an original, improvised score. The words of indigenous activists, engineers, heavy equipment operators, elders, oil patch workers, scientists, and those of her own family fuel discussions of our past and the powerful forces that shape our future. 

TAR SANDS SONGBOOK: PERFORMANCE AND PANEL
Tishman Auditorium, The New School, 63 Fifth Avenue
Tickets free, reservations recommended

Performed by Jennifer Van Dyck, Peter Fernandez, Tanya Kalmanovitch and Evan Allen. Post-show discussion with special guest, Radhika Subramanian. Directed by and written with Cecilia Rubino. Media design by Steve Byram.

Presented by the Tishman Environment and Design Center as part of #DisruptClimateInjustice, a University-wide curriculum disruption.