Welcome to Radio LUMI Season 4. In this opening episode Indigenous educator Trina Moyan highlights the significance and importance of Land Acknowledgments. Learn about the Indigenous perspective of Land Acknowledgements, as well as how to give better, more thoughtful ones yourself.
Welcome to Radio LUMI Season 4. In this opening episode Indigenous educator Trina Moyan highlights the significance and importance of Land Acknowledgments. Learn about the Indigenous perspective of Land Acknowledgements, as well as how to give better, more thoughtful ones yourself.
Rebecca Singh (00:10):
Hi, you're listening to Radio LUMI. And I'm Rebecca Singh, one of your hosts. We're just about to launch our fourth season, and before we do that, I, along with the other hosts of Radio LUMI, thought we would gather together to have a conversation about land acknowledgements. It's certainly become common in Toronto or Tkaronto for acknowledgements to be delivered before live events and meetings in the cultural sector at the Luminato Festival, which is the interdisciplinary festival that has given birth to this podcast. Radio LUMI acknowledgements are often given live from the stage and in the last few years, a recorded acknowledgement was played before any virtual or screen-based event. So before we kick off season four, my co-hosts and I have come together along with the brilliant Indigenous educator, Trina Moyan, to discuss and to listen and in our own way to acknowledge the land. I'd like to welcome my co-hosts on the podcast. Everyone, please say hello.
Christine Malec (01:16):
Hello, my name is Christine Malec.
Theodore Walker Robinson. (01:18):
Hi, this is Theodore Walker Robinson.
JJ Hunt (01:21):
Hi everyone. I'm JJ Hunt.
Rebecca Singh (01:23):
And I'd like to welcome our special guest, Trina Moyan. But before we do that, I would love to play the land acknowledgement that has been the Luminato Standard land acknowledgement for the past several years. Let's use that as a jumping point for our discussion this episode.
Two Birds One Stone Collective (02:00):
Trees are standing in the water. The trees, the water, the fish, the weres. 11,000 years ago, water covered this land to the shoreline of Davenport Road. Human activity has existed on this land for over 10,000 years. 10,000 years. The Haudenosaunee, Six Nations Confederacy, the Wendat, The Anishinaabe, Mississaugas of Credit First Nation, the Great law of Peace. Take only what you need. We promise to have only one dish among us. Leave some for everybody else. In it will be beaver tail. Keep it clean. And no knife will be there. Everything will become peaceful among all of the people. And there will be no knife near our dish. Some money, 2000 gun flints, 24 brass kettles, 120 mirrors, 24 laced hats, a bale of flowered flannel, 96 gallons of rum, and Toronto was purchased. Purchased. Except no one, no one can own the Earth. Except, some years and 10 shillings later, they did. Settlement. Independence. Clear cut. Knife. Constitution. Settlement. Government. Relocation. Legislation. Highways. Knife. Constitution. Clear cut. Charter. Federation. Clear cut. The trees, the water, the fish, the weres. 11,000 years ago. I love saying thousands of years ago. I love thinking about it. I looked very different then. I was unshaved. Unpaved. Trees covered my skin, their roots dug deep into my organs, sending their nutrients soaking through my pores. Scruffy, yes, but unblemished. I sang in the rain, hummed in the snow, smized in the sun. My body was a rocky mountain love affair with rivers, lakes, and oceans. My veins, arteries, lungs, and heart. When people walked on my skin, I giggled. The way their toes tickled my extremities. Caressed the long grasses of my belly. Traced the vast deserts around my elbows. When humans buried their dead, I sighed along with them. I held their bodies as they brought it inside me. Fed the worms, created new life. It was all one big orgasm of creation. I know, I know it's easy to look back and romanticize the past. We all do it, don't we? But now my skin is covered in lesions. Clear cut. Sores all over my tender places, saked and ravaged, Shorn and sheared. Clear cut. Overplucked, like a chicken ready for the slaughter. Now my teeth are crumbling, and my hair, my hair, is thinning and falling out. To say I am in rough shape is to make a gross understatement. But I won't go down without a fight. We promise to have only one dish among us, leave some for everybody else. And there will be no knife near our dish. There will be no knife near our dish.
Rebecca Singh (05:59):
So this land acknowledgement was created by the Two Birds One Stone Collective. And any listeners that are interested, the full credits will be available at the end of this episode. So I think I'd just like to take the moment now to welcome Trina Moyan, Indigenous educator. Welcome to Radio LUMI.
Trina Moyan (06:21):
I will say to you, Rebecca, my friend, Han in my language, which is hello and which is a form of thank you for having me, but to properly have this discussion about land acknowledgements, I definitely need to introduce myself properly. So I'll say it in my language, Musk, the one that sings along of my womb, of my womb. That's how I would introduce myself. But I could go on and on and on with a full sub introduction. But inside that introduction was acknowledging where I'm from. My people are who those women, those matriarchs are. And in my own way, I'm giving thanks for that land for those peoples that have given me life and it's all connected to the land. So that's who I am.
Rebecca Singh (08:17):
So that is so interesting. So it acknowledges the land in your introduction itself. It's all parceled together. I think that we are just in a beginning of a learning journey about land acknowledgements and this opportunity that we've had to experience them in the theater and then people being inspired to create their own, which seems to be something that is happening more and more. And then becoming frustrated with perhaps them feeling rote, thinking about land back for example, as next steps. And also taking them as something quite creative, which is sort of what I find so fascinating about the one we just listened to. And now having this discussion with you and hearing you speak your language, it's so beautiful in a way. And I really want to get into all of that. And I know everybody here has questions. The land acknowledgement that we listen to the Luminato Land acknowledgement by the Two Birds One Stone Collective.
(09:28):
I found it so fascinating because of all of its creativity. I find it playful and thought provoking and it's kind of bracing in a way that it includes indigenous perspectives, but to me it doesn't feel like an atonement. And in the past, this has led me to think more deeply about land acknowledgements, just like what you just said causes me to go. Oh yes. And I think we're all coming to the mic today with our own backgrounds and I think we all come with curiosity as we always do here on Radio LUMI. So I just want to open the floor and say to my fellow hosts, if you could maybe start us off by telling us about yourself a little bit in terms of if there is any land that you would claim or that you think would claim you. And then let's bring forward these questions that we have about land acknowledgements to Trina and start that conversation. We really want to make sure we hit all of the opportunities we can get to start off this season correctly. Christine, would you like to start?
Christine Malec (10:41):
Thank you. My name is Christine Malec. I am the granddaughter of people who came to Tuck Toronto and to the prairies from Western and eastern Europe. And I will say frankly that in my upbringing there was no in the family story such as it was, there was no acknowledgement of may or may not have been on the land before we got here. And there was little bits in textbooks which were horribly incomplete and unsatisfactory. And so I come to this process with so much humility and so much curiosity. And what I want to honor in the land that I'm on today is the beautiful fat snowflakes falling that I will walk on later and the crisp air. And I also in this moment of tuck, Toronto, Toronto, I value very highly the diversity that we experience in our city. And all of that said, there's sort of a set of related questions that I come with that Trina, I would be so grateful for your perspective on because my experience of land acknowledgements is in cultural contexts where they're delivered with varying levels of grace and sincerity. And I often sort of metaphorically look around to the audience and think, what is everyone else? How is everyone else reacting? Because I've done some thinking about it, but I know many people haven't. So the concept of land acknowledgements isn't as well understood by as many people as we'd like to think it is in the broader community. Trina, what is your perspective on the intention of land acknowledgements? What are they meant to do from an indigenous perspective? What is their value?
Trina Moyan (12:35):
So to begin with, in terms of the Indigenous perspective of a land acknowledgement, I mean we've been acknowledging the land since time in Memorial and in this region, in this part of Turtle Island, there's always been this sort of ongoing belief that we've been here for maybe 10 to 15,000 years. But archeologist, Cree Metis archeologist, Paulette, Steves just published her book, which I have right here, and I highly recommend you look at it, the indigenous Paleolithic of the Western Hemisphere. And so what she's affirmed through her research along with non-indigenous archeologists and anthropologists is that we've in fact been here for more than a hundred thousand years. So when you consider that we've been here actually for a hundred thousand years, those land acknowledgements would go that far back for indigenous people. So this is just a blip at a moment in time for us.
(13:40):
So I know that was a long answer for that sort of first perspective, but I'm always trying to offer a deeper education about land acknowledgements because it's a lot to unpack. So for the indigenous perspective, for me, you heard me say it in my introduction, the people, the literal translation is, I'm telling you when I say I'm, I'm telling you that I'm a four bodied or four spirited human being. So consider that based on the number four sacred, what am I honoring? I'm honoring the land, the four directions, the four seasons, those four sacred medicines that come from the earth, those four stages of life. It's all connected. And acknowledging that I know that I come from the stars, I know that I'm a Jacque, a star woman and I've been gently placed here on the earth. All of that is an acknowledgement of the land and giving thanks to that mother, that mother earth.
(14:58):
So from an indigenous perspective, that's a land acknowledgement, but we never called them land acknowledgements. They are found and heard in our prayers, in our ceremonies, in our songs, everything is about acknowledging and giving thanks and knowing and understanding that we're just two-legged here. Likely the most unintelligent species on this planet, this beautiful rock that we've been gifted to exist upon. My husband is Mohawk, he's from gwa, so he's of the Haudenosaunee civilization that six nations and they have a Thanksgiving address that they will have ceremony for and sometimes it takes weeks for them to do that Thanksgiving address because they acknowledge every little thing. So there's another example of an indigenous perspective on land acknowledgements, and I respectfully share that I'm not haudenosaunee. So there's respect wrapped up in the acknowledgement as well.
Christine Malec (16:11):
How do you know if you've heard a good land acknowledgement?
Trina Moyan (16:15):
I've heard some terrible ones where people are literally like have their phone open and they're blah, blah, blah, blah, blah, blah, blah. And there's just no spirit, there's no intention. And you know that they don't really care. And then because I do a lot of work with educating and I work with all kinds of different collaborators and allies and accomplices, and they're always asking me how can I do a good land acknowledgement? And so I just tell them what I told you, where does it come from? What are you giving thanks for and what's your intention? Because inside those land acknowledgements, you have to acknowledge that you have a purpose here and it should be for all of life.
(17:06):
In my language, it is the number one law that you love. All of life, all of creation. My jaan, he would tell my mother, don't even hurt a blade of grass. Proceed with respect. So a good land acknowledgement by allies and accomplices would somehow include their own personal experience as a two-legged as human being, acknowledging original peoples, acknowledging our experience, acknowledging that genocide here that has taken place in Canada, and then graciously and respectfully giving thanks, but then setting their intention, what are you going to do? Because there has to be the action connected to the acknowledgement. Because when we do that as indigenous people, that's what we say and we say, thank you creator Atu, great spirit. I will be a good human being. I will use those gifts that you've bestowed upon me to do the best that I can. So for myself, my gift has been as a storyteller and a knowledge share, whatever I've gathered so far and I say to creator and my prayers or my songs and ceremony, I will use those gifts to help my people. I will use those gifts to lift us up. I will use those gifts creator, I promise it's my responsibility. So I've heard good land acknowledgements for people have attached all of that beauty to it and set their intention committed to an action. And then I've heard lousy ones. So long answer. Sorry.
Christine Malec (18:55):
No, thank you. I just learned so much that really deepened my understanding of what it's meant to be because I wasn't sure how much of my myself is meant to be in the land acknowledgement or whether it's meant to be an acknowledgement of who was here before me. And so you've really clarified that for me. Thank you. What do you think is the difference experienced by white settler people versus indigenous people when hearing a land acknowledgement in a public space?
Trina Moyan (19:22):
I can't speak for non-indigenous people and what they're experiencing, but I think I just told you what the difference really is for indigenous people, that we are acknowledging life land creator and acknowledging that we have our responsibility to be the best human beings we can be on this planet.
Christine Malec (19:44):
Thank you.
Trina Moyan (19:45):
Thank you.
JJ Hunt (19:47):
So maybe I'll just jump in now if I may. Trina. It's an absolute pleasure to meet you. My name is JJ Hunt. Hi. I'm a third generation Canadian of British mutt heritage. Really, I'm a third generation torontonian and I certainly wouldn't claim any land, but if any land were moved to claim me, it would have to be West End Toronto. I am someone who walks and wanders, and I am a lover of stories, and many of my walks have been through West End Toronto. And most of my family stories have roots in the west end of Toronto. And the street car, the Saint CLA street car that my kids take every day is the same St. Clair Street car that my dad used to jump on the back of and ride along Toronto streets when he grew up in the stockyards. And those are the same street car tracks that were being put in when my grandfather first arrived into Toronto as a kid from Wales.
(20:58):
So if any land is going to claim me, it would be the west end of Toronto. I'm just in love with this conversation. I thank you so much for it, for being part of it with us. I'm really curious. We are an arts organization. Luminato is all about the arts and radio Lumi. One of the things we do is we take a look at accessibility and art and how they intersect, and that idea of intersecting of land acknowledgement and art and creativity, the land acknowledgement that we just heard, Lumina's land acknowledgement is artful, it's creative. I'm curious about your perspective on the idea of a landed acknowledgement being a starting place for art, for creativity, and turning a land acknowledgement into an art piece essentially.
Trina Moyan (22:01):
Thank you, JJ. Yes. Well, as an artist and an actor and I guess a performing artist now and a writer, my background is in television. I've often asked myself that question as well. So this was a very creative land acknowledgement that two birds put together and it was laced with beauty and pain all at the same time. So for indigenous people, stories, everything, they're not just stories. Inside those stories. You will find all of the code of ethics, the engagements, the protocols of engagement. And so when I think about the arts and how, especially in this case, this recording that I heard, I was so moved by it and fascinated by it and it made me think. Now I don't know if other non-indigenous people stopped and went, Hey, what are they talking about? But that's the point to story. You have to, and the creativity and the art of good storytelling is that there's that lesson inside.
(23:20):
There's that little nugget or that little gem that speaks to you and touches you and pierces your mind, pierces your conscience. So that for me, all of my work I would say is about helping with that process, helping people, because everything I do is indigenous, everything I write the way I think, the way I move, the way I take my steps through the world, the way I'm looking at the snow and I'm giving thanks and I'm wondering, oh, how lovely is that? And how are my people back home in Agan, the Frog Lake First Nation, it's all this creative process of acknowledging the land, acknowledging the people, acknowledging what they're doing, how they're doing, and how am I affecting them even though I'm way over here in Toronto, they didn't explain that I'm from in English, I didn't translate for you from northern Alberta in my first nation is three hours north of Edmonton. So to answer your question, I guess in an artistic way, the land acknowledgement is inserted in everything. My one act play the cave that hummed the song. It was about how do we come back to respecting women in those matriarchal systems and the knowledge that indigenous women carry, continue to carry about medicine and water and land. So I'm not sure if I'm answering your question exactly.
JJ Hunt (24:53):
Absolutely. I mean the notion that they are kind of interwoven, I'm getting a sense of that. I'm getting a greater sense of how creativity and storytelling and land acknowledgement, again, so much of the land acknowledgement that settlers of today are exposed to is more land acknowledgement statement as opposed to a land acknowledgement that is inherent to our understanding of self and conversation and communication. So having a deeper understanding of some original intention is profoundly helpful.
Trina Moyan (25:33):
Yeah, I was thinking too about where you're out there on the west end of the city and you talk about those tracks, and you're right there by Hyde Park, and maybe you're not aware of all of the indigenous history, if you probably noted a lot of those streets have the word Indian.
JJ Hunt (25:53):
I lived on one of those streets and I cringed every time I had to give my address.
Trina Moyan (25:58):
And that's a controversial word, but those names are there for a reason, right? Because those were ancient trails and these people took care of Hyde Park with the Black Spruce and they did those controlled burns. And finally the city is acknowledging that that's how you take care of that park. You have to have those controlled burns to help that life beneath and all those medicines to come in and have the regrowth. So there's all that history there. So creatively, Hyde Park does all kinds of lovely events, and I have indigenous friends there doing amazing work. Carolyn Crawley has started a turtle protection program and she started it in the Hyde Park. And all of that's about the land and the relationship with the water and the people coming there are learning from Carolyn about all that history through protecting turtles. It's all that creative land acknowledgement. There's so much I could say about it. Yeah,
JJ Hunt (26:57):
Absolutely.
Trina Moyan (26:59):
Thank you. Sorry, I have you. I have so many long answers. Sorry.
Rebecca Singh (27:06):
Your answers are beautiful. Thank you Trina. Theo, I invite you to come in with your questions.
Theodore Walker Robinson. (27:14):
Thank you so much for the wonderful conversation. I'm learning so much here from Trina and Trina being in conversation with my colleagues and I'm curious to hear your responses. My background, I mean, I come from an Afro-Caribbean black background. So again, very colonized, very migrated across the Atlantic, very mixed with other cultures, sort of forced mixed with other cultures. And much of my background is hidden or erased and has kind of gone missing as a result of all of these colonial activities. And my, on one side of my family, I come from, well, we were migrated to Trinidad in indentured servitude and we are mixed with Chinese indentured slaves, enslaved Chinese folks. And so I have sort of an Asian African background on one side, colonized on the island of Trinidad. And then on the other side of my family, indentured slaves, enslaved Africans were brought to Jamaica, who then were also mixed with indigenous Jamaicans, those who were already there before the British and the Spanish brought over into enslaved Africans.
(28:40):
Then we became free people, Ghanaian slaves who ended up throwing over the British and the Spanish. They ran into the mountains into the bushes and became free people, and they became known as maroons Jamaican maroons and Spanish maroons. And they eventually ended up becoming mixed with the indigenous folks, the land of Jamaica. And now here I am living in Canada in to Toronto, but spent most of my time in Mississauga, the treaty territory of the Credit First Nation and the traditional territory of the Anishnabe and the Haudenosaunee and Wenda. I am coming from a lot of different backgrounds, but I really love this practice of when we introduce ourselves, kind of going back to the generations before us and what impacted and what has changed them and what experiences they have had in order to bring them to where they are right now. Because that really has helped me to really understand my origin story, my point of origin, and sort of work out how I am to act right now in this point of time, acting as an abolitionist, as someone who works towards the liberation of black lives, of indigenous lives for reparations, for land back.
(30:14):
These are the directives that I have in my own activism at this time. But I do have some questions for you, Trina, about our global audience and the meaning of land acknowledgement practice when it comes to how Radio Lumi is distributed, our work will be listened to by basically anyone. It can be listened to by basically anyone all over the world, some people who will be very familiar with what colonization is like, what genocide, the practice of genocide is like, and to be under the rule of colonialism and have been colonized peoples. And then there will be people who don't have that experience of colonialism. What would the practice of land acknowledgement mean to a global listener, if you were to reflect on that?
Trina Moyan (31:12):
Yeah, I was thinking about this quite deeply this morning, and I feel that because my background being in the media and the responsibility that this show and all of you as producers would have globally, because you're sending out information, you're influencing minds, and it's really a very powerful position to have. I mean, we know how powerful media is. So I would say that you probably, and if I were amongst you as one of the producers, you would have to internally have that discussion together. I was just at a board meeting last night and my friends there on the board, we were trying to sort out where are they at in terms of their responsibility, how much knowledge do they carry in terms of indigenous history and presence in this city, and how do we move forward? So I think you as a group have to have that discussion.
(32:13):
What is it that you want to tell your listeners all over the world? Do you want to tell them, Hey, where are you living right now? Who are the original people? If you haven't taken the time to consider it, maybe you should. I think those are maybe questions that you might want to send out to the world to find out or to make that effort, to encourage them to recognize colonized histories, marginalized peoples, wherever your listeners may be. A major step, I think, in decolonization is for people to remember themselves. Because if you can remember, find out who you are, where are you from, what are your principles, what did your grandparents, your ancestors do and believe and stand up for? What are those like a metaphorical metaphysical bundle that you carry the rules of engagement? If people can find that and if you can encourage them to do that, they'll have a deeper respect for themselves and then they'll have a deeper respect for the original people's land that they're living on. And it just makes the world a better place when people know who they are, because then you're grounded in something. And as I'm speaking to you, I always hold either a braid of sweetgrass or a rock, something that grounds me so I remember who I am, so then I can respectfully proceed in my life, in my work and with the people that I'm working with.
Theodore Walker Robinson. (34:03):
That's great. I mean, the practice of just remembering who we are and the people before us and what makes us what we are, I think is such a huge part of what makes the land acknowledgement so special and so important and so needed. It grounds us at the end of the day. It grounds us in who we are and what our responsibilities are to each other and to the generations that are coming before us and our responsibilities to the land that's been entrusted to us. So that's so beautiful. Thank you so much, Trina. And one more question for you. In terms of radio Lumi, how do you think we can better practice land acknowledgement? How can we continue this conversation in creative ways so that our listeners kind of get in the habit of thinking critically, thinking deeper about the meaning of land acknowledgements?
Trina Moyan (35:02):
I love this question because the land acknowledgements that I'm hearing are just, again, as Rebecca explained, they're rote, they're red, it's just the blah, blah, blah, blah, blah, blah, blah. The idea that needs to be attached to that is that it's living, it's alive. It's constantly going to be changing because when indigenous people acknowledge, they're also acknowledging what's going on in the moment. So I always encourage people, I'm working a part of my work at Daniel's, which has five programs, architecture, landscape architecture, urban design, visual arts, and forestry. So I'm working with all of these students. Many of them are international students, and so I'm always encouraging them to deeply consider what's going on in the moment because now they want to do land acknowledgements when they present their projects. So attach in the moment what's happening. For instance, I had a friend who acknowledged she did the regular sort of land acknowledgement, but then she also acknowledged those indigenous women that have been left in the landfill in Winnipeg. So the land acknowledgement needs to be alive. June is coming up and there's tons of events going on. You might want to acknowledge that. And indigenous people are in deep ceremony, they're acknowledging the summer solstice. I have to go home to Sundance. Just even those beautiful moments where I've heard my friends say for those on the powwow trail traveling this summer, travel safely, they can be as simple and beautiful as that, but then they can be deeper treaty week, the first week in November, what treaty you're living on.
(36:57):
So those are some of the things I would say that can make the acknowledgement alive.
Rebecca Singh (37:03):
Trina, that's so amazing. Thank you so much. This has just opened up for me a sense of responsibility to the time that we are spending with people and having a really clear guiding sense of self, even if we are a team as raining on the team radio Lumi in terms of intentionality and what is it is our intention. I think this is just a really beautiful gift that has come from this conversation, at least for me. So I should introduce my background. So I'm Rebecca. Everyone knows I am a Nigerian, German Canadian. I have a Sikh background as well, and I'm a child to first generation immigrants to Canada. I'll basically say that I sort of feel like I represent in this conversation, and maybe to the listeners out there, somebody who's quite mixed. I have a mixed background. I did try and on my German side, I was in Germany, I was speaking to my uncles and aunts in their eighties, and I was saying, where do we come from?
(38:09):
Tell me about this place because they still live there where our family, they've traced our family back many, many generations. And the answer totally surprised me. It's a melting pot for people from all different regions and everyone's always been mixed. So that's just kind of interesting and I'm riding on that theme in my life because there are other aspects of my background, which I've been not connected to or disconnected from. And I think just as a last point before we wrap this episode up, my question goes even more specifically to the specificities of digital being online. And I've seen people do a land acknowledgement that talks about the location of their servers. So for us, we're using Buzzsprout, which is in Jacksonville, Florida, OneDrive, which is based here in Toronto. And then there's Lumin NATO's website, which is hosted out of Palo Alto in California. Do you have advice about how to create a land acknowledgement relating to such a digital landscape, or does it all come back to what our intentionality is? What advice would you have for us?
Trina Moyan (39:22):
I think it does just, it comes back to you. I mean, this is all indigenous land, turtle Island, north America, so wherever your server is, wherever those connections are for you to broadcast, et cetera, I mean, it's Turtle Island, and I think yes, it just needs to come back to who you are as a group and yeah, what is it that you want to do to set that intention and to make a difference because you have the power to do that, you're broadcasting all over the place. So I think that's probably it simply,
Rebecca Singh (39:56):
Yes. Amazing. Okay. Well thank you so much Trina, for all of your incredible insight. It's so appreciated, and I think on behalf of all of the hosts, I can say your context is so desired and much of the work we do, as we've mentioned, looks for justice and accountability both in our professional practices outside of Radio Lumi and in our personal lives as well. So this just opportunity to check in with you and to hear your wisdom has been really fantastic.
Trina Moyan (40:27):
Thank you, Rebecca. Thank you everyone for your questions. And I humbly say hi. Hi. In my language for taking the time to talk with me, and I hope that I helped to enlighten you a little bit about land acknowledgements because there's a whole lot more to that. I'm just one voice.
Rebecca Singh (40:45):
Well, we'll have to have you back on Radio LUMI. We can keep the conversation going.
Trina Moyan (40:49):
I know we didn't even talk about the duty to consult and land acknowledgements. There's so much. There's so much. Anyway, thanks everybody.
Rebecca Singh (40:57):
Thank you so much to all our dear listeners for tuning into this episode. We are so excited for the launch of season four of Radio LUMI. It's going to be packed bigger and way better than ever, so be sure to check it out. There will be episodes coming out to you weekly, wherever you get your podcasts. On behalf of our hosts and executive producers, myself, Rebecca Singh, Christine Malec, Theodore Walker Robinson, and JJ Hunt, in consultation with Ramya Amin, accessibility manager, Emily Maxwell, accessibility coordinator, Ali Hand, and our producers Jacob and nre, catch us next time Radio LUMI out.
(41:44):
The Land Acknowledgment herd at the beginning of this episode is an audio version of Here we Are. Here we Are is a re-imagined Reem Embodied Land Acknowledgement adapted from the election, a play by Natasha Greenblatt and Yolanda Bene with the company commissioned and produced by Common Boots Theater. Here we are is written and conceived by Yolanda Natasha in collaboration with filmmaker Amy Siegel. The voices you heard belong to Augusta Bitter, Rachel Cairns, Joel Peters, Aandra Drone Rose Stella and Courtney Stevens. It was commissioned by the Luminato Festival, Toronto in 2020 and used with permission for Radio LUMI Station ID and music composed by GR Gritt. Thank you so much for making this music. For us to learn more about GR Gritt and their music, visit their website, grgritt.com. That's grgrritt.com.