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== Transcript ENGLISH VERSION 🇬🇧 (dubbed)==
== Transcript ENGLISH VERSION 🇬🇧 (dubbed)==
<u>Voice over </u>
:You are listening to, “Supporting the reproduction of pollinators through a garden dance". A podcast produced by The Soft Protest Digest.
:If you're an english speaker, know that we've published for you a translated transcript of this podcast that you can easily find on our wikipedia under the name “<i> Preparation of a naked soil strip, Inauguration of a naked soil strip. </i> ”We highly recommend you to have a read.
: This summer, we answered to the invitation of the SETU performance art festival which was held like every year in Brittany, in the village of Ergué-Gabéric about twenty kilometers, inland, from the city of Quimper. It is in this particular context that we’ve prepareed and inaugurated a strip of naked soil with a dance. As you will hear throughout this episode, the Brittany of the Bretons<ref>The residents of Brittany</ref>, is not only a region of France but a country within the country, divided into smaller countries with their own distinct customs and traditions. To that end, our strip of of naked soil was not only dug and inaugurated in Brittany but in the Mélénig country, from which we’ve met several of its representatives, who led us to enrich our project in order for it to better reflect the local culture. <br>
:In this episode, you’ll meet with cider producer Christian Toullec, who gave us a tour of his farm, the Cidrerie Mélénig, and who very kindly agreed to discuss with us his attempts to encourage biodiversity on his land. It is this same Christian who provided us with the “<i>Pommeau</i>”, a mixture of apple juice and brandy, which we reduced to a syrup and incorporated into the dessert we served to the visitors of our performance. <br>
:In a second part, you will be able to hear, Yuna Postic, who’s a dancer, teacher and representative of the <i>Cercle Ar Vro Mélénig</i>, the traditional dance group of the village of Élliant (village adjoining the Cidrerie Mélénig and SETU festival), and shared with us her passion for the history of traditional dances native from her region and their use in agriculture in Brittany. It was Yuna who taught us the dance steps we called onto to level our strip of bare soil: the <i>Plinn</i>, which Nickie would later teach to the visitors of our performance.
:But before giving the floor to Christian Toullec and Yuna Postic, let's put the preparation of our strip of naked soil in its context and listen to the text read by Robin during the inauguration.
:We hope you will enjoy this episode.
<u>Robin: </u>
:A long strip of soil, fifty centimeters wide, is stripped of the plants which used to cover it, thanks to simple tools and hands. In this field, this fallow, this pasture, this meadow or this garden, someone steps forward until it reaches the first half of the naked soil strip, letting seeds of melliferous plants fall from its pockets along the way. Soon after, following one another from start to end, dancers come to repeat the steps of the Plinn dance, slowly, carefully, silently across the newly sown strip.<br>
:By doing so, the dancers stamp and prepare the strip of soil which will host the guests of the upcoming winter: the discrete beings who thrive in bare soils. We sometimes can observe their burrows scattered across the grounds exposed to the warmth of the sun. She or he who has drawn this strip of naked soil on her of his land or garden, is well aware of it: by offering hospitality to these invertebrate diggers, she increases the odds of a successful harvest, of seeing her garden liven up, and the preservation of her beloved landscapes.<br>
:By being of service to all, non-humans and humans, service is given to oneself.
:Solitary bees, wether they belong to the Osmia or Andrenidae family, won’t miss their chance: a bare soil, liberated from mankind’s urge for productivity, is ideal ground for digging their burrows in. After mating, the fluffy females will reach the end of the tunnel and lay a ball of pollen and nectar called bee bread; then an egg; then a wall made of soil or chewed leaves; a ball of bee bread; an egg; a wall; and so on until they’ll reach the doorway of their nest.<br> 
:During winter, these few eggs now confined in the warm soil will transform into pupaes, then in adults, thanks to the feed carefully provided by their mothers. Then, stepping out of their burrows at the beginning of spring, the bees will, at last, taste the fresh nectar of the melliferous flowers formerly sown on the half strip of naked soil. By foraging, from one flower to another, the solitary bees will contribute to the pollination and reproduction of surroundings plants and trees, with a much greater yield that of the well-known honey bee.<br>
:She or he who will have given room for solitary bees will be astonished by the politeness of these flying hosts, as they will contribute, thanks to their number and diversity, to intensify the biodiversity of local pollinators. To that end, the yield of a single crop might, in average, increase by 20%.<br>
:If we consider honey bees for the delicacies their hives produce, let us not forget their solitary cousines who also are part of the ecosystems of Brittany. The world’s biomass of insects is currently loosing annually, on average, 2.5% of its total. This number is akin to the impact of the Spanish flue, repeated every year, on the insect population. This decline is not exclusive to honey bees, it is a crisis which impacts all pollinators, from flies to butterflies. Though without them, humans wouldn’t be able to produce two third of the plants they cultivate.<br>
:We also bet on the potential of this strip of naked soil to foster the settlement of hosts, less directly of use to us. Among the animals that can be found in the soils of Brittany, we hope to see the <i>Sultzer purseweb spider</i>, a small mygalomorph spider living in a burrow, ambushed in its silk sock. A more humid soil could help see appear the swamp cricket who hides in cracks in the soil when it doesn’t sing. We could also see the <i>Gryllotalpa</i>, who is more shy: this rare insect, half between a mole and a cricket, sings from the tunnels it spends most of its time hidden in.
:The farmer, through the surface of its agricultural land, is obviously more able to improve the resilience of these animals. Many of these farmers are indeed doing so thank to the help of the European Union and regional institutions. But for those of you, who may be modest gardeners as we are, know that nothing prevents you from preparing a strip of naked soil to host the solitary bee, as a gesture of gratefulness for their service.<br>
:This is the second strip we’ve set in the area: the first one was dug in a field of the Melenig cider farm, where Christian Toullec produces cider, apple juice, pommeau and lambic. We would be delighted to see new strips of naked soil pop up in surroundings farms and nearby gardens, and why not further away, so that we can monitor their evolution in time.
:This afternoon we met with Christian Toullec, who produces apples and cider at the Cidrerie Mélénig, a few kilometers away from the village of Ergué-Gabéric. First and foremost, we wanted to thank you for being kind enough to agree to let us dig a 18 meters long strip of bare soil in one of your meadows.<br>
:We would also like to know more about the biodiversity of your orchard and how you take it into account in your practice. Could you tell us which apple cultivars you use?
<u>Christian Toullec: </u>
:For the production of cider, we call on specific varieties of apples, which are very different from eating apples because they are traditional, old varieties. The particularity of cider apples is that they are apples that contain tannins, polyphenols, which give more or less bitterness to apples and, consequently, to juice and cider. It’s really a difference that is specific to western France, southern England and northern Spain where we have varieties made for cider. For example, we have bitter varieties which are practically inedible because they are too tannic. Then we have sweet bitters which are more edible and which are often very fragrant. Ultimately, we have a diversity of varieties, to name a few, which practically all have Breton names: the <i>Sweet Moen, Kermerrien, Kropelki, C’huero Briz. </i>
<u>Robin: </u>
:Do they work the same as grapes do for wine? Do you combine them when making cider?
<u>Christian Toullec: </u>
:Yes, it's still a mix. Always a mixture of varieties. The reason is that the characteristics of each apple add up and complement each other. In addition, in an orchard you need several varieties because the same variety cannot fertilize and pollinate itself.
<u>Robin: </u>
:What types of pollinators do you observe in your orchard?
<u>Christian Toullec: </u>
:First, there are bee hives on my land. They do not belong to me, it is a beekeeper who takes care of them. Then we also observe several kinds of pollinators such as bumblebees in particular; and then there are wild insects. I am not specialist enough to recognize species but I know that there are quite a few types of insects, in any case present at the time of flowering.
<u>Robin: </u>
:Do you use a particular method to improve the biodiversity of your farm?
<u>Christian Toullec: </u>
:It's something that I do not know but that I am starting to take into account. I lack a bit of method and knowledge but I realized, for example this year, a meadow which normally is grazed by animals, I did not mow on purpose. The grass grew quite high and I realized that there was the diversity of insects was suddenly much greater. There are also flowers blooming among the grass and then you see a lot of insects. I think that one of the ways to improve biodiversity would be to do this: to leave areas that are not mowed next to the orchard where I have to mow the grass for maintenance. There are the “<i>talus</i>” which offer good biological diversity.
<u>Jérémie: </u>
:When you talk about “<i>talus</i>”, you talking about elevation, is that right?
<u>Christian Toullec: </u>
:Yes, a talus means elevation in Brittany: a tree hedge that surrounds the fields. But we call it “<i>talus</i>” because there is an earthen wall, a little bump. This is the traditional way of cultivating here.
<u>Robin: </u>
:Is that what we call <i>bocage</i>?
<u>Christian Toullec: </u>
:Yes that's it, the <i>bocage</i>. And we know that compared to a simple hedge, the “<i>talus</i>” offers much better diversity because we will never mow under it. It serves as a refuge for a lot of animals. It creates a biological line between the fields.
<u>Robin: </u>
:We were going to ask you the question of the climate. Does this coastal climate affect apples in any way? We are certainly far from the coast but ... I imagine there are more storms than when you are really inland.
<u>Christian Toullec: </u>
:It's true. We know that Finistère (the region we’re in) is more affected by storms than other regions, particularly in autumn and winter. It's important to be protected. Though, as we are not directly on the coast, we have less to worry about. But it should still be taken into account.
<u>Jérémie: </u>
:Does the fact that your land is also constituted of sand have an impact on the taste of the apples, cider and on the type of biodiversity you can find in the orchard?
<u>Christian Toullec: </u>
:Yes, it is a type of environment that influences the quality of the apples and the whole farm. Here we are on granite. This mother rock therefore is granite which turns into <i>reine granitique</i> when it decomposes itself, that is to say that it becomes quite sandy and light. For instance, the other day, it rained quite a bit here, at least thirty millimeters, but the next day you could ride your car on it, or walk without getting your feet wet. The water drains pretty quickly into the ground. Especially since a part of my orchards are set on a slope of rock. It's a land that is not very deep, so the water is pretty scarce, but for the the quality of the cider and apples really benefits from it. It gives apples which taste is more concentrated in fact, because if a tree has water available, it will produce apples which will be big but which will have a diluted juice, whereas if it is lacking a little of water, the apples will perhaps be smaller but very rich in sugars, very concentrated in tannins too, therefore in fact of a better quality. {…} I also wanted to add that in terms of biodiversity on my farm, we have different ecological environments. Here we are on the hill, with fairly dry terrain, but my terrain goes down to the river, so it has a real diversity of ecology. For example, it is not the same types of insects that you will find in wetlands, just as the one you would find on some of the slopes which are covered with trees. In a sense the diversity of ecology also creates biodiversity.
<u>Robin: </u>
:Your nephew Raoul told us that your yield was lesser than normal last year, was it also the case this year? What was the reason?
<u>Christian Toullec: </u>
:What you should know is that the apple tree used to produce cider with, much like all fruit trees in general, tends to alternate, that is to say, have a production that varies over two years. Usually we have a high yield year and a low yield year. The reason is quite simple: a tree produces its buds in the summer of the previous year, which means that, this year for example, it prepares the buds of the next year from the month of July. If a tree already has a lot of apples to feed, it's not going to make a lot of buds for the next year, so it's a two-year cycle. And vice versa, when the tree doesn't have a lot of apples, he'll make a lot of buds, therefore a lot of flowers. And that is even more the case for cider apple trees. You can have a tree covered with apples one year, and zero apples the next year.
<u>Robin: </u>
:And how do you cope with that?
<u>Christian Toullec: </u>
:By playing on the different varieties. They do not necessarily all alternate at the same time. But to answer to the problem what I do do is that, when I have a lot of apples, I sell them to colleagues who also make cider. And when I don't have enough, I buy some. We trade like that because everyone does not alternate at the same time. I vary my products from year to year as well. I have two products in particular which are the <i> Lambic </i> and the <i> Pommeau </i>. Lambic is cider brandy, and pommeau is a mixture of brandy and apple juice. These are products that I don't have to produce every year because they are products that will age in oak barrels for several years. So I can stock up one year when I have a lot of apples, and the next year not.
<u>Robin (in the orchard): </u>
:Can we already see the buds you were talking about?
<u>Christian Toullec: </u>
:Not yet no. We are still one at a cellular stage. It's only just beginning. {…} As the apple cider tree produces a lot of apples, quite small, it alternates more. With eating apples, what producers do is that they act on the growth so that there is not too much alternation. Either they do it with chemicals, with products that burn a part of the flowers. To be honest, it is also done in with cider apples, they put a kind of hormones that burns half of the flowers. It's pretty bad. Or what they do is that they break them… If you are producing organic eating apples, as the trees are much tighter, the producers will pass with a kind of tool with ropes which beats the branches and which, in fact, removes part of the flowers. With cider apples, what has been tried out, what apparently would work best, would be to go in June when the apples start to form, and to shake the tree to knock some of the fruits down. I find it smarter because you can never be sure that the flowers will bear fruit (due to possible climatic issues), whereas when the apples are formed, it’s pretty smart. There are too many apples on this tree for example, (in english) <i>We could have made a part fall to have more next year</i>. We'll see, I'm not doing it, I don’t care.
<u>Robin: </u>
:For this project we’re working on, we are looking for traditions that could be linked to the soil in Brittany, and we’ve kind of realized that there were a lot of them. We wondered if there was anything to discover about cider that might be interesting in regards to soil traditions. Maybe you even practice them in your orchard?
<u>Christian Toullec: </u>
What I could say is that, in the past, every farm was making its own cider with a small press. There was a small orchard on each farm, and the apples were pressed with straw. The system was: a layer of crushed apples, a layer of straw, a layer of apples, a layer of straw.
<u>Jérémie: </u>
:What was the straw used for?
<u>Christian Toullec: </u>
:The straw has the role of draining actually. Both to hold the whole lot, and to drain the juice. Because otherwise when you squeeze a heavy layer of apples with nothing, the juice has a hard time coming out because there is pectin and all that. By putting the straw you allow the juice to draine better.
<u>Jérémie: </u>
:And then it was filtered later?
<u>Christian Toullec: </u>
:People tended to leave the press be sometimes for several days, and when they would walk pass, they would tighten the press a little more. They would usually leave the press full for two/three days in general. So it was already starting to ferment.
<u>Robin: </u>
:And straw is no longer used in modern production at all?
<u>Christian Toullec: </u>
:No. Because we have faster and more efficient machines to do that with. And there also is a risk with the straw. I have done demonstrations with it a few times and see that you have to use good straw. The ideal is barley or rye straw, and you have to find straw that is not treated, therefore organic, otherwise you make pesticide juice (sic)!
<u>Jérémie: </u>
:Because you are producing 100% organic right?
<u>Christian Toullec: </u>
:Yes. For a little over ten years already. I was already working in it prior to the label, I was not weeding the orchard for instance, I would simply mow the grass. I still do a few treatments on the orchard with copper and sulfur against diseases, and then sometimes I use a natural insecticide, when it is really needed.
<u>Robin: </u>
:So no preventive treatment?
<u>Christian Toullec: </u>
:No, I usually do two or three treatments each year. I don’t do preventive because we have an observation network that is shared by all Cornish cider producers, which takes into account the weather and everything to assess the risks of diseases and pests. We model possible scenarios. The <i> “scab” </i> which is one of the main diseases of the apple tree, we can now know roughly when it will come for instance. It depends on the weather, rain, temperature, etc. So we know when there will be risks of attack. For example this year, the whole month of May was quite dry, we had good weather. So we know that it is not worth treating, there is no disease in these cases.
<u>Robin: </u>
:What exactly is “scab”?
<u>Christian Toullec: </u>
:It's a mushroom. It acts on the apples and on the foliage, it makes kinds of spots. With cider apple trees, we especially try to avoid primary contaminations, that is to say contaminations, from the start, on the young foliage. So in April and May, that's when we keep an eye open. When we come to the end of June, we don’t need to intervene anymore. If we have managed to avoid primary contaminations, there may be some secondary contaminations but it is not very severe. One of the reasons is also that we are not as demanding as someone who makes eating apples. If there are a few spots on the apples, it's okay. And in addition, we generally have varieties more resistant to diseases than eating apples.
<u>Robin: </u>
:We wanted to know how you manage fermentation and if there are any particular ferments that are used in the production of cider?
<u>Christian Toullec: </u>
:In fact, fermentation is natural in cider production. That is to say, no yeast is added to the barrels. There are indigenous yeasts, yeasts naturally present in the juice that make the fermentation. They come from the apples, from the tools, this is something that we cannot engineer.
<u>Robin: </u>
:Do you see any differences in taste, depending on whether you're going to be pressing at one time of the year or another?
<u>Christian Toullec: </u>
:Yes, what has an impact usually is the temperature when you press. The milder the weather, the faster the fermentations will start. This is often the case at the start of the season when we press in October. Whereas when we arrive at the end of November or the beginning of December, we often have a little cold snap which means that the fermentations will start much more slowly. This is what we are looking for. We are trying to have rather slow fermentations which will develop much more aromas and which will allow us to, ultimately, better control the fermentation. Because the difficulty of cider, compared to wine, is that cider will only ferment partially, because we want to keep some of the sugar in there.
<u>Jérémie: </u>
:Would you say that climate change has an influence on the way you produce cider? Does this have an impact on the biodiversity of your orchard?
<u>Christian Toullec: </u>
:We can really feel it on the trees. That is, the harvest tends to come earlier and earlier due to warming. And that is a problem because, as I was telling you, we need the temperature to be cool enough, cold enough, so that the fermentation doesn’t start too quickly. If the harvest comes earlier, if it gets warmer during the harvest, we end up having to cool the juices down, and therefore use more energy.
<u>Nickie: </u>
:It has been observed in Denmark that due to climate change, there are also much colder spring frosts than in the past. It was really a problem in Denmark for some crops. I wondered if it had happened here too?
<u>Christian Toullec: </u>
:Yes it happens a bit here as well. We had a late frost, especially in 2017. Apple cider trees tend to be apple trees that usually flower late. Often the flowers come in in early May. So this is at a time when there is not too much risk of frost. But this time around we had late frost. A little bit in 2019 too. This is somewhat due to the fact that we have higher temperatures in spring, even already as early as February/March. Blooming starts and we can, unfortunately, have frost when the flowers are already well developed.
<u>Robin: </u>
:We had a question about subsidies from the common agricultural policy. As you are producing organic, have you been helped during your transition?
<u>Christian Toullec: </u>
:Yes we have had help to switch to organic. It is true that everything that has to do with arboriculture is not too badly subsidized. For the conversion we got 900€ per hectare. Now I'm actually in the maintaining phase so I get 600€ per hectare. Which is not too bad because it is more than for other cultures. I believe that for conventional crops it should be between 150€ and 200€ per hectare.
<u>Robin: </u>
:And then how does it go? Is there a follow-up?
<u>Christian Toullec: </u>
:Yes. With organic we have a certifying body that comes to control us regularly, at least once a year.
<u>Robin: </u>
:What about the hedges around the orchards, the “<i>talus</i>”, is there any specific help for those?
<u>Christian Toullec: </u>
:There is subsidies for what is called the green payment. It includes carrying out ecological actions such as maintaining the talus. But in fact, when you are producing organic you automatically get this green payment, so having talus does not play any role in that. It perhaps concerns people who are producing with conventional methods and who are making efforts. When you are organic, you can do it and it costs nothing at all. Everything is subsidized.
<u>Robin: </u>
: Oh yeah okay!
<u>Christian Toullec: </u>
:I have enough talus personally, but if I had wanted to make more, everything would have been taken care of.
<u>Voice over: </u>
: A few days after our meeting with Christian, we got to meet Yuna Postic. She arranged to meet us at the town hall dancing room of Élliant where she teaches and dances with members of her group, the <i>Ar vro Mélénig circle</i>.
<u>Yuna Postic: </u>
:Have you ever seen a historical map of Brittany? It might be easier to start with that.
<u>Jérémie: </u>
:In which country are we in now?
<u>Yuna Postic: </u>
:We are in the Mélénig country. And that’s what’s difficult about all of this. Brittany was divided into seven bishoprics, around the cathedrals. Here we are in Cornwall with Saint Corentin Cathedral in Quimper. And in each bishopric there are “<i> Vros </i>”, which means “Country” in Breton. We are therefore in the Vro Mélénig. And each dance is unique to a country. Here, for example, in the country of Cornwall, we will dance “<i> gavottes </i>”. We are going to have "<i> glazicks </i>" gavottes, "<i> Aven </i>" gavottes. And each municipality has a different way of dancing. For example, in the Aven gavotte, we have the Elliant gavotte and the Pont-Aven gavotte. It’s very different. And in the Glazick country we will have the gavotte from Quimper, <i>Korede, Landrevarzec</i>, that's it. And afterwards, on the side of Rennes and Nantes, you will  find the “<i> branle </i>” which are more like French dances than Breton. People would dance for celebrations, weddings, baptisms. On harvest days, people would dance on something called "<i> air à battre (tune to beat) </i>, in farmyards. And everyone would come together, each district would dance its own dance. It was a sort of identity, actually. When people would go dance elsewhere, although they wouldn’t go vert far, they would dance a gavotte de l'Aven in Quimper and it was a way of showing where they came from, who they were.
<u>Robin: </u>
:Would people level the ground in farmyard through dancing sometimes?
<u>Yuna Postic: </u>
:This is a specific dance, it is called the <i> Plinn </i>. And “Plinn” is acutally a country. It's just my own point of view but I think dancing was a way of coming together. The times when people gathered were the times of harvest and celebrations. In a farm in Brittany, they were generally about ten people. They already had plenty of children, there were also the grandparents who often live at home. There were also the farm clerks, the maids. For the harvest, they also would call the neighbors. In fact, people would go from farm to farm that to process the harvest together. So obviously it was in those moments that they danced.  Houses in Brittany were made on beaten earth. So by walking and jumping on it, it became more solid earth. For that the Plinn was ideal!
<i> Yuna shows us traditional dance videos on her phone. </i>
:You see these dances and these tunes are kept from generation to generation. It’s like that, and it’s always been that way. {…} This is a clarinet, but not like those found in France. I mean, not in France, sorry, in the rest of the country, you know what I mean, it is an instrument from here. Though I couldn't tell you why really! {…} Now I'll show you the gavotte from my village. As you can see, the dancers have costumes from the village of Élliant. As you can see, it's a lot more bling. Much more chic. The people of the Aven country are very proud. Anyway, these are clichés right? In the Aven country we are proud, in the Bigoudin country we are stingy, in the Leon country, we are stingy and we go to mass, and you can still see that now! {…} Plinn is a dance, and after that there are many ways to dance it. There are people who collect and go to see the elders and ask them “how do you dance this dance”? As everyone has their own way of dancing, it gives an infinite number of variations. {…} All these dances, they are uplifting and moving. Everyone is dancing at the same time, it's beautiful. We stand close to each other. I think taht these dances were vert important for these agricultural communities. It symbolized neighborhood support.
<i> Yuna shows us a video of one of her shows. </i>
:The step we just used here, it did not originally exist. We add movements because the show must tell a story.
<u>Nickie: </u>
: So is it like some kind of fiction?
<u>Yuna Postic: </u>
:Yes exactly !
<u>Nickie: </u>
: So that means that we can interpret the dances to integrate them into a new narrative? Even add new movements?
<u>Yuna Postic: </u>
:Yes for sure!
<u>Jérémie: </u>
:Do you know any culinary traditions that would be linked to dances?
<u>Yuna Postic: </u>
:I couldn't say… There are culinary traditions that are unique to Élliant, however. Here, we eat what are called "<i> galettes </i>", but they are not the same as those eaten in Rennes, and they are not crepes either. There are sorts of pancakes that we cook on the <i> billig <ref> The traditional Breton stove used to make pancakes and pancakes. </ref> </i>, we put apples in it, and they are thicker and spongier than pancakes or crepes. It does not exist elsewhere. {…} We won't be able to come to your performance because of the pandemic, but I can teach you Plinn now if you want.
<u>Jérémie: </u>
:Now?
<u>Yuna Postic: </u>
: (Iin english) <i>It’s easy</i>. Plinn is easy! We learn it by singing Titi Grominet<i>The french translation for the Looney Tunes “Tweety & Sylvester”.</ref>. Ti-ti-Gro-Mi-Net, Ti-ti-Gro-Mi-Net, Ti-ti-Gro-Mi-Net ...
<u>Voice over: </u>
: Thank you for listening to “Supporting the reproduction of pollinators through a garden dance”. You can find the episode as well as other podcasts on the app or on SoundCloud with the keyword "The Soft Protest Digest". You can also visit our wikipedia www.thesoftprotestdigest.org for more information.


== Transcript ORIGINAL VERSION (french) 🇫🇷 ==
== Transcript ORIGINAL VERSION (french) 🇫🇷 ==


<u>Voice over</u>
<u>Voice over</u>
:Vous écoutez, « Favoriser la reproduction des pollinisateurs par une danse de jardin ». Un podcast produit par The Soft Protest Digest.
:Vous écoutez, « Favoriser la reproduction des pollinisateurs par une danse de jardin ». Un podcast produit par The Soft Protest Digest.


:If you’re an english speaker, know that we’ve published for you a translated transcript of this podcast that you can easily find on our wikipedia under the name “<i>Preparation of a naked soil strip, Inauguration of a naked soil strip.</i>” We highly recommend you to have a read.
:If you’re an english speaker, know that we’ve published for you a translated transcript of this podcast that you can easily find on our wikipedia under the name “<i>Preparation of a naked soil strip, Inauguration of a naked soil strip.</i>” We highly recommend you to have a read.
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:Nous avons répondu cet été à l’invitation du festival de performance artistique SETU qui se tenait comme chaque année en Bretagne, dans le village de Ergué-Gabéric à une vingtaine de kilomètres, dans les terres, de la ville de Quimper. C’est dans ce contexte particulier que nous avons entreprit de préparer et d’inaugurer par une danse une bande terre nue. Comme vous pourrez l’entendre tout au long de cet épisode, la Bretagne des Bretons n’est pas seulement un région de France mais un pays dans le pays, lui-même découpé en pays aux coutumes et traditions distinctes. Aussi, notre bande de terre ne fut pas seulement creusée en inaugurée en Bretagne mais bien dans le pays Mélénig, pays dont nous avons rencontré plusieurs représentants, qui nous permirent d’enrichir notre projet pour qu’il reflète au mieux la culture locale.<br>  
:Nous avons répondu cet été à l’invitation du festival de performance artistique SETU qui se tenait comme chaque année en Bretagne, dans le village de Ergué-Gabéric à une vingtaine de kilomètres, dans les terres, de la ville de Quimper. C’est dans ce contexte particulier que nous avons entreprit de préparer et d’inaugurer par une danse une bande terre nue. Comme vous pourrez l’entendre tout au long de cet épisode, la Bretagne des Bretons n’est pas seulement un région de France mais un pays dans le pays, lui-même découpé en pays aux coutumes et traditions distinctes. Aussi, notre bande de terre ne fut pas seulement creusée en inaugurée en Bretagne mais bien dans le pays Mélénig, pays dont nous avons rencontré plusieurs représentants, qui nous permirent d’enrichir notre projet pour qu’il reflète au mieux la culture locale.<br>  
:Vous pourrez donc entendre dans cet épisode Christian Toullec, producteur de cidre à la cidrerie Mélénig qui nous fit la visite de son exploitation et qui accepta très gentiment de discuter avec nous de ses tentatives pour favoriser la biodiversité de sa cidrerie. C’est ce même Christian qui nous fournit le pommeau, un mélange de jus et d’eau de vie de pomme, que nous avons réduit en sirop et incorporé ensuite au dessert servit aux visiteurs de notre performance.<br>  
:Vous pourrez donc entendre dans cet épisode Christian Toullec, producteur de cidre à la cidrerie Mélénig qui nous fit la visite de son exploitation et qui accepta très gentiment de discuter avec nous de ses tentatives pour favoriser la biodiversité de sa cidrerie. C’est ce même Christian qui nous fournit le pommeau, un mélange de jus et d’eau de vie de pomme, que nous avons réduit en sirop et incorporé ensuite au dessert servit aux visiteurs de notre performance.<br>  
:Dans une seconde partie, vous pourrez entendre, Yuna Postic, danseuse, professeur et représentante du Cercle Ar Vro Mélénig, le groupe de danse traditionnel du village d’Élliant (village attenant à la cidrerie Mélénig et au festival SETU), et qui nous fit part, avec une passion contagieuse, de l’histoire des danses traditionnelles de sa région et de leur utilisation dans l’agriculture Bretonne. C’est Yuna qui nous enseigna d’ailleurs le pas de danse que nous avons utilisé pour aplanir notre bande de terre nue : le Plinn et que Nickie enseigna ensuite aux visiteurs de notre performance.
:Dans une seconde partie, vous pourrez entendre, Yuna Postic, danseuse, professeur et représentante du Cercle <i>Ar Vro Mélénig</i>, le groupe de danse traditionnel du village d’Élliant (village attenant à la cidrerie Mélénig et au festival SETU), et qui nous fit part, avec une passion contagieuse, de l’histoire des danses traditionnelles de sa région et de leur utilisation dans l’agriculture Bretonne. C’est Yuna qui nous enseigna d’ailleurs le pas de danse que nous avons utilisé pour aplanir notre bande de terre nue : le Plinn et que Nickie enseigna ensuite aux visiteurs de notre performance.


:Mais avant de donner la parole à Christian Toullec et Yuna Postic, remettons la préparation de notre bande de terre nue dans son contexte et écoutons le texte lu par Robin lors de son inauguration.
:Mais avant de donner la parole à Christian Toullec et Yuna Postic, remettons la préparation de notre bande de terre nue dans son contexte et écoutons le texte lu par Robin lors de son inauguration.
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<u>Christian Toullec : </u>
<u>Christian Toullec : </u>


:Alors, déjà en jouant sur les différentes variétés. Elles n’alternent pas forcément toutes en même temps. Après, pour régler un peu ce problème là, d'une part quand j'ai beaucoup de pommes, j'en vend à des collègues qui font du cidre aussi. Et quand j'en ai pas assez, j'en achète. On a des échanges comme ça parce que tout le monde n’alterne pas en même temps. Je varie ma production aussi d’une année sur l’autre. Notamment, j’ai deux produits qui sont le <i>Lambic</i> et le <i>Pommeau</i>. Le Lambic c’est donc de l’eau de vie de cidre, et le pommeau c’est un mélange d’eau de vie et de jus de pommes. Ce sont des produits que je ne suis pas obligé de produire tout les ans parce que ce sont des produits qui vont veillir dans des fus de chêne, pendant plusieurs années. Donc je peux très bien, une année où j’ai beaucoup de pommes, m’en faire pas mal de stock, et l’année suivante ne pas en faire. Avec ça j’arrive à faire varier ma production.
:Alors, déjà en jouant sur les différentes variétés. Elles n’alternent pas forcément toutes en même temps. Après, pour régler un peu ce problème là, d'une part quand j'ai beaucoup de pommes, j'en vend à des collègues qui font du cidre aussi. Et quand j'en ai pas assez, j'en achète. On a des échanges comme ça parce que tout le monde n’alterne pas en même temps. Je varie ma production aussi d’une année sur l’autre. Notamment, j’ai deux produits qui sont le <i>Lambic</i> et le <i>Pommeau</i>. Le Lambic c’est donc de l’eau de vie de cidre, et le pommeau c’est un mélange d’eau de vie et de jus de pommes. Ce sont des produits que je ne suis pas obligé de produire tout les ans parce que ce sont des produits qui vont veillir dans des fus de chêne, pendant plusieurs années. Donc je peux très bien, une année où j’ai beaucoup de pommes, m’en faire pas mal de stock, et l’année suivante ne pas en faire. Avec ça j’arrive à faire varier ma production.


<u>Robin (dans le verger) : </u>
<u>Robin (dans le verger) : </u>
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<u>Voice over : </u>
<u>Voice over : </u>


:Quelques jours après notre rencontre avec Christian, nous avons donc fait connaissance avec Yuna Postic. Elle nous a donné rendez-vous à la salle communale d’Élliant où elle enseigne et danse avec les membres de son groupe, le cercle Ar vro Mélénig.  
:Quelques jours après notre rencontre avec Christian, nous avons donc fait connaissance avec Yuna Postic. Elle nous a donné rendez-vous à la salle communale d’Élliant où elle enseigne et danse avec les membres de son groupe, le cercle <i>Ar vro Mélénig</i>.  


<u>Yuna Postic : </u>
<u>Yuna Postic : </u>
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<u>Yuna Postic : </u>
<u>Yuna Postic : </u>


:On est dans le pays Mélénig en fait. Et c’est là qu’est la difficulté en fait. La Bretagne était divisée en sept évêchés, en fonction des cathédrales. Ici on est en Cornouailles avec la cathédrale Saint Corentin à Quimper. Et dans chaque évêché il y a des “<i>Vros</i>”, ce qui veut dire “Pays” en breton. Nous sommes donc dans le Vro Mélénig. Et chaque danse est propre à un pays. Chez nous par exemple, de le pays de la Cornouailles, on va danser des “<i>gavottes</i>”. On va avoir des gavottes “<i>glazicks</i>”, des gavottes de l’“<i>Aven</i>”. Après, dans chaque commune il y avait une façon différente de danser. Par exemple dans la gavotte de l'Aven, on a la gavotte d’Élliant, la gavotte de Pont-Aven. C’est très différent. Et dans le pays Glazick on va avoir la gavotte de Quimper, de Korede, de Landrevarzec, voilà. Et après, du côté de Rennes et Nantes, on va plutôt être sur des types de “<i>branle</i>”. Plutôt des danses françaises. On dansait donc pour les jours de fête, les mariages, les baptêmes. Pour les jours de moissons, ça se dansait sur quelque chose appelé l’“<i>air à battre</i>, dans des cours de ferme. Et tout le monde était ensemble, chaque commune dansait sa danse. C’était une identité en fait. Quand les gens allaient danser ailleurs, bien qu’ils n’aillent pas loin, ils allaient danser une gavotte de l’Aven à Quimper et c’était une manière de montrer d’où on venait, qui ils étaient.  
:On est dans le pays Mélénig en fait. Et c’est là qu’est la difficulté en fait. La Bretagne était divisée en sept évêchés, en fonction des cathédrales. Ici on est en Cornouailles avec la cathédrale Saint Corentin à Quimper. Et dans chaque évêché il y a des “<i>Vros</i>”, ce qui veut dire “Pays” en breton. Nous sommes donc dans le Vro Mélénig. Et chaque danse est propre à un pays. Chez nous par exemple, de le pays de la Cornouailles, on va danser des “<i>gavottes</i>”. On va avoir des gavottes “<i>glazicks</i>”, des gavottes de l’“<i>Aven</i>”. Après, dans chaque commune il y avait une façon différente de danser. Par exemple dans la gavotte de l'Aven, on a la gavotte d’Élliant, la gavotte de Pont-Aven. C’est très différent. Et dans le pays Glazick on va avoir la gavotte de Quimper, de <i>Korede, de Landrevarzec</i>, voilà. Et après, du côté de Rennes et Nantes, on va plutôt être sur des types de “<i>branle</i>”. Plutôt des danses françaises. On dansait donc pour les jours de fête, les mariages, les baptêmes. Pour les jours de moissons, ça se dansait sur quelque chose appelé l’“<i>air à battre</i>, dans des cours de ferme. Et tout le monde était ensemble, chaque commune dansait sa danse. C’était une identité en fait. Quand les gens allaient danser ailleurs, bien qu’ils n’aillent pas loin, ils allaient danser une gavotte de l’Aven à Quimper et c’était une manière de montrer d’où on venait, qui ils étaient.  


<u>Robin : </u>
<u>Robin : </u>
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