Tanya Tagaq's work is political, often tackling themes of environmentalism and Indigenous rights. The Inuk throat singer uses live performance and audiovisual media to engage themes of climate change and give voice to environmental violence. Her work diversifies the discourse of environmentalism to include the voices and environmental trauma experienced by marginalised peoples, specifically North American Indigenous-centred sounds and perspectives. Songs such as ‘Fracking’ from Animism (2014) and ‘Nacreous’ from Retribution (2016) are simultaneously expressions of ecological protest and healing, as Tagaq listens with urgency and uses embodied musical practice to explore the aurality of pipeline politics and other forms of ecological imbalance and harm. I analyse how Tagaq's work, both her songs and their accompanying music videos and multimedia, gravitates towards the ecological, considering what healthy and unhealthy relationships between humans and the non-human world – plants, animals, water, natural resources – sound like.

中文翻译：

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管道政治的听觉和聆听珍珠般的云：在 Tanya Tagaq 的万物有灵论和报应中表达土著生态知识

Tanya Tagaq 的工作是政治性的，经常涉及环保主义和原住民权利的主题。Inuk 喉咙歌手使用现场表演和视听媒体来参与气候变化主题并为环境暴力发声。她的工作使环保主义的话语多样化，包括边缘化人民所经历的声音和环境创伤，特别是以北美土著为中心的声音和观点。诸如“Fracking”之类的歌曲来自万物有灵论（2014）和“珠光”从报应（2016）同时是生态抗议和治愈的表达，因为塔加克急切地倾听并使用具身的音乐实践来探索管道政治和其他形式的生态失衡和伤害的听觉。我分析了 Tagaq 的作品，包括她的歌曲以及伴随的音乐视频和多媒体，是如何倾向于生态的，考虑到人类与非人类世界（植物、动物、水、自然资源）之间的健康和不健康关系听起来是什么样的。