A look beyond the horizon

Many years ago I saw a notice on a French theatre festival that it was a "festival ecologique". On enquiring, I learned that the festival was now ecological because its magazine was printed on recycled paper and the drinks were served in deposit cups - things that should be taken for granted by now and which alone are not enough to get a corresponding label, because environmental awareness has grown worldwide, also in the cultural industries. New ideas, approaches and initiatives are emerging everywhere that give the cultural sector the push it needs to finally tackle this socially relevant issue. 

 

In the following I will present a selection of remarkable projects, most of which stand out because they are groundbreaking in their country. Often they just show where a simple but good idea can lead, driven by the desire to make the world a little better. In this way, the cultural sector, which likes to see itself as socially relevant and innovative, is reminded of its responsibility to be at the forefront of the most important social task of this decade.

 

 

Already in her speech at the "World Stage Design" in 2013, cultural scientist Wallace Heim predicted that the time would soon come when concerts and theatres would have to justify their excessive and unsustainable behaviour. Arts and culture have long since become an international business in which not only the most famous pop and rock musicians consume vast amounts of electricity and resources, but in which it also seems normal in the classical music business that there is a helicopter shuttle service between the festivals of Bayreuth and Salzburg. 

 

Especially in popular music, the regular clientele, the young concertgoers, won't go along with the balancing act for long: they don't stand up for a climate-neutral future at "Fridays for Future" demonstrations in order to see dozens of mega trucks parked in front of the concert arena on the following weekend or to read in which private jet a band indulges itself for a tour. Perhaps some artists should take Massive Attack or Coldplay as an example, who have at least announced that they will put their touring behaviour to the test.

 

But even in the classical music business, the awareness is spreading that bigger is not always better. The Helsingborg Symphony Orchestra, for example, already put its touring habits to the test in 2019. The orchestra came to the conclusion that not every tour necessarily has to be done by plane, and some star conductors were obliged to come to southern Sweden by train. Those who laugh at this as green eyewash have not understood that it is about the social pioneering function of arts and culture.

 

 

A much broader, more pragmatic approach, but now a beacon internationally, is conveyed by the sustainability initiative Julie's Bicycle. Founded in 2007 by Alison Tickell and based in London, the environmental organisation is an award-winning global leader in developing strategies to accelerate ecological thinking and sustainability in all areas of the cultural sector. 

 

Julie's Bicycle sees the engagement of the sector as a global flagship against the climate crisis and the approaching ecological catastrophe. In doing so, the organisation pleads for a strict "doing" and "finally starting", because small steps are more helpful than undone big deeds. Accordingly, the best way to combat climate change is to reduce its effects and not just talk about it. It is a core concern of Julie's Bicycle to make artists, arts organisations and event organisers speak and act together as a strong group. To this end, the initiative actively connects networks, NGOs, institutions and associations to share knowledge and ideas and to adopt best practices as quickly as possible. 

 

Julie's Bicycle is committed to three main areas:

 

1. working individually with representatives of the arts, culture and creative industries to improve their management regarding environmental issues. 

2. the search for and development of resources that can be used by everyone. 

3. public relations for new ideas and sustainable business models in arts and culture.

 

The initiative currently provides environmental sustainability expertise to over 350 organisations in the UK and around the world, offering practical advice, funding, resources and a certification for green cultural sectors. To do so, the institution can draw on world-leading research on the environmental impact of the arts sector and the creative industries.

 

The best example is the development of the CG (Creative Green) Tool, a free online calculator. With this, cultural actors can calculate the ecological footprint of their organisation or ensemble. Anyone who uses this tool will gain a deep understanding of the often small aspects that can be changed to make an institution or project more sustainable, from heating habits to home office.

 

An example of the initiative’s practical campaigns is Better Batteries, which promotes the use of rechargeable battery systems in the music and theatre industry, especially for portable sound equipment. The initiative also encourages festival organisers to use renewable energy sources for their energy supply. Another campaign advocates for sustainable CD packaging, which can reduce packaging resource consumption by up to 95 per cent. These approaches show that no field is too small and no idea too banal to be pursued with commitment.

 

In addition, Julie's Bicycle repeatedly addresses how cultural institutions interpret environmental sustainability and what influence sponsors and funders can have by supporting existing approaches or new ways. The cooperation with the Arts Council England was groundbreaking in this regard. As early as 2012, the Council included resource-saving production and sustainable action in its funding guidelines and thus prompted a massive rethink and important new impulses in the planning of touring events. Incidentally, this idea was adopted by the Goethe-Institut, which now also makes sustainability a criterion for international funding. 

 

 

There are other interesting approaches that address sustainable action in arts and culture already in the planning phase. This can, for example, reduce the use of resources in the area of stage and set design. Opera Lyon has launched the EDEOS calculator for an EU-funded project, which enables theatres to calculate and minimise their ecological footprint already in the planning phase, e.g., by consciously using recycled materials or avoiding certain materials. This calculator is to be tested at other theatres in the course of this year to create a broad and free usability.

 

The Canadian theatre initiative Ecoscene from Quebec takes a completely different approach. It photographs, measures and evaluates used stage sets. Theatres and set designers can search the "set design flea market" for fitting pieces for a small budget and thus help complete set designs to be reused. This is an ecologically and economically strikingly simple and sensible approach that can be adopted in regions with dense theatre landscapes in order to support set designers in reusing and recycling second-hand items.

 

In general, Canada manages to start amazing ideas and initiatives off the ground - perhaps because it has been the only country in North America taking its responsibility for sustainability in the last years. The CQEER (Conseil québécois des événements écoresponsables), for example, has been awarding prizes for some time aimed at cultural centres that want to pursue an environmentally conscious approach from the point of view of sustainable development (economy-social-environment-culture). This should be audience-friendly and adapted to the possibilities of each cultural environment. After all, sustainable development should not be an obstacle, but enable companies to stand out from the crowd. 

 

 

In particular, social commitment, waste management and recycling, but also responsible purchasing or sustainable transport are evaluated.

 

Responsible purchasing and sustainable transport are encouraged. Responsible use of energy, also with regard to lighting, sound systems and buildings, is particularly rewarded. The awards are highly sought-after and increases the image factor for many institutions - both to the public and to funders.

 

 

This selection is of course incomplete and subjective. However, it is primarily intended to provide suggestions as to how cultural practitioners internationally approach the task pf becoming more sustainable. Who attends the relevant forums or online conferences will be overwhelmed by the sheer number of clever and inspiring initiatives that underline that arts and culture can and must make its contribution to overcoming the climate crisis: Culture can and must contribute to overcoming the climate crisis. The next step is therefore coordinated networking to create mutual benefits that give impetus to the urgent concern of making the world not only greener, but above all fit for the future.