# data[].attributes.body
A website with resources including beginner-friendly courses breaking down AI as it exists today, with specific materials for individuals and organisations. Explore real-life impacts, how to think critically about AI and understand its social and ethical implications.

# data[].attributes.attachment_link.title
Artificial Intelligence (AI) Course | Free, Online, Beginner-Friendly - Living with AI

# data[].attributes.attachment_link.description
A free, online, beginner-friendly AI Course that will empower you to understand AI’s societal impact and navigate its opportunities with confidence. Learn about AI and its impact on the world we live in.

# data[].attributes.headline
Library subject guide: Climate Change and the Arts in the Anthropocene

# data[].attributes.subject
Library subject guide: Climate Change and the Arts in the Anthropocene

# data[].attributes.body
The library has curated textual and audio visual resources centred around climate change and the arts in the Anthropocene. Here you will find regularly updated links to open access publications in the library collection including print books, e-books, articles and videos as well as websites relating to this area.

# data[].attributes.attachment_link.title
» Climate Change and Arts in the Anthropocene

# data[].attributes.attachment_link.description
The Library has pulled together some resources around climate change and the arts in the Anthropocene. Below are links to the library collections (print books, e-books, articles and videos), open access articles/publications and websites relating to this area. This page will be updated regularly.

# data[].attributes.body
(2019) After one of the hottest years on record, Sir David Attenborough looks at the science of climate change and potential solutions to this global threat. (58 mins, Audio Described/Sign Language available)

# data[].attributes.attachment_link.description
David Attenborough explores the science of, and potential solutions to, climate change.

# data[].attributes.body
Theatre Green Book is an industry-wide initiative to work more sustainably in response to the climate crisis.

It is a free resource for everyone in the performing arts, working in any role and at all scales, providing a framework for planning, best practice guidance, a measurement system and shared standards.

# data[].attributes.body
The Scottish Classical Music Green Guide (2021), produced by the Scottish Classical Sustainability Group (founded 2020) with Creative Carbon Scotland, brings together Scotland’s major orchestras, ensembles, festivals and musicians to coordinate climate action. Inspired by the Green Arts Initiative, it captures what the sector has learned so far and sets out practical steps for orchestras, ensembles and individuals to drive change.

# data[].attributes.body
A practical guide for everyone in dance including performers, choreographers, designers, producers, studios, venues, and tour managers to make their work more environmentally sustainable. By adopting imaginative, low-impact ways of working, the sector reduces its footprint, strengthens resilience, and helps ensure world-leading dance can thrive for years to come.

# data[].attributes.body
albert is BAFTA’s industry-backed sustainability initiative for film and TV. It helps productions reduce their environmental impact and tell climate-smart stories by providing free tools (like carbon calculators and certification), training, events, guidance, and sector leadership.

# data[].attributes.attachment_link.description
We are the home of environmental sustainability for the screen industries. This is the place to share, learn and act on our impact.

# data[].attributes.body
Reset Scenery is here to support your transition towards cleaner, greener productions. Take advantage of their comprehensive services and join them in building a more sustainable future for the entertainment industry.

# data[].attributes.attachment_link.readable_text
About.

REVIEWS.

Andrew Storer,

Technical Director of

Scottish Opera

Gemma Swallow,

Technical Director of National Theatre of Scotland

They are promoting a best practice circular economy that we desperately need to be following to fight the growing climate crisis, and their plans to incorporate pathways into the sector through employment and training into their remit can only be good news...

...Reset Scenery is a vital cog in that mechanism. I hope that we can continue to grow our relationship with them and in turn help them to grow to be able to support and resource as many partners as possible.

Kirsty Currie,

Set and Costume Designer

We recently used Reset Scenery for a production of ' Julius Caesar' at the Royal Conservatoire of Scotland...

...The whole process from the transport and storage of the tiles and the build itself was made so simple and easy with the amazing help from Simon and Matt of Reset Scenery. It saved us a lot of time/labour/money - it was such a huge help to us on a low budget show. Highly recommend!

# data[].attributes.attachment_link.title
ReSet Scenery | Sustainable Stage, Screen & Events | Scotland

# data[].attributes.attachment_link.description
About. REVIEWS. They are promoting a best practice circular economy that we desperately need to be following to fight the growing climate crisis, and their plans to incorporate pathways into the sector through employment and training into their remit can only be good news... ...Reset Scenery is a vital cog in that mechanism.

# data[].attributes.body
Marmoset Construction is a Glasgow based scenic construction company which aims to offer an environmentally friendly alternative to existing construction methods.

Wherever possible use recycled materials to build or modify existing scenic elements, delivering you the same high-quality finish, but at a price that doesn't cost the world.

# data[].attributes.attachment_link.readable_text
Who we are

We are Marmoset Construction Ltd, a Glasgow based scenic construction company.

Our mission is to reduce the wasteful practices of our industry by offering an environmentally friendly alternative to existing construction methods.

We use recycled materials to build or modify existing scenic elements, delivering you the same high-quality finish, but at a price that doesn't cost the world.

What we do

From theatre and film, to events and shop fitting; we can build it for you. We offer a full range of design and construction services to ensure that you get exactly what you're looking for at a price thats right for you.

Looking for scenic finishes to you work? We have a roster of talented scenic artists to keep the whole process under one roof.

# data[].attributes.attachment_link.description
Scottish sustainable set construction company, specialising in environmentally friendly ways of scenic construction. We use reclaimed and recycled materials to create beautiful sets. We service theatre, film, television and events in Scotland. We also offer set design and scenic finishes when requir

# data[].attributes.body
The Reuse sector in Scotland is growing and plays a key role in establishing a Circular Economy in Scotland. The Revolve Reuse Knowledge Hub provides training and ongoing support to both new start-ups and long-established reuse businesses and supports the reuse sector to offer the best possible experience to customers looking to access second hand goods. The aim of the Revolve process is to mainstream reuse and encourage more people to ‘choose reused’.

# data[].attributes.attachment_link.readable_text
What is Revolve?

Revolve is Zero Waste Scotland's support programme for the reuse sector in Scotland. Revolve offers information and resources to support reuse businesses to meet legal obligations, follow best practice and to work more effectively and efficiently.

# data[].attributes.attachment_link.description
Revolve Reuse Knowledge Hub offers free support and resources to the reuse sector in Scotland. Find out more.

# data[].attributes.body
Culture of Climate Scotland have produced a handy map of locations in Glasgow to source second hand items for use as props. It includes antique stores, charity shops, markets and prop hire companies.

# data[].attributes.attachment_link.title
Glasgow Second Hand Prop Sourcing - Google My Maps

# data[].attributes.body
Circular Arts Network (CAN) is an online platform designed to facilitate the sharing and redistribution of art resources, materials, and equipment within the creative community, embracing the principles of the circular economy. By promoting the reuse and repurposing of items, CAN helps reduce waste and extends the life cycle of resources, fostering sustainability.

# data[].attributes.body
Cue, is a forward-looking not-for-profit company set up by three creative directors to make the entertainment industry a greener place. Between the three amigos, we have 50-plus years of professional experience in film, tv, theatre and community engagement focusing on props. The team aims to repair, repurpose and reuse props from productions across the UK using sustainable methods and as a result, engage the industry in a green cycle by stopping props from going to landfill.

# data[].attributes.body
Green Film is an off-the-shelf tool developed by the Trentino Film Fund and Commission which is available to be adopted by other institutions, such as film funds, film commissions, and broadcasters, and to be used in other regions.  Trentino Film Commission is committed in the development of an international network of institutions that share Green Film as a common tool for encouraging and certifying environmentally sustainable film production.

# data[].attributes.body
This website uses an animated, distorted, shaded, interactive map to help convey how different countries fit into the climate change picture - both the causes and the risks. It was created by Duncan Clark and Robin Houston to give a more nuanced picture when discussing climate change responsibility. It assembles data from various different sources to show where the fossil fuels that become CO2 are taken out of the ground (extraction), where they're burned (emission) and where they resulting goods and services are consumed (consumption). In addition to those three perspectives on current emissions, it is gives a view of the past in terms of cumulative emissions from the past 150 years (historical) and potential future emissions from each country's estimated stock of fossil fuels (reserves).

Climate change responsibilty

# data[].attributes.headline
Lights, Camera, Emissions (Aiden Rhode TEDx talk)

# data[].attributes.subject
Lights, Camera, Emissions (Aiden Rhode TEDx talk)

# data[].attributes.body
Hollywood's biggest productions are hiding an inconvenient truth: their massive environmental impact. But could the industry that shapes global culture also lead the way in sustainability? In this talk, Filmmaker and Geographer Aidan Rhode uncovers the hidden carbon footprint of moviemaking, from excessive waste to sky-high emissions, and explores how studios, production companies, and industry leaders can drive real change - without compromising creativity.

# data[].attributes.attachment_link.title
Lights, Camera, Emissions | Aidan Rhode | TEDxUniversityofManchester

# data[].attributes.body
The United Nations' Youth Climate Report is an interactive film database project for the United Nations Framework Convention on Climate Change (UNFCC). Environmental short films by young people from around the world are uploaded to a GIS world map where they can be viewed. These films help to connect real life climate impacts to the scientific data and to inspire change or action.

# data[].attributes.attachment_link.description
The Youth Climate Report is a new form of documentary called a Geo-Doc designed to give voice to the global community of youth to the environmental policymakers of the United Nations. It is a multilinear, interactive, database documentary film project presented on a platform of a Geographic Information System map. It is a partner program of the United Nations Climate Change secretariat and showcases the best films of climate action and research made by young filmmakers each year. Winner of an SDG ACTION AWARD (2021).

# data[].attributes.body
Case Study - Creating a sustainable and community-driven arts space: Sustainably transforming an unused building into a vibrant, temporary dance and arts space demonstrating how ethical procurement, community involvement, and resourceful design can bring to life a neglected urban location while preparing for future larger-scale projects.

# data[].attributes.attachment_link.readable_text
This case study was written by Dancefest- a dance school in Herefordshire and Worcestershire. They outline their journey in sustainably transforming an unused building into a vibrant, temporary dance and arts space, demonstrating how ethical procurement, community involvement, and resourceful design can bring life to a neglected urban location while preparing for future larger-scale projects.

The case study is one of over 50 practical examples of cultural organisations taking climate action including in depth case studies written for Arts Council England and Julie's Bicycle's Environmental annual report 2023-24. Check out the full interactive report here.

About Dancefest

Over three decades Dancefest has provided opportunities for over 200,000 people to take part in contemporary dance, through our programme of classes, workshops, school and community projects. We have created outdoor performances on our high streets, at stately homes and in public open spaces (both urban and rural) reaching audiences of over 150,000 people. We have created communities, nurtured young talent, ignited curious minds and restored spirits. We take people on creative journeys and play a key role in the cultural ecology of our region.

Dancefest doesn't have its own space. We have an office in a shared community building and hire a range of arts and community spaces for our dance classes, projects and events. We wanted to trial having a space to call our own, to be aspirational in our programming, to make our brand stand out. We wanted to influence sustainability, ethical procurement and environmental responsibilities in a way we couldn't in a shared space, where there can be a clash of priorities.

Breathing Creativity Into an Unused Space Sustainably

In October 2023, thanks to a successful application to Dance Hub Birmingham's Investment Programme, which aimed to support a diverse range of projects in Birmingham and the West Midlands, as well as The Bransford Trust, and our regular funding as part of Arts Council England's National Portfolio, we had funding to make a short term, pop-up dance and art space in the heart of Worcester city, with a mix of dance classes, performances and workshops for all ages.

We had three months to create a welcoming and contemporary space from a very bare shell; to programme and publicise our work; and contribute to the town centre being vibrant and creative for people living in Worcester as well as those visiting the city.

This was a step change for us, in having a space to call our own, to programme freely and at any time we wanted. All the restrictions of sharing and hiring were gone. This was a chance to do something we'd never done before - to try making, curating and programming our own space, to widen our reach, engage new and current audiences in inventive ways, to collaborate and create exciting new work. To bring to life an unused, unloved building for a short time, and to do so in a sustainably conscious way.

With the support of Worcester City Council in our search and having looked at several others along the way, we found our space. We took over the Old Fire Station in Copenhagen Street, Worcester. The space was a shell, it needed a lot of work and care to make it happen, but the team just fell in love with it as soon as we walked in. Here we met a friendly landlord who was intrigued by our proposal and vision - and consequently excited about the work whenever he visited or attended events. We had a limited time and a limited budget, but we immediately saw its potential. The space had been empty for some time, so we were making use of an unused space during a period where it was waiting for a purpose.

It was important for us to manage the development sensitively and sustainably, and we planned to borrow and buy pre-loved items to create our space. We put in temporary light and heat, installed basic toilets using ceramic, wood and other sustainable materials, rather than portable chemical toilets. We furnished it with preloved items from charity shops and loaned from the community. We borrowed beautiful olive trees from a local grower, we had plants and crockery donated by dancers, and were loaned chairs and tables by Heart of Worcestershire College, who also offered advice.

Anything we needed to buy for the space was carefully chosen to ensure that it would be a future asset for Dancefest. We bought an underlay for our dance floor that can be used for future outdoor performances, consulting with Motionhouse for advice.

Community Involvement and Space Sharing

We wanted to tread lightly and involve our community of dancers and colleagues in helping us get it off the ground. We always wanted them to feel involved and engaged.

We talked to dancers and their families in classes, posted on social media, and included in e-flyers that we'd like to borrow furniture, plants, supplies, that we'd return at the end of the three months. We made it clear we wanted to dress the space sympathetically and sustainably, to let it breathe, borrowing items for a short time and then returning them. We hoped that this would make people feel part of the project and close to the work. There was an open invitation to pop in and visit, to see how things were progressing, and many took up this offer and loved the gentle way we were all making our space together.

The producer we engaged for the project, Ellie Turner, has many years' experience working in outdoor arts and creating events that put artists, communities and the environment and landscape in which they are created at their heart, and made sustainability and ethical buying a key element of the Old Fire Station development.

We invited regional artists, dance companies and organisations to use the space for free or a small donation. We wanted it to be shared and well used. The offer was taken up by several local and regional artists and companies - ME Dance Company for youth sessions; a recent dance graduate who filmed her show reel; dance artist Sabira Mollah for rehearsals with people with learning disabilities; and Spectra and Everybody Dance for inclusive workshops.

We used it for parents and wobblers, children's and youth dance classes, creative, choreography and exercise classes for adults, sessions with our Jigsaw Inclusive Dance classes for people with and without learning disabilities, rehearsals for a White Ribbon event involving dancers from our community classes at Worcester Community Trust Hubs, creating a dance in a day for Worcester's Victorian Christmas Fayre, and a Disco Inferno afternoon rave for families and for adults, with DJ Ed Steelefox.

We also used the space for the start of AURA, a project created by Artistic Director Robby Graham of Southpaw Dance Company, with community and professional dancers. AURA was created and performed for Worcester's Light Night. As part of research and development for AURA, we invited stakeholders to a reception and sharing of the work. This was significant in galvanising support for Dancefest, which has resulted in improved strategic partnerships and some onward funding. It also illustrated how an arts space can be created quickly, cheaply and ethically.

We enjoyed working with the University of Worcester's Graphic Design department on a brief for the design on the temporary door. The lecturer of the course facilitated students presenting ideas to us as a sample client, and they were excited by this unusual commission which would be brought to life. Emily Harris creative's design was chosen and made into a design for our large front door, incorporating our brand alongside her ideas. We hope it will be valuable for her portfolio.

Outcomes and Reflections

This was a fantastic and incredibly exciting opportunity for Dancefest, building on our 30-year history in the region, allowing us to reach new audiences and interact with the city in new ways. It allowed us to experiment, test ideas, develop new partnerships and shape our future.

There was scope for trying new things, and people were inspired by the environment they were in. Being in this dedicated, carefully and mindfully created space made people feel more connected, creative, empowered. There was great kindness and support from our dancers and from colleagues. It felt like people were so pleased and excited for us, and it raised expectations and aspirations.

In our own space, we were conscious that our buying choices would be in line with our ethical and environmental agenda, from the coffee we offered, to the way we sourced our furniture.

Comments made by people visiting or taking part detailed everything people liked about the new space from its industrial look, the scale, the dance floor, the welcoming feel, the indoor trees but also its location, accessibility, and contemporary feel.

Looking back to write this, we as an organisation, achieved a huge amount in a short time. It solidified us as a team, all working together to manage it, as well as our other regular work. This was also a time of transition for Dancefest, just after our founder director had retired.

At The Old Fire Station, we had a chance to chat to people who took part in classes, in a way we haven't before. The seating areas made people feel welcome, they popped in early or when they were passing. They wanted it to happen as much as we did.

We had a story to tell, which featured in local press. We had a sign and our very own door for the first time and people knew where we were, had seen or heard about this new pop-up. It allowed us to explore the space, to be on brand, and to see what impact having a building made. We could welcome everyone into our own space in a way that we couldn't as much in a hired space.

We also discovered things we weren't expecting. Responding to the space made it a much more creative and sustainable initiative than if we'd had imposing plans for change. It was such an organic way of working, responding to the space, being gentle, leaving nothing behind. The way we made and developed the space in a creative and sustainable way moves forward with us.

It was also a brilliant time for collaboration and community. So many people and organisations helped us make it happen, worked with us and supported us, and those connections move forward with us.

Leaving the Space and Next Steps

We loved the rough walls of the Old Fire Station, the bricks and concrete floor and we wanted to let the space breathe, rather than impose. We always wanted to gently move in and then move on. We added toilets and cleaned the walls and floor but otherwise, we placed images we already had from a previous dance and photography exhibition along walls, and furnished it with borrowed, pre-loved items and loaned plants and olive trees. Our vision was always to tread lightly and sustainably. We returned all items, and left the space unharmed but enhanced, and with an aspiration for it and us for the future.

This project has brilliantly prepared us for our part in a Creative Consortium as work begins on the Scala in Worcester. It gave us insight into the implications of running our own space, enabling us to better feed into planning for the Scala, including sustainability initiatives. We were resourceful, inspired and made it the most exciting space we could.

The Creative Consortium is a group of some of Worcester's leading arts, cultural and creative organisations: Dancefest, Severn Arts, C&T, The Kiln, Mobilise and Vestan. This exciting project will see Worcester's Scala and Corn Exchange (now on the Heritage at Risk Register) brought back to vibrant life. They will be sensitively restored, and our visits to them have chimed with our first visit to the Old Fire Station.

The work we did around sustainability and ethical purchasing at The Old Fire Station is embedded in our plans and will continue to influence our work with the Scala, as well as all future projects.
Header image: OFS AURA R and D sharing - Dancefest - Credits: Jane Hall

# data[].attributes.attachment_link.title
Dancefest - Pop-Up Power: Creating a Sustainable and Community-Driven Arts Space - Julie's Bicycle

# data[].attributes.attachment_link.description
A case study with Dancefest detailing how they transformed an unused building into a vibrant, temporary dance and arts space, with a focus on ethical procurement, community involvement, and resourceful design.

# data[].attributes.body
Journey to Justice (JtoJ) galvanises people to take action for social justice through learning about human rights movements and the arts. We are a volunteer led human rights education charity with supporters all over the UK

# data[].attributes.attachment_link.provider_name
Vision, Mission, Aims - Journey to Justice

# data[].attributes.attachment_link.readable_text
'We are caught in an inescapable network of mutuality, tied in a single garment of destiny.
Whatever affects one directly, affects all indirectly.' (Dr. Martin Luther King, Jr. 1963)

Dr. King's belief that our lives are inextricably interrelated and his call for solidarity is a message that transcends time, place and issue and the US civil rights movement remains a universal symbol for people fighting for social justice on every continent. Our first project, conceived in 2013, was a touring exhibition focused on the US civil rights movement and its music which tells the stories of some of the less well-known women, men and children involved. We also highlight some of the many struggles for freedom in the UK. The exhibition and related activities examine key events, themes and tactics, demonstrating what leads people to become and stay active in campaigns. We illustrate how the civil rights movement was influenced in part by the history of dissent in the UK and the US movement affected people, organisations, government and culture in the UK and worldwide. It also helped inspire subsequent women's, peace and gay liberation movements. As the exhibition travelled to 15 places in England from 2015-20,, we linked with local communities, incorporating lessons from UK campaigns for human rights. Using arts and intergenerational activities, we show how change for social justice can happen led by 'people like us'.

Below is an interview with Carrie Supple on the eve of the Footsteps to Freedom in the North East exhibition, April 2015. With thanks to Peter Woods from Good Cause TV.

Read about our work in ' Teaching Citizenship ' (Issue 43), the journal of the Association for Citizenship Teaching (ACT).

For more details about ACT visit: http://www.teachingcitizenship.org.uk/
See our 2015-2016 annual report here
A message from our patron Lord Herman Ouseley:
"What a truly fabulous report. Informative, uplifting, captivating, impressive and inspiring. Your team and volunteers are doing such wonderful things in helping the next generation to be more knowledgeable and respectful of the history of struggle and their responsibility in taking over the baton for justice in future.
Warmest regards, all good wishes and thank you."
See our 2016-2017 annual report here "Congratulations and appreciation to you all for a fantastic report. It is so comprehensive and full of creativity and inspirational features in line with the values and culture that is the core of the JtoJ DNA.
Wishing you all continued success in attracting increased interest and support."
(Lord Herman Ouseley, JtoJ patron)
See our 2017-2018 annual report here
Who are we?

We are a group of educators, youth, community, human rights and faith organisations, artists, film makers, lawyers, musicians, historians, curators and trade unionists. Our patrons are Leyla Hussein, co-founder of Daughters of Eve and campaigner against gender based violence; Baroness Helena Kennedy QC and Sir Geoffrey Bindman QC, outstanding human rights lawyers; Lord Herman Ouseley, founder of Kick It Out - an anti-discrimination football project, Dr. Paul Stephenson, OBE, community worker, civil rights activist and leader of the successful 1963 Bristol Bus Boycott against the colour bar and Jean Stallings, civil rights and anti-poverty campaigner.

Read a Q and A in the Museums Association online journal about our work here.

Why the US civil rights movement?

US civil rights history offers a dramatic example of how powerful leadership and a non-violent cross racial alliance emerged to challenge vicious repression. Interest in Martin Luther King and the story of the movement is strong in the UK as evidenced during the 2013 commemoration of the 1963 March on Washington for Jobs and Freedom.

The relevance of the movement goes well beyond its American-ness, nor is it solely connected to racism, but also extends to its universal aspects - concern for economic justice, poverty, war and materialism. In the same way as the story of Gandhi and Mandela resonate in the UK, we focus on key themes to be found in all human rights movements - courage, solidarity, oratory and tactics including the use of music and song. Paul Stephenson was motivated by the Montgomery Bus Boycott and Dr King's imprisonment. Many individuals, UK institutions and government policies were profoundly influenced by the US civil rights movement and its music became part of our culture.

'This is an important project at a time when it is sorely needed to let our young people learn about past injustices. Stories like the Bristol Bus Boycott campaign and the civil rights struggle help to nurture understanding and tolerance against hate and violence'. (Dr. Paul Stephenson OBE)

Why did we create a travelling exhibition?

Exhibitions bring people together and make an impact in a visceral and lasting way and enable face-to-face discussion. They can facilitate active partnerships within communities and provide space for people to reflect and inspire each other and respond via discussion, music, poetry, art, photographs or storytelling. We were able to maximize attendance via our networks throughout the UK. Symbolically, the mobility of the exhibition is appropriate to the way the civil rights movement was present throughout the USA. A travelling exhibition enabled more people to visit than if it had been static. The coronavirus pandemic which broke out in 2020 meant it became impossible to tour the exhibition. Happily, we found a permanent home for it with our partners at the University of Leicester. Thank you!

Why in the UK now?

The history of the UKcombines examples both of the denial of rights and proud struggles for freedom, equality and the rule of law. It has been a place of refuge for centuries and African, Asian, American, American and other activists saw the UK as a secure and sympathetic place from which to campaign and gather support. This part of our heritage is not well known and we want to elevate it. Telling the story of the US and UK civil rights movements including the music, literature, poetry and films they generated will enable visitors, especially young people, to understand the legacy we have inherited and the hard work and sacrifice involved.

At a time of growing poverty, inequalities of wealth, education and employment and global insecurity, amplified by the coronavirus pandemic, many feel a sense of helplessness and alienation. There is growing public concern about the decline in participation, trust and engagement and there is an urgent need for new solutions. Many young people feel disenfranchised by a system which they believe is denying them opportunities. Individualism rules too often and people have forgotten the history of movements for change which, when taught in an engaging way, can help inspire us to think about non-violent collective means to create a more just society. We build on numerous examples of solidarity and hope.

Response

The response to JtoJ has been tremendous, striking a chord with many who are concerned about injustice now since we launched the exhibition programme in Newcastle in 2015. See our Exhibition Project page.
Contact: info@journeytojustice.org.uk

# data[].attributes.attachment_link.title
Vision, Mission, Aims - Journey to Justice

# data[].attributes.attachment_link.description
'We are caught in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all indirectly.' (Dr. Martin Luther King, Jr. 1963) Dr. King's belief that our lives are inextricably interrelated and his call for solidarity is a message that transcends time, place and issue and the US civil rights movement remains a universal symbol for people fighting for social justice on every continent.

# data[].attributes.headline
Telling Climate Stories: a practical pocket guide for including sustainability in any genre

# data[].attributes.subject
Telling Climate Stories: a practical pocket guide for including sustainability in any genre

# data[].attributes.body
Showing examples of sustainable high-impact habits can have a positive impact on audiences. With help from experts in research and academia, Albert have put together a pocket guide of practical tips for featuring climate content in all genres.

A range of psychological and external factors affect an audience’s response to content. Merely providing audiences with information is not enough to change behaviour. We need to tap into their existing values, attitudes and social norms. Habits are often the most important factor affecting behaviour.

# data[].attributes.headline
Equity: the performing arts and entertainment trade union

# data[].attributes.subject
Equity: the performing arts and entertainment trade union

# data[].attributes.body
Together with its 50,000 performer and creative practitioner members, Equity pushes for better pay, terms and conditions in the workplace and supports members when they face challenges - with advice, support and representation.

# data[].attributes.attachment_link.title
We are the performing arts and entertainment trade union | Equity

# data[].attributes.attachment_link.description
We’re made up of 50,000 performers and creative practitioners. Together we push for better pay, terms and conditions in the workplace. We’re there for our members when they face challenges too - with advice, support and representation.

# data[].attributes.body
Just Transition: a fair way to move to a sustainable economy.

# data[].attributes.attachment_link.title
The ‘Just Transition’: a fairer way to fight climate change

# data[].attributes.attachment_link.description
Here’s how we can tackle the climate crisis in a way that’s fair to everyone.

# data[].attributes.headline
Channel 4 Sustainable Production Principles

# data[].attributes.subject
Channel 4 Sustainable Production Principles

# data[].attributes.body
It is Channel 4’s expectation that all producers will work to embed these principles during all stages of production. By integrating sustainable practices and fostering active engagement from cast, crew, and production teams from the outset, we can continue to create outstanding content while safeguarding our planet for future generations.

# data[].attributes.headline
Practical tips for being a greener director

# data[].attributes.subject
Practical tips for being a greener director

# data[].attributes.body
Article with some practical steps towards a greener production, aimed at directors of different types (director, self-shooting director, indie producer-director, and writer-director). Produced by Directors UK.

# data[].attributes.attachment_link.readable_text
Carbon literacy

Carbon literacy is all about empowering individuals to make big and small changes - in both their personal and professional lives - that will contribute to protecting people, communities and ecosystems from the rising levels of greenhouse gases.

When we look at the enormous amounts of CO ₂ and other greenhouse gases that our personal actions create, it's easy to see where we can be a bit greener. Heating, lighting, refrigerating, cooking, entertainment, travelling, even the food we eat, all contribute to the global build-up of greenhouse gases.
Check your carbon footprint.

Carbon literacy in the film and TV industry

You might be thinking that you already do you bit by recycling your bottles and cardboard at home, or by cycling to work. And while it's great news that you're doing this, what if there were other things you could be doing that would reduce your carbon footprint still further? Things that can also save you (and potentially your shoot) money at the same time.

Have a look at the amount of CO ₂ that's generated by some of the most common activities associated with being a filmmaker. Do you do any of these?

Practical tips for being a greener director

When it comes to something as huge as climate change, most of us feel that we can't individually make an impact - but we can!

Here are some practical tips we've compiled, specifically aimed at different types of director:

We know how hard it might be to instigate some of these recommendations, and we understand that not all of them will be appropriate for every production. But hopefully the suggestions will help you start to think about some of the changes you can make to ensure that you're directing in a sustainable way.

Director

In pre-production, suggest using conference call technology rather than travelling to meetings.

If you must travel, use public transport where you can, and use a carbon-offset cab whenever available.

Turn your computer and monitor off when you've finished using it (don't just put it to sleep).

Paper used in production should be FSC certified and you should aim for at least 30% recycled content. Plus remember to recycle the paper when you're done.

Circulate a green memo to all cast and crew so everyone knows this is a green set, and that you support a green approach to filmmaking.

Lead by example; have a reusable mug and water bottle, be seen to recycle your waste and flatten carboard for recycling.

Make sure your HoDs and their teams are aware of the green policies on the shoot and encourage them to work with these considerations in mind.

On location, leave the site as you found it.

If the weather and schedule permits, consider shooting with available light.

Appoint a monitor for each department to check that lights and computers are switched off at night.

Don't forget to recycle empty ink cartridges and toners, depleted batteries and waste electronic equipment (WEEE waste) from your office.

Ask to have the shooting power source turned off before you leave the location.

Share rushes and rough cuts digitally.

Self-shooting director

Choose hotels and apartments that are close to the location and have good public transport links. Houses and B&Bs tend to have lower carbon footprints than hotels and tend to be cheaper too.

On location, leave the site as you found it. Use the recycling bins provided.

Take healthy snacks like fruit and nuts with you and avoid buying fast food.

If you do order takeaway food, ask them to avoid using polystyrene containers.

Use rechargeable batteries in your cameras and equipment and ensure that they're fully run down before recharging. If you can't use rechargeable batteries, recycle regular batteries at designated collection points.

Take you own water bottle and travel mug with you.

If you have to hire a car to get to the location and carry the kit, choose vehicles with smaller engine sizes or, better still, an electric car.

Cameras are getting better every day, but shooting in 8K (whilst beautiful) is a data-hungry pursuit that uses more electrical energy to process the images than 4K does (and let's face it 4K already looks awesome).

Share photos digitally and avoid printing.

Indie producer-director

Make a green plan for your production. What can the production do to be more sustainable, and how can that be measured? Communicate this to all of your stakeholders and HoDs - their support is key to making your production greener.

Comply with the standards outlined in BS 8909, which is a voluntary sustainability management system for film. Find out more.

Provide regular feedback for crew and note their green achievements. You may want to set up a green notice board at craft services noting the recycling rate for the month, or highlighting any interesting green facts or stories. It can be motivational to have a green award system to encourage crew members to think a little bit greener.

Ensure everyone on set knows this is a green set, and that you support this activity.

Try not to print call sheets, logistics plans and other production documentation. Emailing is quicker and cleaner. If you must print anything, try to print double-sided.

Assign environmental champions in each department who can encourage best practice and make sure that their department is achieving its departmental targets.

You're responsible for your own waste, so consider having one bin for rubbish and separate tubs for glass, paper and plastic.

When sourcing props, use charity shops to find pre-loved items. And when you've finished with them, make sure you recycle, re-donate or even sell them on eBay to help the production claw back some costs (and give the item another life!).

Where possible, rent items for production instead of buying or making new. As well as being greener, this can also save you money.

If you're feeding your crew, have reusable (or at least compostable) cutlery, plates and cups. Only buy what you need and shop locally where you can. Buy snacks in bulk to reduce packaging. And rather than using up (and paying for) more plastic bags, don't forget to take shopping bags with you.

When planning a shoot, try to use local crew to minimise the amount of people traveling to and from set or using hotels.

Provide bicycles and pull carts, or hire rickshaws for travelling within a location (rather than diesel-run Gator vehicles). If you need to move more people and stuff around, rent low-impact, high-efficiency vehicles (such as those that run on used cooking oil biodiesel) as pick-up trucks.

If your budget enables you to build or commission a set, use salvaged material where possible; use nails not glue to hold parts together so they can be easily deconstructed for recycling; and recycle what you can when you're done. (Tip: source contacts for organisations willing to accept donations and have them ready before you wrap.)

If you are considering using a generator, choose the right load for your needs and consider generators that run on alternative energy, such as solar power.

Consider using a lightweight drone to get that aerial shot.

Give your team a Green Driving Guide containing tips to improve their fuel economy and lower emissions.

Encourage cast and crew to use public transport and share lifts whenever they can.

Add a tiny (and it is tiny) carbon offset charge into the budget to cover crew and talent trips in planes and cars. According to the reforestation project Mossy Earth, it only costs £2 per 2 hours of air flight and £2.50 per 100Km in a car to offset your carbon emissions.

Writer-director

When writing drafts, make sure you recycle any paper you've finished with.

Encourage script conferences over Skype rather than in person.

Distribute drafts electronically.

Recycle empty ink cartridges and toners, depleted batteries and waste electronic equipment (WEEE) from your office.

Acknowledge the natural world in your script and, where you can, build it into the narrative.

Use green behaviour as a positive trait for characters, and wasteful behaviour as a negative one.

Try and depict green behaviour on screen. Showing people cycling or using electric cars or recycling their waste can help normalise this behaviour to audiences.

Adjusting how we eat and travel, and the money we spend on items like clothing and electronics, really does affect the amount of CO ₂ we put into the atmosphere.

And remember that even the entertainment you consume as a viewer has an environmental impact. For instance, streaming consumes enormous amounts of electrical energy because of the computer processing power required.

Changing energy suppliers to those that use renewable energy sources like Good Energy can also significantly reduce your carbon footprint.

Training

Want to be a greener filmmaker, but don't know how to make the change? The albert team at BAFTA have a free training course specifically designed for you.
Find out more and book your place.

Media & Downloads

# data[].attributes.attachment_link.description
Carbon literacy is all about empowering individuals to make big and small changes - in both their personal and professional lives - that will contribute to protecting people, communities and ecosystems from the rising levels of greenhouse gases.

# data[].attributes.body
Revolution in the Costume World.

The costume industry is inherently wasteful – a typical film or TV drama will use more clothing than the average person uses in their lifetime and will produce more waste in a week than the average household in a year.

However, an intrepid group of costume designers, buyers and designers are making changes to the way they work in order to make their industry less wasteful, more sustainable and better for everyone across the supply chain.

# data[].attributes.attachment_link.readable_text
Contact us

Terms of use

Privacy Policy

Media Centre

Revolution in the Costume World.

The costume industry is inherently wasteful – a typical film or TV drama will use more clothing than the average person uses in their lifetime and will produce more waste in a week than the average household in a year.

However, an intrepid group of costume designers, buyers and designers are making changes to the way they work in order to make their industry less wasteful, more sustainable and better for everyone across the supply chain.

Join us and start to make changes to your next production. Getting started doesn’t need to be hard – read this guide and commit to our 7 point pledge.

Join the Costume Revolution!

Top Tips

1. Set a pre-loved precedent: On modern jobs, commit to buying as much pre-used clothing as possible before hitting the high street.

2.  Make a donation: Look for ways to repurpose clothing, fabrics and office supplies at the end of a shoot.

3. Rags to riches: Request recycling facilities for fabrics to ensure unwanted items can have a new life ahead of them.

4. Fashion labels: Check the credentials the fabric you buy, FairTrade and Organic, EU ECO-label or Cradle to Cradle?

5. Colour with care: Choose naturally dyed fabrics which have less of an negative impact on the environment.

6. Down the drain: Use filters to stop synthetic microfibres entering the water stream, every time you wash clothes.

Sinead Kidao is a costume designer who has worked on productions including Beauty and the Beast, Mr Turner and Peterloo.

She created the Costume Directory to take the hassle out of finding suppliers who prioritise sustainability, environmental responsibility and fair trade.

For Designers

How can designers adapt the way they’re working to minimise waste? According to Orsola de Castro, founder of Fashion Revolution the industry produces 150 billion garments/year and 53 million tonnes of textiles with 78% of that ending up in landfill.

Some questions that designers need to ask themselves:

1. Could clothing be made so that it could be disassembled again afterwards?

2. Could something be designed in such a way that it can be reused as another item or have another lease of life in an alternative form?

3. Could garments be made from fabrics that biodegrade or can easily decompose?

Sinead Kidao is a costume designer who's leading the way with sustainable practices

More Hero Stories

For Buyers

Charlie Ross – Offset Warehouse:“Keep making changes – however small”

When you’re buying fabric and textiles – ask yourself these 3 key questions: Who are the people making your product, what is the environmental impact and who is the end user?

Take Our Pledge!

1. Use filters to stop synthetic microfibres entering the water stream, every time you wash clothes

2. Whenever possible – always opt for certified FairTrade and Organic fabrics

3. On modern jobs, commit to buying as much second hand and charity shop clothing as possible before hitting the high street.

4. Choose naturally dyed materials

5. Insist on proper recycling facilities, regardless of location.

6. Look for ways to repurpose clothing, fabrics and office supplies at the end of a shoot in a more meaningful way.

7. And finally – keep asking questions – ask your suppliers where their fabric comes from. Ask your costume house what it’s doing to reduce its impact. Ask your line manager what the production is doing to reduce its footprint. The power lies with the people keeping the industry going so use it to your advantage for the good of the planet.

We Are Albert

Change in the Industry needs to happen now if we are to truly tackle this issue and make a positive impact. If you are a costume designer, a wardrobe assistant, a buyer, owner of a costume house or even a student who wants to enter this world then we ask you to take a stand and pledge to do these 7 things on your next production.

Take the pledge and tell @WeAreAlbert who are here to support you.

Need more help? Head to our Costume Directory to find even more resources.

Got more ideas to share? Let us know! hello@wearealbert.co.uk

We are albert.

We believe that the creative industries are our greatest opportunity to protect our planet.

We are leading the charge against climate change; bringing the screen industries together to tackle our environmental impact and inspire sustainable living.

We are albert. So are you.

Production

Producers + Directors

Lighting + Camera

Sound

Post Houses

Production Design

Costume

Hair + Make-up

Studio Facilities

albert Grad

Production

Chief connectors and organisers - production joins up the dots and keep the green wheels turning. Find out how

Producers + Directors

At the helm of programme making, you're the green interrogator, ambassador and liaison. Find out how

Lighting + Camera

Let's shed a little light (cough) on how the lighting team can help to reduce energy consumption and save a production money. Find out how

Sound

Listen Up! From switching over to reusable batteries to reducing travel with homemade studios there are simple ways for a sound recordist to do their bit. Find out how

Post Houses

Can we fix sustainability in post? Not entirely, but there is stills lots of ways to make a difference. Find out how

Production Design

Beautiful sets and props don't deserve a lifetime in landfill. There are ways to work responsibly and help create the change we need to see. Find out how

A stitch in time ...could help save the planet. There's so many things a costume department can do, ready to take on the challenge? Find out how

Hair + Make-up

Cruelty free...organic...plastic free packaging... for the hair and makeup departments it's not just skin deep. Find out how

Studio Facilities

You can give productions a helping hand by making sure your studios are as green as possible. How? Read on for our top tips. Find out how

albert Grad

You now know more than most and it is time to show us what you've got. Find out how

Cookies

This website uses cookies, which are necessary to its functioning and required to achieve the purposes illustrated in the cookie policy. By closing this banner, scrolling this page, clicking a link or continuing to browse otherwise, you agree to the use of cookies. Read More
Ok thank you

Privacy & Cookies Policy

# data[].attributes.body
Black Camel Pictures' case study of embracing sustainability in production of The Island on the Isles of Harris and Lewis

# data[].attributes.attachment_link.title
GOING GREEN ON ‘THE ISLAND’ - Black Camel Pictures

# data[].attributes.body
New versions of 4 pieces from the special edition of the album Elements, 2 arranged for solo piano, and 2 versions of Elegy for the Arctic, composed for Greenpeace. | Preface by the composer.

Contents:

Elegy For the Arctic

Drop Solo

Twice Solo

Elegy for the Arctic (extended version)

# data[].attributes.attachment_link.title
Details for: Extra elements / › Royal Conservatoire of Scotland catalog

# data[].attributes.body
Earth Overshoot Day marks the date when humanity’s demand for ecological resources and services in a given year exceeds what Earth can regenerate in that year. In 2025, Earth Overshoot Day lands on July 24. We maintain this deficit by liquidating stocks of ecological resources and accumulating waste, primarily carbon dioxide in the atmosphere.

# data[].attributes.attachment_link.description
Overshoot occurs when humanity’s demand on nature exceeds Earth’s biocapacity. In 2023, Earth Overshoot Day falls on August 2nd.

# data[].attributes.body
Ecological Deficit/Reserve

An ecological deficit occurs when the Ecological Footprint of a population exceeds the biocapacity of the area available to that population. A national ecological deficit means that the country is net-importing biocapacity through trade, liquidating national ecological assets or emitting more carbon dioxide waste into the atmosphere than its own ecosystems absorb. In contrast, an ecological reserve exists when the biocapacity of a region exceeds its population's Ecological Footprint.

# data[].attributes.attachment_link.description
An ecological deficit occurs when the Ecological Footprint of a population exceeds the biocapacity of the area available to that population. A national ecological deficit means that the country is net-importing biocapacity through trade, liquidating national ecological assets or emitting more carbon dioxide waste into the atmosphere than its own ecosystems absorb. In contrast, an ecological reserve exists when the biocapacity of a region exceeds its population’s Ecological Footprint.

# data[].attributes.body
WITH THE TECHNIQUE OF PAINT-SEWING THE HUMAN LABOR ESSENTIAL TO CLOTHING MANUFACTURING BECOMES VISIBLE ON THE GARMENT.

# data[].attributes.attachment_link.description
Calculate your environmental footprint and learn how you can reduce your impact with WWF's Footprint Calculator.

# data[].attributes.headline
Guide to Sustainable Materials for Theatre Design 

# data[].attributes.subject
Guide to Sustainable Materials for Theatre Design 

# data[].attributes.body
This guide seeks to respond to this issue and be a place of reference that collects together pragmatic, aesthetic and ecological information about materials which have been investigated by theatre designers for theatre designers. In this sense, the guide hopes to bridge the gap between material science and theatre practice in order to give designers the agency to advocate for sustainability and to develop a critical eye as to how we define and measure sustainability in a qualitative sense.

# data[].attributes.body
A roadmap for the UK live music sector to play its part in tackling the climate crisis.

Only a material and fundamental shift in practices and technology globally can prevent catastrophic climate change. How live music stakeholders and the industry as a whole embrace climate action is a part of this global response.

This document has three sections. Firstly, a discussion of the global and national climate change landscape that must be considered in setting a science based and equity guided roadmap for the UK live music industry. Secondly, a suite of targets are recommended across different areas of emissions in the sector and guidance on the recommended shifts in practices and technology that could be adopted to meet these. Thirdly, suggested actions for different groups across the sector.

# data[].attributes.body
Dr Gemma Collard Stokes, Researcher in Therapeutic Arts at the University of Derby, explores the power of dance and the performing arts to reconnect people with the natural world and encourage climate action. "When we witness these performances, they stimulate emotion and empathetic insights, two components that can sometimes be missing from the factual world of science."

# data[].attributes.attachment_link.readable_text
Dr Gemma Collard-Stokes, Researcher in Therapeutic Arts at the University of Derby, believes that in order to restore our meaningful relationship with the natural world, we must have access to experiences and ways of knowing that help us develop these bonds. Here she discusses why Dance performance and participation offers us encounters of belonging, of kinship and of care, so we might fall in love with the planet again.

Depending on our background and life experiences, thinking about dance can bring several images to mind. We might think of young children practising ballet, or celebrities being put through their paces for weekly tv entertainment, crowded dance floors on a Friday night, or whirling through a community hall to the infectious beat of a folk band. You might also think of lavish productions; performances of well-known stories told through expressive bodies, emotive music, and skilful staging.

Dance provides many beneficial functions and all-round health benefits. When we take part in dance, we build empathy and confidence, it provides a vehicle for self-expression, it helps fight depression and reduce effects of stress, it fosters social closeness, it builds a sense of community, and improves cognitive functioning. But dance is also useful for communicating and sharing ideas.

Choreographers have been harnessing the communicative power of dance to provide social commentary for centuries. From performances which tell traditional narratives found in mythology, fable and folk tales, to contemporary life experiences of displacement, inequality and racism. Dance is a valuable means of conveying messages of awareness and education.

Presently, dance is finding a way to join the fight for climate action. As an act of physical storytelling, dance performances provide audiences with an opportunity to reflect on current times. Audiences can see correlations between the world on stage and world they live in. When we witness these performances, they stimulate emotion and empathetic insights, two components that can sometimes be missing from the factual world of science.

While science shines a light on the extent to which nature has been ecologically marginalised in Western-centric culture, the arts are stepping up and reminding us that meaningful lives do not exist without meaningful connections with the rest of the natural world.

In an increasingly techno-industrial society, our daily practices are withdrawing ever further away from nature. This possibility brings about the troubling idea - that the human-nature relationship will continue to dissolve. Much of the thinking underpinning nature-based solutions to the climate and biodiversity crisis, draw from kincentric (viewing humans as part of nature rather than separate from) ecologies. This indigenous way of knowing and perceiving our relation to nature acknowledges the importance of a reciprocal relationship with the natural world. Recentring kincentric philosophies and practices dismantles humancentric (human focused) pedagogies and prioritises and fosters kinship instead.

When we witness these performances, they stimulate emotion and empathetic insights, two components that can sometimes be missing from the factual world of science.

Researcher in Therapeutic Arts at the University of Derby

But how is dance being used to communicate the necessity of climate action?

While it might seem an unlikely coupling at first, dance and environmental science have much to gain from a cross-disciplinary partnership. Through their findings, scientists have been working tirelessly to educate and build public awareness of climate change. Although these efforts are numerous and wide-ranging, the anticipated impact has not been sufficient, and science continues to struggle to communicate and mobilise. Science requires different methods of reaching beyond its field and dance provides this alternative.

Through dance, environmental science not only expands its reach but increases its chances of minimalising persistent patterns of climate change denial and scepticism. Human emotional responses are often triggered by the way we individually evaluate an event. When we experience an event, we also begin to have associated thoughts and feelings that accompany this and contribute to our overall emotional connection. Facts cannot create enough power on their own, therefore, to incite action, messages of climate change require an event that connects with its audience on an emotional level.

The more access we have to stories of climate change, the more intense our emotional connection will become. Dance is uniquely situated to help science navigate this delicate mix of factual knowledge and empathy to provoke change. Science in partnership with dance brings these messages to life by capturing our imagination.

Current research exploring dance and climate change

Recently, I have been working on several projects that aim to reconnect people with the natural world and encourage climate action. Each of these projects takes a different approach but the aim is the same, they all examine the ways dance can support individual and community efforts to build a sustainable relationship with nature.

These projects are interested in the impact of introducing environmental knowledge through dance performance and participation. In this way, the research hopes to identify the usefulness of dance in reframing climate and biodiversity conversations, so they appeal to a larger audience.

Roam is a project run by choreographer Ella Fleetwood and funded by Arts Council England. During the project 60 pupils, aged between nine and 11 attending a West Sussex primary school, took part in an intensive week of dance activity. The workshops designed and facilitated by Ella involved outdoor creative dance experiences that responded to themes of climate emergency and the biodiversity crisis.

These workshops introduced the young people to new ways of exploring their connection to green spaces and the natural world through physical and imaginative enquiry with the environment. Over the course of the project the young people identified wellbeing benefits and expressed developing a stronger awareness of human-nature relationships. There was also a significant response to changes in resilience when considering themes of climate emergency and what the future has in store.

The Roam project is currently being shaped into a national tour of schools and will be the first phase of this evolution in 2022. As part of this endeavour, I will be working alongside Ella and her company ella&co, to explore the longer-term benefits of outdoor creative dance to sustainable relationships with the environment.

In another project, I am working with a poet and a visual artist to create an interdisciplinary performance that brings the stories of the previously coal mined Bakestonedale Common in Macclesfield to life.

We began the project driven by our intrigue into the ways haptic and visual aspects of the Common influenced our experience of it. This then led to a wider interest in how the multiple narratives between the history and the lived experience of this landscape could be communicated through performance-based activity.

Our work has taken a multisectoral approach thus far and involved dialogue with landowners, farmers, industrial historians, speleologists, brick manufactures, miners, and scientists. As we work through the project, we are developing an understanding of the way these narratives shape our perceptions of this landscape and its future.

Following the notion of " anticipatory history " we are developing ideas that form traces and connections between past, present and future manifestations of environmental change. The creative activities that interweave dancing, poetics and visual arts bring about an alternative way for an audience to engage with the land through scientific information, lived experience and historic narrative, helping us convey messages of ecological developments.

Dance holds the potential to increase climate change communication and mobilisation and should be supported in its effort to connect with the field of science in meaningful ways. Dance offers significant benefits to the field of science as it works to encourage a sustainable human-nature relationship. I like to imagine that soon, when we think of dance, we will think of environmental action.

For further information contact the Corporate Communications team at pressoffice@derby.ac.uk or call 01332 591891.

About the author

# data[].attributes.attachment_link.description
Dr Gemma Collard Stokes, Researcher in Therapeutic Arts at the University of Derby discusses why Dance performance and participation offers us encounters of belonging, of kinship and of care, so we might fall in love with the planet again.

# data[].attributes.headline
Choreographers using dance to fight climate change

# data[].attributes.subject
Choreographers using dance to fight climate change

# data[].attributes.body
Article by Nicole Loeffler-Gladston provides 6 examples of the approaches of taken by choreographers to tackle environmental issues in their work. It explores how the physical, interpersonal nature of dance has the unique ability to transform people’s understanding of the world around them. Movement can lay the foundation for a sense of connection with the earth.

# data[].attributes.attachment_link.title
These Choreographers Are Using Dance To Fight For Climate Action

# data[].attributes.attachment_link.description
A dance performance and rising carbon dioxide emissions might seem to have little to do with one another. But choreographers may be able to influence climate action in unexpected ways. The physical, interpersonal nature of dance has the unique ability to transform people’s understanding of the world around them. Movement can lay the foundation for […]

# data[].attributes.body
A co-production between Nederlands Dans Theater and Complicité. Developed over several years, this this dance trilogy explores this disconnection from the natural world. It is comprised of:

[1.0] The List (2022) - a study of the species and environments we have lost and are losing

[2.0] but then you come to the humans (2024) - an examination of our need for connection in a separated world

[3.0] Requiem (2025) - a meditation on grief and our relationship with the dead.

In this age of disconnection, we must come together to comprehend what we are living through. Figures in Extinction is an attempt to find this unity, and ignite a collective spark of hope in the darkness.

# data[].attributes.attachment_link.description
We are living in the age of disconnection. What does it mean to bear witness to a violence in which we are both perpetrators and victims?

# data[].attributes.body
The world's leading guide to science-based climate solutions.

Building upon thousands of hours of analysis by scientific experts from around the world, the Drawdown Explorer provides detailed information on the many technologies and practices proven or proposed to effectively reduce greenhouse warming pollution in the atmosphere.

The Drawdown Explorer analyses solutions in four categories:

Highly Recommended: solutions that meet all of Project Drawdown’s criteria for global climate solutions

Worthwhile: solutions that can still help mitigate climate change but do not meet the scale to be considered a major climate solution

Keep Watching: solutions that have potential but are not yet available in the real world – or the technology still lacks clear effectiveness, evidence, or a reasonable cost – and are not yet ready to be deployed

Not Recommended: solutions that, at the end of the day, we do not recommend as a climate solution, either because they are not scientifically plausible or they present a high level of risk.

# data[].attributes.attachment_link.readable_text
Building upon thousands of hours of analysis by scientific experts from around the world, the Drawdown Explorer provides detailed information on the many technologies and practices proven or proposed to effectively reduce greenhouse warming pollution in the atmosphere.

The Drawdown Explorer analyzes solutions in four categories:

Highly Recommended: solutions that meet all of Project Drawdown's criteria for global climate solutions

Worthwhile: solutions that can still help mitigate climate change but do not meet the scale to be considered a major climate solution

Keep Watching: solutions that have potential but are not yet available in the real world - or the technology still lacks clear effectiveness, evidence, or a reasonable cost - and are not yet ready to be deployed

Not Recommended: solutions that, at the end of the day, we do not recommend as a climate solution, either because they are not scientifically plausible or they present a high level of risk.

Browse the full complement of Drawdown Explorer solutions below, or filter by criteria of your choice using dropdowns or the table format. Then click through to individual solutions to get a close-up view of current and potential impact - including, for recommended solutions, the optimal timing, cost, additional benefits, interactive maps showing where action can have the greatest impact, and specific advice for how you, whatever your role, can best put the solution to work.

# data[].attributes.attachment_link.description
We know what we need to do: stop climate change as quickly as possible. Now, with the Drawdown Explorer, we know how to do it.

# data[].attributes.headline
SHIFT: The Super High-Impact Initiative for Fixing Tomorrow

# data[].attributes.subject
SHIFT: The Super High-Impact Initiative for Fixing Tomorrow

# data[].attributes.body
SHIFT is a guide to climate solutions for real life, created by climate scientist Kimberly Nicholas and the team at Project Drawdown. It focusses on five research-based climate superpowers - actions you can take as a citizen, professional, investor, consumer, and role model - connecting your personal choices to bigger, collective action.

Take a short questionnaire to find out where you can make the most impact in tackling the climate crisis and what you can do next.

# data[].attributes.attachment_link.description
The Super High-impact Initiative for Fixing Tomorrow

# data[].attributes.headline
From Carbon Footprints to Cultural Influence: Engaging live music audiences on travel choices

# data[].attributes.subject
From Carbon Footprints to Cultural Influence: Engaging live music audiences on travel choices

# data[].attributes.body
Audience travel choices really matter: for many events, audience travel is one of the biggest (if not the biggest) contributors to the total carbon emissions of the event, and was first identified as one of the major indirect sources of emissions from the UK music industry over a decade ago.

This guide builds on the insights from the Super-Low Carbon Live Music report, by exploring ideas for communication and engaging more effectively around audience travel, offering a fresh take on a stubborn problem: how to positively influence the travel choices of live music audiences. It is designed as a practical resource for people working on live music and sustainability, and seeks to better engage audiences on travel choices.

# data[].attributes.body
Discover green production music with Universal Production Music. These thoughtful Earth Day songs have been crafted through environmentally conscious methods, showcasing our commitment to producing responsible production music.

# data[].attributes.attachment_link.description
Discover green production music with Universal Production Music. These thoughtful Earth Day songs have been crafted through environmentally conscious methods, showcasing our commitment to producing responsible production music. Support sustainable practices, align with your audience’s values, and make use of top-quality Earth Day music from this collection. Whether for eco-conscious advertising, an environmental topic podcast or a TV project, discover the perfect piece here.

# data[].attributes.headline
Music Declares Emergency: Music industry climate pack

# data[].attributes.subject
Music Declares Emergency: Music industry climate pack

# data[].attributes.body
Through our NO MUSIC ON A DEAD PLANET CAMPAIGN, Music Declares Emergency is bringing together artists, music industry professionals and music fans to call for an immediate governmental response to the climate change emergency to protect all life on Earth.

We believe in the power of music to promote the cultural change needed to create a better future.

The Music Industry Climate Pack is a guide to action for all participants in the industry, including artists, producers, venues, managers, and music lovers.

# data[].attributes.body
The collapse of Rana Plaza brought worldwide attention to deathtrap workplaces within the garment industry.

The public interest and media attention has resulted in more political pressure than ever before to effect change and has led to significant ground-breaking approaches to prevention and remedy, with the establishment of the binding Accord on Fire and Building Safety in Bangladesh and the Rana Plaza Arrangement involving all major stakeholders, meant to compensate the survivors and the families of the killed workers.

The immense difficulty in establishing which brands produced at Rana Plaza sparked an intense movement to create more transparency in the garment industry.

# data[].attributes.attachment_link.readable_text
What did we do?

Immediately after the collapse we helped realize the creation of the Accord on Fire and Building Safety in Bangladesh in May 2013 and campaigned for brands to sign on. It was subsequently signed by over 200 companies. The Rana Plaza Arrangement was created afterwards to coordinate compensation for the affected families.

No amount of money can make up for the loss of a loved one or the resulting physical and emotional scars inflicted on those who survived such a tragedy. But what is also true is that the survivors and victims' families should be compensated for the financial and medical losses they sustained as a direct result of the disaster.

With our partners in Bangladesh we identified at least 29 global brands that had recent or current orders with at least one of the five garment factories in the Rana Plaza building, including Benetton (Italy), Bonmarche (UK), Cato Fashions (USA), The Children's Place (USA), El Corte Ingles (Spain), Joe Fresh (Loblaws, Canada), Kik (Germany), Mango (Spain), Matalan (UK), Primark (UK/Ireland) and Texman (Denmark).

Each of these brands was a complicit participant in the creation of an environment that ultimately led to the deaths and maiming of thousands of individuals. Calculations based on International Labour Organisation convention 121 showed that the families of those affected by the Rana Plaza collapse are owed $30 million in compensation.

We campaigned hard to convince all brands in who sourced from Rana Plaza, and essentially all brands in Bangladesh should contribute according to their ability to pay, the size of their relationship with Bangladesh and their relationship with Rana Plaza.

We campaigned for over two years to make brands take their responsibility and pay into the trust fund or increase their contribution if their first payment was insufficient.

We collected over 1 million signatures to make Benetton pay up an appropriate amount. There was irrefutable evidence exposing their direct link to Rana Plaza - photographs of the Benetton labels in the building rubble, and documentation of order forms from the New Wave Factory in the Rana Plaza building.

Following initial denials from the company in regard to their link to Rana Plaza, they later publicly acknowledged that New Wave Style was a supplier for Benetton. The fact that brands like Benetton kept dragging their feet only prolonged the suffering of the workers impacted by Rana Plaza. Some brands linked to the disaster even never paid up.

# data[].attributes.attachment_link.description
The collapse of the Rana Plaza factory building in Bangladesh was the worst ever industrial incident to hit the garment industry. It was followed by a struggle for justice for the Rana Plaza workers and safe factories for all.

# data[].attributes.body
At the core of Mind the Gap is a cohort of learning disabled and/or autistic artists who are employed to devise and co-create, all productions. Learning disabled and autistic artists and colleagues directly influence and steer key aspects of Mind the Gap’s work.

Our Mission: We want to live in a world where learning disabled and/or autistic people are seen, heard and represented everywhere. Where learning disabled and autistic voices lead the way in building a more inclusive world.

# data[].attributes.attachment_link.description
Mind the Gap is a theatre company, training academy and community engagement specialist.

# data[].attributes.headline
Arts for Social Justice, York St John University

# data[].attributes.subject
Arts for Social Justice, York St John University

# data[].attributes.body
The arts have a vital role in the work of York St John University's Institute for Social Justice. The arts are a powerful vehicle for social change; an active and participatory way of involving communities in research; and an impactful form of dissemination. Current research projects, including I'm Me, and Equitable Music Education with True Cadence, draw on multiple different art form in a variety of contexts and in collaboration with different academic disciplines.

# data[].attributes.attachment_link.title
Arts for social justice | York St John University

# data[].attributes.attachment_link.description
The arts have a vital role in the work of the ISJ. Our projects draw on multiple different art form in a variety of contexts and in collaboration with different academic disciplines.

# data[].attributes.body
The quick carbon calculator (opens an Excel spreadsheet) allows you to quickly calculate the emissions of specific actions to reduce your consumption of energy, travel, waste and water. It can help you decide on the lowest carbon action to take or measure a snapshot of your existing practice. It also includes a guide to typical equipment usage.

(If you need to run this in Google Sheets, contact Matthew Belsey at Culture for Climate Scotland to request a compatible version matthew.belsey@cultureforclimate.scot)

# data[].attributes.body
Culture for Climate Scotland's audient travel emissions excel tool can be used to help estimate emissions associated with travel by audiences and participants.

# data[].attributes.body
Kyoto is a play by Joe Murphy and Joe Robertson, produced and acted by Royal Shakespeare Company (RSC) and Good Chance originally in Swan Theatre in 2024, then @sohoplace in 2025.

The play dramatizes how Big Oil, having learned about the risk of climate change, use legal tricks and misinformation through their representative Don Pearlman in an attempt to protect their profits. Through the determination of key representatives agreement is reached – the Kyoto Protocol.

# data[].attributes.attachment_link.title
About the play | Kyoto | Royal Shakespeare Company

# data[].attributes.attachment_link.description
From the writers and directors of the universally-acclaimed The Jungle comes this pulse-pounding political drama.

# data[].attributes.headline
6 Critical - And Urgent - Ethics Issues With AI

# data[].attributes.subject
6 Critical - And Urgent - Ethics Issues With AI

# data[].attributes.body
Forbes article by Eli Amdur exploring the ethical concerns surrounding the use of AI, including data bias, threat to jobs, invasion of privacy etc.

# data[].attributes.attachment_link.title
6 Critical – And Urgent – Ethics Issues With AI

# data[].attributes.attachment_link.description
AI has lost no time in unfolding its immense potential.

# data[].attributes.headline
Article: AI generates covertly racist decisions about people based on their dialect

# data[].attributes.subject
Article: AI generates covertly racist decisions about people based on their dialect

# data[].attributes.body
Article by Hofmann, V. et al (2024) exploring how AI language models perpetuate racial prejudices, making their judgements biased in problematic ways about groups such as African Americans.

# data[].attributes.attachment_link.title
AI generates covertly racist decisions about people based on their dialect - Nature

# data[].attributes.attachment_link.description
Despite efforts to remove overt racial prejudice, language models using artificial intelligence still show covert racism against speakers of African American English that is triggered by features of the dialect.

# data[].attributes.headline
Journal article: Performing arts and affordances: moving towards Epistemic Justice through Embodied Learning

# data[].attributes.subject
Journal article: Performing arts and affordances: moving towards Epistemic Justice through Embodied Learning

# data[].attributes.body
This paper explores how engaging in the performing arts can help overcome forms of epistemic injustice (i.e., unfairness in whose knowledge or experiences are valued) by focusing on the role of embodied learning (learning through the body, movement, and practice) and the concept of affordances (what the environment offers to an agent for action). The authors argue that when individuals participate in performance—whether dance, theatre, or other bodily practices—they gain access to kinds of knowing and agency that are often marginalized in traditional knowledge systems. In this way, performance offers a route to epistemic justice, by giving voice and body to ways of knowing that are otherwise undervalued.

(Zimmermann,C., et al 2025)

# data[].attributes.body
At its heart, cultural appropriation in art is the adoption of elements from a minority culture by members of a dominant culture, particularly when this is done without acknowledgment, understanding, or permission. It is a process that detaches art, symbols, and traditions from their original context, which can lead to misrepresentation and a loss of meaning. This is especially pertinent in a world where globalization and digital media have made cultural exchange more frequent and instantaneous than ever before.

# data[].attributes.attachment_link.readable_text
Fundamentals

At its heart, cultural appropriation in art is the adoption of elements from a minority culture by members of a dominant culture, particularly when this is done without acknowledgment, understanding, or permission. It is a process that detaches art, symbols, and traditions from their original context, which can lead to misrepresentation and a loss of meaning. This is especially pertinent in a world where globalization and digital media have made cultural exchange more frequent and instantaneous than ever before.

The Human Element: Beyond Borrowing

Cultural appropriation is a deeply human issue, tied to identity, heritage, and respect. Every cultural artifact, from a piece of music to a style of painting, carries with it a history and a set of shared understandings. When these are taken and used for commercial gain or aesthetic pleasure without regard for their origins, it can be a painful experience for the source community.

It is the difference between sharing a meal with a neighbor and having someone take a family recipe, mass-produce it, and sell it without ever mentioning the family's name.

Appreciation Vs. Appropriation: A Key Distinction

Understanding the line between appreciation and appropriation is a crucial first step. The chart below outlines some of the key differences:

The Connection to Sustainable Living

A sustainable lifestyle is one that is mindful of its impact on the world, not just environmentally, but also socially and culturally. Cultural sustainability is a key pillar of this, and it involves preserving cultural heritage and promoting cross-cultural understanding. When cultural appropriation occurs, it can undermine these efforts by devaluing traditional knowledge and practices.

A truly sustainable approach to art and life requires us to be conscious consumers and creators, aware of the stories behind the things we make, buy, and admire.

Cultural appropriation involves the unauthorized use of a minority culture's elements by a dominant culture, often leading to a loss of meaning and misrepresentation.

For individuals interested in sustainable living, this means asking questions about the products we buy and the art we consume. Who made this? What is the story behind this design?

Is the artist from the community that originated this style? By asking these questions, we can begin to make more informed and ethical choices that support cultural preservation and empower artists from all backgrounds.

Intermediate

Moving beyond a basic definition, a more intermediate understanding of cultural appropriation in art requires an examination of power dynamics, historical context, and the psychological impact of this phenomenon. It is a conversation that is deeply intertwined with the legacies of colonialism and the ongoing struggle for cultural sovereignty. The issue is not simply one of individual artists making poor choices, but of a systemic problem rooted in centuries of unequal power relations.

The Weight of History: Colonialism and Its Aftermath

Much of what is now considered cultural appropriation has its roots in the colonial era, when European powers extracted not only natural resources from the lands they conquered, but also cultural artifacts and knowledge. This historical context is essential for understanding why cultural appropriation is so harmful. When a member of a dominant culture takes from a minority culture, they are often, consciously or unconsciously, reenacting a historical pattern of domination and exploitation.

This is why the direction of appropriation matters; it is the power imbalance that makes it a harmful act.

Psychological and Social Impacts

The effects of cultural appropriation on individuals and communities can be profound. Here are some of the ways it can cause harm:

Identity Erasure → When cultural symbols are stripped of their meaning and turned into trends, it can lead to a sense of identity erasure for members of the source community. Their heritage is reduced to a caricature, and their lived experiences are invalidated.

Economic Disenfranchisement → Often, the dominant culture profits from the appropriated elements, while the source community receives no economic benefit. This is particularly egregious when the source community has faced economic hardship as a result of colonization and systemic discrimination.

Perpetuation of Stereotypes → Cultural appropriation often relies on and reinforces harmful stereotypes. By presenting a one-dimensional and often inaccurate portrayal of a culture, it can contribute to prejudice and misunderstanding.

Cultural Appropriation in the Digital Age

The internet and social media have accelerated the pace of cultural exchange, but they have also created new challenges. The viral nature of online content means that cultural appropriation can happen on a massive scale, with little to no accountability. A design can be copied and sold by countless online retailers before the original artist is even aware of what has happened.

This makes it more important than ever for consumers and creators to be vigilant and to advocate for ethical practices.

The power imbalances inherent in cultural appropriation are a direct reflection of historical and ongoing systems of oppression.

For those seeking a more sustainable and meaningful life, this understanding of cultural appropriation can inform our choices in a number of ways. It can lead us to support artists and businesses that are committed to ethical collaboration and fair trade. It can also inspire us to educate ourselves and others about the histories and cultures that have been marginalized.

By doing so, we can contribute to a more just and equitable world, one where all cultures are treated with the respect and dignity they deserve.

Academic

An academic exploration of cultural appropriation in art necessitates a multidisciplinary approach, drawing from postcolonial theory, critical race theory, and behavioral science to deconstruct the complex interplay of power, identity, and commerce that defines this issue. Cultural appropriation is a manifestation of systemic inequalities, a process through which the cultural production of marginalized groups is subsumed into the dominant culture, often to its economic and social detriment.

Postcolonial Perspectives: The Continuation of Colonial Logic

From a postcolonial standpoint, cultural appropriation is a contemporary iteration of the colonial project. It operates through a logic of extraction, where the cultural resources of the "other" are seen as raw materials to be refined and commodified by the dominant culture. This process is not a benign exchange; it is a violent act of dispossession that severs cultural practices from their historical and spiritual moorings.

The act of appropriation is a performance of power, a declaration of the dominant culture's right to take and redefine the cultural heritage of others.

Critical Race Theory: Unmasking the Racial Underpinnings

Critical race theory provides a framework for understanding how cultural appropriation is inextricably linked to race and racism. It highlights how the appropriation of cultural elements from communities of color by white individuals and institutions is a form of racial subordination. This is not to say that all instances of cultural borrowing are harmful, but that in a society structured by racial inequality, the act of taking from a marginalized racial group has a different meaning and impact than borrowing from a dominant one.

The following list outlines key tenets of this perspective:

1. The Centrality of Race and Racism → Critical race theory asserts that racism is not an aberration, but a normal and ingrained feature of society. Cultural appropriation is one of the many ways in which this racism is expressed and perpetuated.

2. The Challenge to Dominant Ideology → This framework challenges the claims of objectivity and colorblindness that often obscure the racial power dynamics at play in cultural appropriation. It insists on a contextual analysis that takes into account the historical and social realities of race.

3. The Commitment to Social Justice → Critical race theory is not just an analytical tool; it is a movement dedicated to social justice. It seeks to empower marginalized communities and to challenge the systems of oppression that enable cultural appropriation.

The Semiotics of Appropriation: Signs, Symbols, and the Loss of Meaning

Semiotics, the study of signs and symbols, offers a powerful lens for analyzing the mechanics of cultural appropriation. Cultural elements are signs that carry a complex web of meanings, both denotative and connotative. When these signs are appropriated, they are often stripped of their original context, and their meanings are altered or erased.

A sacred symbol can be reduced to a mere fashion accessory, its spiritual significance lost in the translation. This process of decontextualization is a form of semiotic violence, an assault on the cultural language of a community.

Cultural appropriation is a complex phenomenon with deep roots in colonialism and systemic racism, requiring a nuanced and context-specific analysis.

For those engaged in the pursuit of a sustainable and ethical mode of living, this academic understanding of cultural appropriation offers a robust intellectual foundation for action. It underscores the need for a decolonial approach to art and culture, one that centers the voices and experiences of marginalized communities. It calls for a radical rethinking of our relationship with the cultural products we consume, a shift from a logic of consumption to one of reciprocity and respect.

It is a call to not just appreciate other cultures, but to actively support their struggles for self-determination and cultural sovereignty.

# data[].attributes.attachment_link.description
Meaning → Cultural appropriation in art is the unauthorized adoption of elements from a minority culture by a dominant culture, often for profit. → Term